Music | Pyotr Tchaikovsky |
Libretto | Pyotr Tchaikovsky and Konstantin Shilovsky |
Music Director and Conductor | Felix Korobov |
Stage Director | Alexander Titel |
Scenic Movement Director and Choreographer | Irina Lychagina |
Set Designer | David Borovsky |
Costume Designer | Olga Polikarpova |
Lighting Designer | Damir Ismagilov |
Eugene Onegin by P. Tchaikovsky is a very special title for the K. S. Stanislavsky and V. I. Nemirovich-Danchenko Music Theatre. This opera was the first production of the school on Leontievsky Lane led by the great theatre reformer, Konstantin Stanislavsky. The Stanislavsky’s production of Eugene Onegin marked the birth of a new opera theatre. The June 1922 a premiere performance proved a big event in Moscow, whose theatrical life was quite tumultuous. A contemporary chronicler, Pavel Markov, remembered, “The performances were accompanied by grand piano [instead of orchestra], actors had no make-up and wore contemporary suits of today. That rendition of Onegin did not make an impression of a spectacle or an opera performance or a naturalistic tragedy but deeply rooted in one the feeling of joy and light.” That same year, 1922, the production was transferred to the stage of the New Theater (the building now houses the Russian Youth Theatre). The stage set fully reproduced that at Leontievsky, but costumes and make-up were already in place.
In 1926, the Stanislavsky’s Opera School became a theater and moved to Bolshaya Dmitrovka Street. That is where a third author’s version of the production was staged. Eugene Onerin became the symbol of the Stanislavsky Theatre, while he columns of the “Onegin portico”, its emblem (it can still be seen in the Theatre’s logo).
In 1941, the Stanislavsky and Nemirovich-Danchenko Theatres were merged, and the production was included in the united troupe’s repertoire. The production has celebrated a couple of jubilees, and what jubilees! 1934 saw the 500th performance, 1951, the one thousandth. Of course, in spite of all efforts by the troupe, who had been taking tender loving care of the production, many details inevitably had been being lost. Changes in the style of the age had dictated barely perceptible variations in the production’s atmosphere which had kept moving it farther and farther away from its origin. And so December of 2001 saw the farewell performances of the legendary production.
The new production of Eugene Onegin appeared in the K. S. Stanislavsky and V. I. Nemirovich-Danchenko Music Theatre repertoire within the very first season following the Theatre’s reconstruction. Its creators treated the Stanislavsky’s production with maximum respect yet did not copy it. Psychological development of the characters remained utterly detailed, and even the columns were retained as the main element of the stage set. What changed was the air that the main characters breathe. It was an Onegin of the 21st century, one that is contemporary and in keeping with today’s audiences.
Music Director and Conductor |
Felix Korobov
|
Tatyana |
Elena Bezgodkova
Elena Guseva
Natalia Petrozhitskaya
|
Olga |
Larisa Andreeva
Veronika Vyatkina
Ksenia Dudnikova
Natalia Zimina
|
Eugene Onegin |
Dmitry Zuev
Stanislav Li
|
Vladimir Lensky |
Sergey Balashov
Alexander Nesterenko
|
Larina |
Irina Vashchenko
Natalia Vladimirskaya
|
Filippyevna |
Veronika Vyatkina
Ella Feyginova
|
Gremin |
Denis Makarov
Dmitry Ulyanov
Roman Ulybin
|
Monsieur Triquet |
Chingis Ayusheev
Valery Mikitsky
|
Company Commander |
Mikhail Golovushkin
Denis Makarov
|
Zaretsky |
Mikhail Golovushkin
Felix Kudryavtsev
Denis Makarov
Roman Ulybin
|
Synopsis
ACT I.
SCENE 1
The widowed Madame Larina and her servant Filippyevna listen as the Larin daughters, Olga and Tatiana, sing. The peasants come from the fields celebrating the completion of the harvest with songs and dances. Olga teases Tatiana for avoiding the festivities; pensive Tatiana prefers her romance novels. When the peasants leave, Olga’s suitor, the poet Lenski, arrives with his worldly friend Eugene Onegin. Lenski pours out his love for Olga (“Ya lyublyu vas”). Onegin strolls with Tatiana and asks how she doesn’t get bored with country life. Unnerved by the handsome stranger, Tatiana answers with difficulty. The two couples go inside for dinner as night falls.
SCENE 2
In her bedroom, Tatiana persuades the reluctant Filippyevna to tell her of her first love and marriage. Tatiana admits she is in love and asks to be left alone. She sits up the entire night writing a passionate letter to Onegin (“Pooskai pogibnoo ya”). When day breaks, she gives the letter to Filippyevna for her grandson to deliver.
SCENE 3
A group of women sing as they work in the Larins’ garden. They leave, and Tatiana appears, nervous, followed by Onegin. He asks that she hear him out patiently. He admits that the letter was touching, but adds that he would quickly grow bored with marriage and can only offer her friendship. He coldly advises more emotional control in the future, lest another man take advantage of her innocence.
ACT II.
SCENE 1
Some months later, a party is underway in the Larins’ house for Tatiana’s name day. Young couples dance while older guests comment and gossip. Onegin dances with Tatiana, but he is bored by these country people and their provincial ways. Annoyed with Lenski for having dragged him there, Onegin dances with Olga, who is momentarily distracted by the charming man. Monsieur Triquet, the elderly French tutor, serenades Tatiana with a song he has written in her honor (“A cette fкte conviйe”). When the dancing resumes, Lenski jealously confronts Onegin. Madame Larina begs the men not to quarrel in her house, but Lenski cannot be placated and Onegin accepts his challenge to a duel.
SCENE 2
Lenski waits for Onegin at the appointed spot at dawn. Lenski reflects on the folly of his brief life and imagines Olga visiting his grave (“Kuda, kuda”). Onegin finally arrives. He and Lenski admit to themselves that the duel is pointless and they would prefer to laugh together than to fight, but honor must be satisfied. The duel is marked off, and Onegin shoots Lenski dead.
ACT III
Several years later, a magnificent ball is being given in the Gremin Palace in St. Petersburg. Onegin appears, reflecting bitterly on the fact that he has traveled the world seeking excitement and some meaning in life, and all his efforts have led him to yet another dull social event. Suddenly, he recognizes Tatiana across the ballroom. She is no longer a naпve country girl but is sumptuously gowned and bearing herself with great dignity. Questioning his cousin, Prince Gremin, he learns that Tatiana is now Gremin’s wife. The older man explains that he married Tatiana two years previously and describes Tatiana as his life’s salvation. When Gremin introduces Onegin, Tatiana maintains her composure but excuses herself after a few words of polite conversation. Onegin is surprised to realize he himself is in love with Tatiana.
Tatiana is distressed the next day after she receives an impassioned letter from Onegin. He rushes in and falls at her feet, but she maintains her control. Does he desire her only for her wealth and position? She recalls the days when they might have been happy, but that time has passed. Onegin repeats his love for her. Faltering for a moment, she admits that she still loves him, but she will not allow him to ruin her. She leaves him regretting his bitter destiny.
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