TCHAIKOVSKY Eugene Onegin

Opolais stars in Treliński’s 2011 Onegin from Valencia

Record and Artist Details

Composer or Director: Pyotr Ilyich Tchaikovsky

Genre:

Opera

Label: C Major

Media Format: Digital Versatile Disc

Media Runtime: 150

Mastering:

DDD

Catalogue Number: 712408

712408. TCHAIKOVSKY Eugene Onegin. Omer Meir Wellber

Tracks:

Composition Artist Credit
Eugene Onegin Pyotr Ilyich Tchaikovsky, Composer
Aldo Heo, Captain, Bass
Artur Ruciński, Eugene Onegin, Baritone
Cor de la Generalitat Valenciana
Dmitry Korchak, Lensky, Tenor
Emilio Sánchez, Triquet, Tenor
Günther Groissböck, Prince Gremin, Bass
Helene Schneiderman, Larina, Mezzo soprano
Kristine Opolais, Tatyana, Soprano
Lena Belkina, Olga, Contralto (Female alto)
Margarita Nekrasova, undefined, Mezzo soprano
Omer Meir Wellber, Conductor
Orquestra de la Communitat, Valencia
Pyotr Ilyich Tchaikovsky, Composer
Simon Lim, Zaretsky, Bass
Toni Navarrate, Guillot, Speaker
This recent Polish/Spanish co-production has us view the opera (like Pushkin’s novel) through the eyes of Onegin in old age. His vampire-like attraction to and for Tatyana is played – in excessive, camp, slow-motion mode – by the show’s choreographer Emil Wesoπowski. Were it not for the star-is-born presence of Latvian soprano Kristı¯ne Opolais (Tatyana), this extra would steal or upstage every scene. Around Wesoπowski, Trelin´ski essays a relatively straightforward ground production, interrupted by colourful, symbolist and (again, Wesoπowski’s) slow stylised movement at the Larina and Petersburg balls. There is much sexually symbolic overuse of apples, of Tatyana being stabbed by Onegin’s cane and of acting on the orchestra pit rail.

It has to be said that the production as filmed here is not in great shape either musically or dramatically. The chorus dancing and movement are poor, some of their singing in the ‘Pelt him gaily with your fruit’ and Larina party choruses should have been retaken and Meir Wellber’s tendency to drag for emotional effect is not always appreciated by soloists and orchestra. Filipyevna, Zaretsky and Captain Petrovich look at the pit for leads an awful lot.

On the main stage, Opolais’s Tatyana is the stuff of dreams musically and acting-wise, Korchak’s Lensky and Groissböck’s Gremin most effective and Rucin´ski’s dark Onegin a handsome voice that sounds a size too small for the role in a big house (his acting ditto). Musically the production is based on the first, much chorus-reduced version that Tchaikovsky premiered at the Conservatory, so no peasants-gathering corn Act 1 chorus and dance, nor Act 3 Ecossaise. (All this is loss apart from the rather Brechtian recitative that preceeds the Gremins’ arrival at the Petersburg ball.)

Sound is good, filming effective, but the endless presence of over-the-top senior Onegin is quite a passion-killer. It’s unfortunate that this DVD appears so soon in the wake of the Kasper Holten’s Royal Opera production which makes such poetry out of Onegin and Tatyana looking back on their not-quite romance. Hopefully the reviews that greeted that production will not preclude a DVD release into a catalogue not overstocked with compelling filmed Onegins.

Discover the world's largest classical music catalogue with Presto Music. 

Stream on Presto Music | Buy from Presto Music

Gramophone Print

  • Print Edition

From £6.67 / month

Subscribe

Gramophone Digital Club

  • Digital Edition
  • Digital Archive
  • Reviews Database
  • Full website access

From £8.75 / month

Subscribe

                              

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.