Opera Australia Tchaikovsky's Eugene Onegin

This had a stupendous performance by Nicole Car here's my thoughts for Sydney Arts Guide http://www.sydneyartsguide.com.au/onegin/ This is a magnificent ,inspired production of Tchaikovsky’s lyrical 1879 opera based on Pushkin’s novel .It is a new co-production from London directed by Kasper Holten, the ROH’s new( ish ) director of Opera. Designers Mia Stensgaard (set) and Katrina Lindsay (costume) have conceptualised the production to feature three heavy ,imposing columns/doors which symbolically split the drama into the ’inner’ and’ outer’ worlds of the characters . The doors can be folded back /opened/closed /become a space for billowing curtains , the columns leant against despairingly or joyously. At one point Tatyana hides in a large bookcase which is part of this. Behind the doors are simple but very dramatically effective landscape projection that morph through the changing seasons. It is a non naturalistic , minimalist sometimes dreamlike production .Holten has decided to show us the whole opera in flashback, using two dancers to play the younger Onegin and Tatyana, observed at all times by their older, wiser selves. Generally this works quite well but can be a little off putting and distracting , As the opera develops , what turns out to be the scattered remains of painful memory gradually assemble on stage – a scrunched up letter, a sheaf of hay, a pile of well read books, a broken chair, and towards the end Lensky’s corpse. Musically, passionate Guillaume Tourniere is an excellent Tchaikovskian in the pit, very energetically leading the Australian Opera and Ballet Orchestra in this most Romantic of Russian scores from the opening expression of melancholy to its overwhelming passionate conclusion. The orchestra play with delight and strength, the big waltzes and the polonaise are performed with gusto and there are some enchanting horn and wind solos in the very poignant love scenes. The large, tightly controlled chorus are also in excellent form, producing a large, dynamic sound; and exquisitely disciplined in their stage work too. Olga , Tatyana’s sister was sweetly ,terrifically performed by Sian Pendry who sings gloriously . She is shown as far more ‘lively’ than Tatyana , more of a tomboy , cheerful ,energetic and into dancing etc. Yet she can be elegant and well behaved too when appropriate. She cannot resist Onegin – is it thoughtless of her to succumb to his attractions and dance so much with him at the ball , which leads to the fatal duel ? Young ,handsome poet Lensky engaged to Olga was splendidly sung by James Egglestone .He has a bright ,concentrated tone. Is he right to be jealous of Onegin when he flirts with Olga at the ball or does he build a mountain out of a molehill ? We feel pity with his insistence on honour and satisfaction for his wounded, shaky pride.His aria just before the duel , as if he has a premonition ‘Kuda, kuda vï udalilis’ was superb , extremely moving . But as another of my colleagues has asked , after he has been shot in the duel ,why does he have to lie there for the rest of the show ? It can be quite distracting. This opera could perhaps be called ‘Tatyana’ rather than Onegin as she emerges as the dominant character and it is seen through her eyes, Nicole Carr as Tatyana is superb, absolutely brilliant and ravishing . She holds the stage and handles the long and very difficult famous ‘Letter aria’ scene , which is at the heart of the opera ,passionately and magnificently , stopping the show. She is thoughtful , studious and passionate simultaneously . Her crisp but rich soprano is easily ,evenly spread across the full range and always linked to her character She reveals clarity ,freshness and vivid colour combined with expressive immediacy. And I love the beautiful Renoir like white ruffled dress she wears. Onegin is portrayed by the Czech baritone Dalibor Jenis making his Opera Australia debut with flair. He has a strong dramatic and visual presence and musically his dark velvety baritone blends well with Car .His voice has a strong , polished sound, but there are undertones hinting at edginess and apathy simultaneously . He makes the dramatic transition from cold politeness to thunderstruck yearning lover plausible and exciting. Madame Larina , Tatyana and Olga’s mother , Mrs Bennett like seeking to marry her daughters off , was pertly played by Dominica Matthews .She is shown as brittle yet firm and possibly a drinker. Their loving nurse Filippyevna who comforts and looks after Tatayana and has a wonderful aria describing her youthful marriage was terrifically played and sung by Jacqueline Dark .Kanen Breen as Monsieur Triquet , an elegant , rather foppish French tutor was wonderful and performed his ‘party peice ‘ – the poem to Tatyana on her name day – with great panache. Uxorious Prince Gremin was magnificently sung by lion like Konstantin Gorny in an imposing uniform. His aria “All men surrender to Love’s power ‘ showcases his glorious , rumbling bass . It is interesting to observe that in this version he overhears his wife’s declaration of duty and love. An intelligent, very moving, visually pleasing and excellently sung production. Running time 3 hours 10 mins (approx) one interval EUGENE ONEGIN, Opera Australia in co-production with the Royal Opera House, Covent Garden and Fondazione Teatro Regio, Turin at the Joan Sutherland Theatre, Sydney Opera House; 29 February- 28 March 2014. For more about Opera Australia in Tchaikovsky’s Onegin, visit http://www.opera.org.au