opera reviews Eugene Onegin

15/11/2011
Eugene Onegin opera reviews musicOMH
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Eugene Onegin
@ Coliseum, London, 1 2,1 5,1 8,20,23,25,29 Nov ember, 3 December 201 1
b Lottie Greenhow
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Director Deborah Warner has described the challenge of
staging E gene Onegin as “legendary” – but she has
risen to it with extraordinary aplomb, and her entirely
unpretentious new production gels perfectly with
Tchaikovsky s creation.
Visually there is always enough to spark the
imagination, without the stage ever feeling cluttered or
crowded, allowing the music to tell its powerful story.
Superb set design ensures that visual contrast remains
paramount without the production ever feeling
disjointed; a pair of distorted mirrors at the sides of the
stage provides continuity as well as giving the
Audun Iv ersen & Am anda Echala
(photo: Neil Libbert)
impression of a larger space. Madam Larina s house, displayed from several angles, helps to build
up the idea of the characters lives: the room inside the rustic farmhouse gates, bustling with
servants and visitors, heightens the impression of the family s everyday existence, and the lavish
ballroom in Act II augments the already electric atmosphere created by the cast in the ballroom
scene. A particularly exquisite effect occurs in the form of a perfectly timed sunrise in Act I,
highlights from classical
which breaks the fourth wall by bathing the audience in a soft golden light, drawing us in to
ONGOING
Tatyana s naive hope for the new day.
BBC Prom s 2011
Continuing cov erage of the season
from the Ro al Albert Hall.
One of the most striking sets appears in the duel scene; a bare, monochrome snowy Siberian
landscape, dotted with trees struggling to survive the harsh winter, provides the perfect desolate
CLASSICAL EDITOR'S CHOICE
backdrop for Lensky s heartfelt aria. The palace set takes the simple but decadent form of marble
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pillars and candelabras, conveying a sense of classic minimalism, both fashionable and timeless.
Beautiful costumes, ranging from the rustic clothing of Act I to the exquisite ball gowns of Act
III, complement the set and plot perfectly. Electric performances from a team of accomplished
dancers at various well-timed points throughout the opera provide a feast for the eyes as well as
the ears.
In the title role, the Norwegian baritone Audun Iversen betrayed none of his Scandinavian roots;
his English accent was spot-on, and his diction crystal clear throughout the performance.
Displaying a round, rich lyric baritone, he performed the role of Onegin with energy and
conviction, although his sound was on the small side for a theatre this size, forcing him to
occasionally push the voice.
Amanda Echalaz as Tatyana squeezed every ounce of emotion from the role and gave an
entirely captivating performance,commanding he stage in a thrilling, compelling and utterly
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believable rendition of her letter scene .The chemistry between her and Onegin became apparent
whenever the two appeared on stage simultaneously. Echalaz vibrant, sparkling soprano
negotiated Tchaikovsky s beautiful lines with perfect ease, incorporating a wide range of perfectly
placed dynamics,from her punchy interplay with her nurse to her moving love scenes with
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ENO: Eugene Onegin
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15/11/2011
Eugene Onegin opera reviews musicOMH
ENO: Eugene Onegin
Onegin.
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Toby Spence as Vladimir Lensky gave one of the most compelling performances of the evening,
portraying all the sides of his character throughout the first two acts, with his beautifully
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expressive, clear, bright and focused sound lending itself perfectly to Tchaikovsky s indulgent
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melodic lines. His serenade to Olga in Act I was extremely touching; however, the real highlight
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was his heart-rending performance of Lensky s solemnly meditative aria against that
wonderfully desolate backdrop. His acute awareness of his impending death was clear from the
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beginning of the scene, and intensified throughout the aria, climaxing in a brilliantly acted death
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scene, devoid of all hope and optimism.
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In the lighter roles, ENO Y oung Singer Claudia Huckle gave a charming performance as the
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naïve and flirtatious Olga, although she also suffered from a tendency to push a smaller voice
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than that of her peers on stage. Catherine Wyn-Rogers fruity mezzo-soprano, combined with a
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bustling presence on stage, made her perfectly suited to the role of Nurse Filipievna, and her
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voice was also extremely well matched to the rich and spirited mezzo of Diana Montague, who
performed the small role of Madame Larina with the perfect balance of sensitivity and nostalgia.
Adrian Thompson seemed completely at ease in his hilarious portrayal of Monsieur Triquet,
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complete with flamboyant French accent. Managing to switch deftly between Triquet s beautiful
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lyric pianissimo and his comic forte passages, he gave a committed performance totally
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deserving of the rapt attention of the surrounding chorus ladies. Also excellent was bass Brindley
Sherratt, whose ever-reliable powerful lower range was utilised to full effect in his role as the
instantly likeable Prince Gremin, and he also delivered his touching soliloquy about finding love
in old age with exquisite tenderness.
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The ENO chorus, augmented for this production, performed with great energy and excitement,
with some particularly excellent singing coming from the ladies in their folk-song in Act I, where
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they produced a dazzlingly sensuous blend. Under the expert hands of conductor Edward
Gardner, the superb ENO orchestra matched the musical excellence of the cast and chorus and
made the most of their instrumental interludes.
This production has much to recommend it; the pacing is excellent, the characters welldeveloped and believable, the set exquisite and the singing sublime. Nothing feels laboured or
forced; everything is smooth and compelling. Warner has achieved everything she set out to
achieve with this production, and more.
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