On Sunday 21st at 4pm we have more Tchaikovsky, his wonderful opera EUGENE ONEGIN (2h30mins) in an unorthodox but beautifully sung production from the Netherlands Opera directed by Stefan Herheim. I suggest you become familiar with the more usual version in order to appreciate this one and also read the review below as it will help you understand this production!
Stefan Herheim is among the most imaginative and successful practitioners of current Regietheater, a genre not deserving the blanket condemnation some invoke without having seen much of it. With Mariss Jansons providing an excellent musical performance leading the luxurious-sounding Concertgebouw forces, this performance is consistently interesting and engaging, if not perhaps the ideal choice for a first-time Onegin viewer.
‘’What's most impressive about Eugene Onegin - both from Tchaikovsky's viewpoint as well as its original author Pushkin's - is how it manages to compact all those diverse, contradictory, deeply romantic and sometimes self-destructive features of the Russian character into what on the surface seems a simple romantic story of love and rejection. It's full of passion and character so it's surprising then how coldly and calculatingly the opera can often be put across. That will often depend on the interpretation of the conductor and stage director and on how much emphasis to give to Tchaikovsky's score, but as far as this De Nederlandse production goes, with Mariss Jansons conducting and Stefan Herheim directing, it's a passionate and expansive account of the opera, though one that many will inevitably feel takes too many liberties with the libretto.
As far as the staging goes, the young Norwegian director does place the figures into somewhat irregular configurations. You'll see that from the outset as Onegin walks onto the stage a scene before he should be formally introduced, looking thoroughly confused and walking moreover into what looks like a hotel lobby, with an elevator and a revolving door, where Tanya and her family are together. Similarly, there are few of the usual separations of characters in scenes that one would be accustomed to. Even when Tanya should be writing her famous love letter to the young man she has just been introduced to, it's staged here with Onegin actually writing the letter, while her husband, Prince Gremin, lies in bed behind them. This could be thoroughly confusing for anyone who is unfamiliar with the opera, but it will not make a lot of sense to anyone who is familiar with the work and who would be quite happy to see it played out in the traditional linear manner.
The concept applied here, of course (although it might not be that obvious), is that the figures are reflecting back on the events from an older perspective, and the setting picks up on the mirroring of the situations. That's most evident when Onegin directs his rejection of Tatyana to a silent younger girl in a white dress, while Krassimira Stoyanova, who actually sings the role of Tatyana, wearing a red dress (there may be some colour coding to reflect the differing perspectives) looks on as a spectator on her own past. Whether you consider that this distorts the intentions of Eugene Onegin or whether you feel that it opens it up underlying themes within the work will obviously depend on your taste, but the motivations of the director, inspired or misguided though they may be judged to be, are at least derived from close attention paid to the work itself.
It does however add another level of complication to a work that is already enriched in emotions and in their peculiar Russian expression and result in some the bizarre touches that might be considered pushing an already quite eccentric production - such as Onegin's second at the duel actually being a bottle of wine - a little too far. Act III's Polonaise attempts to bring in an historical 'tableau vivant' of all walks of Russian life, with a dancing bear, Cosmonauts, Russian gymnasts, Swan Lake dancers, royalty and religious leaders, Red Army troops and sailors, folk dancers, serfs and Prince Gremin heading up a Russian mafia outfit, and if all that sounds like it has nothing to do with Eugene Onegin, you'd be entitled to think so and decide that this is not a production for you, but at the same time it can be seen as historically being a part of everything Russian that is enshrined within the essence of Pushkin and Tchaikovsky's work.
What I think is beyond question however is that Jansons and Herheim bring out the full latent potential of Eugene Onegin here, without restraint, but also without over-emphasis. Regardless of whether the concept makes rational sense or appeals to personal taste, this is a passionate and moving account of the work on a musical and a dramatic level. The singing is also exceptionally good here. You might like a younger person singing Tatyana, but a younger singer couldn't sing this role half as well. It needs a mature voice, and Krassimira Stoyanova's is wonderfully toned, controlled with impeccable technique and emotionally expressive. Bo Skovhus brings a great intensity also to this Onegin who is tortured by his nature of being Russian. He's not the strongest voice in the role, but he sings it well. Mikhail Petrenko's Prince Gremin and Andrej Dunaev's Lensky are also worthy of the production. The very fine team of the Chorus of the De Nederlandse opera provide their usual sterling work. Amazon.com reviewer
‘’ Five Stars - ... the direction is precise and has dramatic sweep. Mariss Jansons' conducting is similarly chamber-like in its clarity, yet laden with passion. And the cast rises to the occasion magnificently. Bo Skovhus plays Onegin with incredible physicality and detail. Krassimira Stoyanova is a stunning Tatyana with a sumptuous voice. Andrej Dunaev a plangent Lensky ... essential viewing’’ --Opera Now Magazine
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