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Who knew that opera singers could do the splits or that dancers could sing opera? Those are two of the revelations in Utah Opera's current production of "The Merry Widow," one of the silliest shows the company has ever staged.

"The Merry Widow," which opened at the Capitol Theatre Saturday night, is also one of the most attractive shows Utah Opera has staged. It's a revival of an Art Nouveau-inspired production the company created in 2000; Michael Yeargan's sets and Susan Memmott Allred's costumes are in such high demand among other companies all over the world that Utah Opera has recovered the costs in rental fees. Yancey Quick's wig and makeup designs complement the costumes perfectly.

Not even an ill-timed illness could sink this production of Franz Lehár's beloved operetta. Baritone Daniel Belcher, who has had success playing a succession of comic sidekicks at Utah Opera, finally got a chance to play the romantic lead — only to contract a respiratory infection just before opening night. The company opted to send him on with light amplification, usually unheard of in opera. It was the right call.

With so much dancing required of this cast, bringing in a last-minute substitute would have been impossible, and having an understudy sing from the wings while Belcher acted out the role of Danilo would have been far more distracting.

Once the proper sound balance was achieved, the strain on Belcher's voice was scarcely noticeable. He sang, danced and delivered his spoken lines with expression and plenty of charm. Most importantly, he had delightful chemistry with his leading lady, Caroline Worra.

Worra was wonderfully cast as Hanna Glawari, the vivacious young widow whose recently inherited fortune drives the operetta's daffy plot. She played Hanna with unpretentious charm and so much joie de vivre that one expected her to burst out laughing at any moment. But she also showed flashes of vulnerability in key scenes with Danilo, and her performance of the faux folk song "Vilja" was sublime.

Strong as the two leads were, the comedy team of Michael Wanko and Curt Olds — playing bumbling Baron Zeta and his sidekick, Njegus — nearly stole the show. Their droll delivery of page after page of rapid-fire dialogue epitomized stage director David Gately's spot-on approach to comedy.

Their singing was even better, and Olds' dancing in the finale was a tour de force. (He had strong competition from a trio of dancing bureaucrats, played by Christian Sanders, Kevin Nakatani and Markel Reed; Nakatani's split at the end of the crowd-pleasing "Women" brought down the house Saturday. Props to choreographer Kyle Lang for making everyone look so nimble.)

Sharin Apostolou also showed an impressive flair for dance in the role of Valencienne, Baron Zeta's flirtatious wife, who joins up with the Grisettes at Maxim's for some reason. Apostolou held her own with the sextet of professional dancers. Her singing was equally strong; it was a shame she wasn't given more to sing, as the character is stuck with the show's most cringe-inducing dialogue in scenes with her boy toy, Camille (played with appealing earnestness by Robert McPherson).

Conductor Gerald Steichen led the Utah Symphony in an enthusiastic performance of Lehár's colorful score. Violinist Kathryn Eberle, cellist Rainer Eudeikis and flutist Lisa Byrnes made especially memorable contributions. Former chorus master Susanne Sheston, returning as a guest, got another fine performance from the Utah Opera Chorus. —

Meet me at Maxim's

Utah Opera presents an English-language performance of Franz Lehár's "The Merry Widow."

Where • Capitol Theatre, 50 W. 200 South, Salt Lake City

When • Reviewed Saturday, Jan. 16; evening performances continue Monday, Wednesday and Friday, Jan. 18, 20 and 22, with a 2 p.m. matinee Sunday, Jan. 24

Tickets • $18-$89 ($5 more on performance day); utahopera.org

In a nutshell • Leaders of cash-strapped Pontevedro are keen to keep the wealthy widow Hanna Glawari in the country by finding her a Pontevedran husband, but will she and her former beau, playboy Danilo Danilovitch, cooperate?

Running time • About 3 hours, including two intermissions

Learn more • The company has posted background material at utahopera.org/onlinelearning and utahopera.org/15-16-season/the-merry-widow. In addition, principal coach Carol Anderson will give a lecture-demonstration an hour before each performance and artistic director Christopher McBeth will field questions after each performance; these events take place in the Capitol Room on the west side of the theater.