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EUGENE ONEGIN


Can Washington National Opera’s production of  Eugene Onegin lives up to Tchaikovsky’s great  “lyrical scenes” based on the great Russian classic Pushkin’s  novel-poem?
This fatalistic fairy tale, wrapped up in lush music, Eugene Onegin, is built on a series of powerful contrasts, not only of  its character but also reflecting two Russias, that of peasants and that of nobles.
There is the idealistic rural Tatiana sung by Anna Nechaeva, who falls in love with the bored elitist Onegin, sung by  Igor Golovatenko.  In contrast  there is  Olga (Lindsay Ammann) her flighty sister and her long time beloved Lensky (Alexey Dolgov).  Their lives will be ever changed by the heart break the condescending Onegin sets forth.
By the final act, Tatiana, a mature sophisticated woman, married to Gremin (the superb bass Eric Halfvarson).  He is an old man who has been elevated to be a prince because of his heroism on the battle field. His heart rendering song of love for Tatiana, is like her once love drenched aria about Onegin.
Onegin is a world weary broken man who despairs of life.  He  has killed his friend in a duel on another battle field of life and now sings his regrets as he sees he has lost a chance for fulfillment with the mature woman Tatiana has become.
In the opening scenes, there are choruses of dancers and singers in the rural village who gather in the family home for a traditional name day celebration for Tatiana.
In the final act,  the chorus  is transformed to the royal court where they whirl to waltzes.
WNO production’s set, poetic with its lighting and hues, presents a simple background for its superb singers to each plead their heart out in haunting arias. It is a perfect fit for fulfilling Tchaikovsky’s words for a sincere “musical reflection of ordinary, simple, universal sensations” that goes beyond the unrequited love or high tragedy of grand opera. 
Washington National Opera, Kennedy Center, March 2019.




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