Happy widow. Balanced for men but about women

« As it was to be expected, » the characters changed with such phrases at the beginning of the performance. They talked about appearance and preparation for the celebration, but this phrase is suitable for both the operetta itself and KVMT.

120 years after the operetta premiere in Vienna, the eighth building on the Kaunas stage, but as it could be expected – the theater is full of satisfied and cheerful lovers. And how else? The storyline does not get old (he just can’t get old!), F. Léhar’s music is just amazing, the eye and ears caressed the funny world of feelings with songs, dances, witty dialogues and great costumes.

The operetta storyline was the Henri Meilco comedy L’Attaché d’Ambassade (1861). If, for a short time – after a short marriage, the money of the old rich man is in the hands of a young girl, so it is fascinated and saved by a beautiful Count sent in the homeland. There is no love here, but without it, you will not create an operetta, so even two associated love stories are developed – financial and just. If we were more harassing, maybe all four, two of which are short -lived, shorter than a day.

The storyline is balanced for men, because in one pair the man simply cannot see a woman’s financially and emotionally independent woman, and in the other, the good name of the old spouse is preserved at all costs, and in the third and fourth, wives do what they do to do to them. For the state, of course, money. And, in fact, they are satisfied with it. By the way, in the operetta, everyone is happy with everything – both Martians and Parisians.

I watched the performance two evenings. The main roles of Count Danilo and Hana Glavari were played by Andrius Apšega and Gabrielė Kuzmickaitė. I watched and listened to the role of Baron Cata in playing and listened to Žygimantas Galinis and Gediminas Maciulevičius, Valensjena Cėlika – Viktorija Zeelikovičiūtė and Iveta Kalkauskaitė, its French halves of Kamil de Rosillon – Tom Pavilionis and Egidijus Bavikinas, Njegus – Vyganas Beemov and Martyn. Bogdanovich – Giedrius Prunskus and Jonas Lamauskas, Silvijana Bogdanovič – Živilė Lamauskienė and Akvilė Garbenčiūtė, Kromūnas – Ramūnas Šimukauskas and Dainius Bervingis, Olga Kromov – Ieva Vaznelytė sides, Viconto cascades – Paul Kaminskas and Rokas Laureckis, Raulo de San Brijoš – Martynas Stankevičius and Luke Katinas.

Grizettes, the high -profile of the Martian and Paris was played by the choir and the international ballet troupe, who convincingly created the image of a diverse Paris.

A couple for life

Count Danila Danilovich and Hana Glavari – A. Apšga and G. Kuzmickaitė. Perfectly created roles, undoubtedly commendable singing, subtle acting, gracefully balancing among light -heartedness, offensive pride, power, jealousy and love (Danila) and dignified self -esteem, irony and love (Hana).

In the performance, we see how Hana’s behavior changes Danila and how Hana, who knows her worth and all, controls all and all of her feelings. In the operetta, they are both Martians and their origins have a great complement to the walled F. Léhar music palette with national dances and songs. The acting of Danila – A. Apšega, which is not recurring, is truly fascinating, embodying both the light -hearted, the Grzech drunkard and the pure loving but unable to forgive the aristocrat, and great musical numbers – both solo and duo with Hana – G. Kuzmickaite and ensembles.

G. Kuzmickaite, who first played the lead role in KVMT, simply lightened the role of Hana Gavari. Oro and sincere, playful, but not exceeding the image of the lady, pure and hotly loving. She knows well what is worth and what she wants, everyone will dance under her bag! Delicately controlled voice, dance gracefulness, velvet speakers, magnificent as a ruler singing about William and playful cocktail while dancing with grizzines, G. Kuzmickaite – just ideal hana!

History: The colorful characters created by the theater troupe strengthen the storyline intrigue. / Photo by M. Alexa

A couple for a short time

Valensjena Cėta – V. Zeelikovičiūtė and I. Kalkauskaitė and her French side Kamil de Rosillion – T. Pavilionis and E. Bavikinas. For both Kamil, it seemed no matter what was going on around and what the effects of their desires could be on the charming Valensiens, and although Bavikinas had a completely relaxed kiss duet and T. Pavilionis was a little more cautious, both were just charming. It is a multicolored role that brings us in love with a reconciliation and agreement with the fun rules of the game. Of course, I liked both Valensjes: both V. Zeilikovičiūtė and I. Kalkauskaitė, who manipulate the elderly and oversee the Frenchman. The fan – love note – is also a great job, because no matter what Valensiena is, she is a dedicated wife.

