What is meant by that is that this Royal Opera House, Covent Garden production, from 2013, is near-perfect musically, but although there are great moments there are misgivings in the staging and storytelling.
'Eugene Onegin' contains some of the most gorgeous music in all opera, and the beautiful and poignantly tragic story of Pushkin's verse novel is one of the great Russian stories, so to me 'Eugene Onegin' is a masterwork and one of my favourites from Tchaikovsky. Of the DVDs available, best are the Petr Weigl and Roman Tikhomirov films and the Glyndebourne, Mirella Freni, Robert Carsen and 2013 Met productions are also excellent. Less good are the Peter Mattei and earlier Mariusz Kwiecien performances, which this reviewer puts below this production.
Royal Opera House's production of 'Eugene Onegin' looks very handsome and beautiful visually, it was clear that a lot of work and detail went into the designs. The only reservation was the rather sombre costumes for the chorus in "the peasant chorus". It also looks great on DVD, the videography is unobtrusive but allows one to enjoy all the action on stage without being too busy or static, the picture is clear with lovely bold but atmosphere colours and the sound apart from the odd balance issue is good.
Kaspar Holten's stage direction is not always consistent. There are many great moments certainly. Lensky's aria is simply but heart-breakingly staged, that of Gremin has a real sincerity and wistfulness, the Waltz and Polonaise have elegance and stately grandeur, the argument being Lensky and Onegin has blazing intensity and the duel even when staged differently to usual has tension, Onegin's regret brilliantly characterised by Simon Keenlyside. The aftermath of the duel is also an incredibly powerful moment. However, the staging for "the peasant chorus" is too stand and deliver and was in need of more lustiness. While exquisitely sung by Krassimira Stoyanova and passionately- one really feels Stoyanova's pain at her younger counterpart's naivety- danced by Vigdis Hentze Olsen "the letter scene" is the worst case of, despite wonderful dancing from Olsen and Thom Rackett, the use of dance doubles for Tatyana and Onegin's younger selves coming across clumsily and getting in the way of the story. It's Tatyana's meatiest moment (over 10 of being on stage alone) of the entire opera and it felt like Stoyanova as a result of this decision was somewhat robbed of shining completely. The final scene is very moving and tense, but diluted a little by the odd decision to have Gremin present in Tatyana's admission of love.
Musically, the production is near perfect, the one small issue being the chorus not sounding completely happy with the somewhat extreme tempo for the last section of "the peasant chorus", sounding like they were struggling to keep up. The chorus on the most part sing very beautifully and act with involvement, especially in Act 2 where their confusion in the confrontation between Lensky and Onegin really registers. The music is beautifully played and sensitively phrased by the orchestra, while Robin Ticcati's conducting has alert energy and sensitive nuance, bringing out the majesty but also the intimacy.
Of the principals, Krassimira Stoyanova in particular is a revelation. She sings with gorgeous tone throughout with not an awful-sounding note noticeable and even more importantly she sings with feeling and secure musicality. Dramatically, it is a poignant, sensitive and nuanced account of the role, starting off with a youthful naivety (without being clueless) but then giving Tatyana a growth. Simon Keenlyside sings very richly and authoritatively, his acting also remarkably vivid in the title role especially in the last act and also like Stoyanova with a growth from arrogance to genuine repentance. Pavol Breslik sings with wonderful delicacy, almost with the approach of a Lieder singer, without sounding underpowered. He is no slouch as an actor either, his performance of "Kuda, Kuda" (nicknamed Lensky's aria) really quite heart-wrenching. Elena Maximova is very charming as Olga, and sings with warm plushness and character, especially in her act 1 aria "Akh, Tanya, Tanya".
The supporting cast leave much bigger impressions than their mostly small roles allow. Peter Rose in particular is a very ideally noble Gremin, he sings beautifully in his aria and makes much of the lovely use of words. Jihoon Kim makes much of little as Zaretsky and Christophe Mortagne is an amusing Monsieur Le Triquet (a scene that can fall flat if mugged, milked or taken too slow, but neither of these potential problems are thankfully apparent). Diana Montague commands the stage with humour and sincerity as Larina and Kathleen Wilkinson is a sympathetic nurse. As aforementioned too, nothing can be complained about the quality of the dancing, even if the use of them distracts on occasions.
