The London City Opera production of “The Merry Widow,” which was performed endearingly Thursday at the Maine Center for the Arts, may have reminded some audience members of operas by Richard Strauss. Others may have been thinking of operettas by Gilbert and Sullivan. But the score by Franz Lehar is so charmingly luscious and shamelessly romantic that surely someone in the audience was thinking of falling in love – or back in love – in the course of the evening.

Under the direction of Terry John Bates and the baton of Peter Oberfrank, the company and orchestra were a lively and colorful combination of spirited acting, glamorous costumes, acrobatic dancing and crisp music making.

The opera is set in Paris but revolves around the country men and women of Pontevedra. So the patriotism of both locales flew high in celebratory scenes, of which there are many in this piece. It all made for raucous dancing and cheering between characters.

The story itself is about Hanna Glawari, a widow whose riches make her the most pursued single woman in town. She is, indeed, in Paris to find a husband, and her suitors shove each other in line to get on her dance card, to woo her, to become rich by association. But she rejects them all because her heart is promised to one she loved long ago and hopes to reclaim as her own.

But the object of her love, Count Danilo Danilowitsch, is not so easily persuaded. He is, after all, the one who jilted her years ago because she was a farm girl and he was an aristocrat. Eventually, they find their way into each other’s arms and waltz away to their own private ball.

Naturally, this is a tale about true love. It is also a showcase for elastic and rich voices, the most lyrical and memorable of which were exhibited by the men of this troupe. George Newton-Fitzgerald (Baron Zeta) and Adrian Martin (Camille de Rossillon) were standouts in both vocal and theatrical talents. And it is hard to imagine a more beguiling Danilo than Robert Millner, a suave leading man and thoroughly inviting tenor.

A favorite of the evening was Francois Testory (Njegus, the clerk), who was a crowd-pleasing comic wit.

Both Victoria Joyce (Valencienne) and Penelope Mathisen (Hanna) were sparkling onstage, as were most members of this large troupe, which will wrap up this cross-country tour in April (after 70 performances). The two women were superb leading ladies, but their voices did not have the warmest tones. Nevertheless, Mathisen’s rendition of the traditional folk tale of Vilja, the most popular song in the opera, was one of the loveliest moment in the show.