The fun gentlemen and ladies

Probably almost all the heroes of this operetta are comic, only some are more restrained, while others are completely curled. The latter – V. Beemov (Padraika) and M. Beinaris (almost decent fun).

In the operetta, everyone is satisfied with everything – both Martians and Parisians.

Njegush simply does not go away in his coat at the beginning of the beginning trying to play a decent guy, but in the presence of the Grizis, his imaginary decency remains dissolved. The elderly gentlemen Baron Cėza, Bogdanovich and Kromov, for the state for the state, and actually sending their wives to the French from the rich widow, are more restrained, but at least in the beginning, they are sure of their wife, and Bogdanovich and Kromov suffer and worry.

I note that the whole trio, I saw, played the player Ž. Galinis and G. Maciulevičius, Bogdanovic – G. Prunskus and J. Laumauskas, Kromovas – R. Šimukauskas and D. Bervingis created similar but still subtle roles. It was really seen that these gentlemen had a great time!

As I mentioned, the old gentlemen launched their wives anxiously from the eyes, whom he again played his hair, who played his hair: Silvijan Bogdanovic – Ž. Lamauskienė and A. Garbenčiūtė, Olga Kromov – I. Vaznelytė and K. Sumytė. It has to be said that some have just done a man’s will, and some have still spent time well. In my eyes, Njegush, Silvijana and Olga are the most comical heroes of the operetta, in some places balancing and at the verge of vulgarity. What it is – the image of a young man and rich, but stupid, or a sharp political satire – to decide for you.

And Hana’s hand -seeking Vikonas Cascada, whose role was created by P. Kaminskas and R. Laureckis, and Raul de San Brijoš – M. Stankevicius and L. Katinas? These gentlemen were charming and self -confident, but quite easily seduced by Silvijana and Olga. Serious men.

Colors: Charming Valensjena and Kamil de Rosillion. / Photo by M. Alexa

To dance? Dance!

It should be added that the choir and the ballet – especially their masculine side – have complemented Hana’s hand -seeking men. The choir played the gentlemen gathered in the banquet and the very charmingly dressed ladies, and the ballet was not only fascinating young people, but also cabaret dancers, gimm and green beings-Jonwabal songs about Vilija on stage.

Valiūkė Grizettes and their enchanting clothes deserve individual praise! There is a lot of dance in the operetta: in pairs and groups, in reality and memories. Also on the stairs, which in the tasteful scenography are accompanied by Hana’s performances, thus symbolically exalting her. It is the stairs that are one of the great scenes of the operetta, the scene of all acting men. Bravo choreographer Valerijus Osadčenkai!

The image

As already mentioned, the operetta has wealthy gentlemen and ladies, cabaret gimmettes, an action place – Embassy and Hana Glavari villa. The laconic, restrained scenography is replaced by small but gorgeous details – stairs, portrait of the king, luminaires that are easy to become a gazebo, and a much fun peripeties.

At the Ball Embassy, ​​the ladies wear refined dresses and pearls, Hana Glavari’s villa adorns national costumes. Of course, Hana herself, as you can expect from a wealthy ladies, changes their dresses more often.

Each time KVMT observes the performance, I admire how a graceful and meaningful result is achieved in such a small and cozy scene with restrained and laconic means. Also, I just have to praise the operetta gadget – the booklet, the persons that accommodate myself, the thoughts of director V. Straiča, the story of composer F. Lehar’s life, the history of the creation and popularity of the operetta, which hides behind the words « Happy Widow » Fashion phenomenon. It must be said that all the texts for this production – the newly translated by V. Straiča and Aurina Venislovaitė, leaving only the 1970s. The duo of the Valsys Aidas translated by Ramutė Skučaitė.

Playful: Osadchenko’s decisions of the choreographer’s role gave the performance additional expression. / Photo by M. Alexa

So – women!

So, of course, I recommend and guarantee that you will forget about the wonderful atmosphere of music, songs, dance, elegant and valuable costumes, love and humor. After all, the storyline, and the very fact, that the brand and acting of a masked policy is not over.

At the end of the operetta, everyone triumphs – both of the lovers who forget their pride, the state and the diplomats satisfied with their finances. Finally, everything has a price – with a clever smile at the end of the actors and actresses, without releasing the hands of the spouses or the short -term adventure partners. After all, it is not just women who always deal with operettas.