Overall, has a lot to like but let down at times by some staging touches that don't come off. 7/10 Bethany Cox
'Eugene Onegin' contains some of the most gorgeous music in all opera, and the beautiful and poignantly tragic story of Pushkin's verse novel is one of the great Russian stories, so to me 'Eugene Onegin' is a masterwork and one of my favourites from Tchaikovsky. Of the DVDs available, best are the Petr Weigl and Roman Tikhomirov films and the Glyndebourne, Mirella Freni, Robert Carsen and 2013 Met productions are also excellent. Less good are the Peter Mattei and earlier Mariusz Kwiecien performances, which this reviewer puts below this production.
Royal Opera House's production of 'Eugene Onegin' looks very handsome and beautiful visually, it was clear that a lot of work and detail went into the designs. The only reservation was the rather sombre costumes for the chorus in "the peasant chorus". It also looks great on DVD, the videography is unobtrusive but allows one to enjoy all the action on stage without being too busy or static, the picture is clear with lovely bold but atmosphere colours and the sound apart from the odd balance issue is good.
Kaspar Holten's stage direction is not always consistent. There are many great moments certainly. Lensky's aria is simply but heart-breakingly staged, that of Gremin has a real sincerity and wistfulness, the Waltz and Polonaise have elegance and stately grandeur, the argument being Lensky and Onegin has blazing intensity and the duel even when staged differently to usual has tension, Onegin's regret brilliantly characterised by Simon Keenlyside. The aftermath of the duel is also an incredibly powerful moment. However, the staging for "the peasant chorus" is too stand and deliver and was in need of more lustiness. While exquisitely sung by Krassimira Stoyanova and passionately- one really feels Stoyanova's pain at her younger counterpart's naivety- danced by Vigdis Hentze Olsen "the letter scene" is the worst case of, despite wonderful dancing from Olsen and Thom Rackett, the use of dance doubles for Tatyana and Onegin's younger selves coming across clumsily and getting in the way of the story. It's Tatyana's meatiest moment (over 10 of being on stage alone) of the entire opera and it felt like Stoyanova as a result of this decision was somewhat robbed of shining completely. The final scene is very moving and tense, but diluted a little by the odd decision to have Gremin present in Tatyana's admission of love.
Musically, the production is near perfect, the one small issue being the chorus not sounding completely happy with the somewhat extreme tempo for the last section of "the peasant chorus", sounding like they were struggling to keep up. The chorus on the most part sing very beautifully and act with involvement, especially in Act 2 where their confusion in the confrontation between Lensky and Onegin really registers. The music is beautifully played and sensitively phrased by the orchestra, while Robin Ticcati's conducting has alert energy and sensitive nuance, bringing out the majesty but also the intimacy.
Of the principals, Krassimira Stoyanova in particular is a revelation. She sings with gorgeous tone throughout with not an awful-sounding note noticeable and even more importantly she sings with feeling and secure musicality. Dramatically, it is a poignant, sensitive and nuanced account of the role, starting off with a youthful naivety (without being clueless) but then giving Tatyana a growth. Simon Keenlyside sings very richly and authoritatively, his acting also remarkably vivid in the title role especially in the last act and also like Stoyanova with a growth from arrogance to genuine repentance. Pavol Breslik sings with wonderful delicacy, almost with the approach of a Lieder singer, without sounding underpowered. He is no slouch as an actor either, his performance of "Kuda, Kuda" (nicknamed Lensky's aria) really quite heart-wrenching. Elena Maximova is very charming as Olga, and sings with warm plushness and character, especially in her act 1 aria "Akh, Tanya, Tanya".
The supporting cast leave much bigger impressions than their mostly small roles allow. Peter Rose in particular is a very ideally noble Gremin, he sings beautifully in his aria and makes much of the lovely use of words. Jihoon Kim makes much of little as Zaretsky and Christophe Mortagne is an amusing Monsieur Le Triquet (a scene that can fall flat if mugged, milked or taken too slow, but neither of these potential problems are thankfully apparent). Diana Montague commands the stage with humour and sincerity as Larina and Kathleen Wilkinson is a sympathetic nurse. As aforementioned too, nothing can be complained about the quality of the dancing, even if the use of them distracts on occasions.
Overall, has a lot to like but let down at times by some staging touches that don't come off. 7/10 Bethany Cox
