Tuesday, November 22, 2022
HomeOperaThe Opera Tattler: SF Opera's Eugene Onegin

The Opera Tattler: SF Opera’s Eugene Onegin


_DSC2203* Notes * 
Robert Carsen’s 1997 manufacturing of Eugene Onegin (Act II Scene 1 pictured, {photograph} by Cory Weaver) opened at San Francisco Opera this afternoon with a youthful solid of newcomers and the colourful debut of conductor Vassilis Christopoulos.

The overture sounded stately beneath Maestro Christopoulos, who had his U.S. debut with this efficiency. Not all the things was fully collectively, the ladies’s refrain on the begining of Act I Scene 3 appeared off-kilter at first, and there have been different moments of small moments of chaos, however nothing terribly egregious. The dance music in Acts II and III have been all charming, significantly the Polonaise within the final act. The woodwinds and harp have been all very pretty.

There have been acquainted voices, beginning with the primary two mezzo-sopranos on stage, Deborah Nansteel as Madame Larina and Ronnita Miller as Filipyevna. I distinctly keep in mind Nansteel from Merola, her good clear tones and Miller as being an unbelievable Erda within the Ring Cycle right here in San Francisco. Veteran bass Ferruccio Furlanetto was shifting as Prince Gremin in his Act III aria.

As for debuts on the Battle Memorial stage, most have been fairly sturdy. Mezzo-soprano Aigul Akhmetshina (Olga) has a gorgeous darkish sound but additionally a superb lucidity and resonance to her voice. Tenor Evan LeRoy Johnson was likewise winsome as Lensky, his voice is mild and vivid however has a pleasing heft to it, his Act I aria was stuffed with pleasure and his Act II aria completely plaintive.

Soprano Evgenia Muraveva has a delicacy that appears acceptable for Tatyana, shy and bookish, each in stature and in her sound. She was by no means shrill however the backside of her voice is underpowered. Bass-baritone Gordon Bintner embodied Eugene Onegin somewhat nicely, he appeared so bizarre and awkward in his first scene, at first it was a bit troublesome to see what Tatyana was charmed by, nevertheless it was a reputable efficiency. The duel scene of Act II Scene 2 was convincing, as have been the shifting emotions of Onegin in Act III. Bintner’s final aria as he realizes he loves Tatyana was wealthy and heat (and perhaps considerably manical).

This manufacturing from Robert Carsen has been seen all around the world in its 25 years. The set is clear and open with PVC partitions on three sides, and Act I options hundreds of polyester birch leaves in lots of colours. For probably the most half, the area is outlined by preparations leaves or chairs, and it really works nicely sufficient and is not distracting. The revival right here was achieved by director Peter McClintock, and all the things went easily so far as I may inform.

* Tattling * 
My 8-year-old insisted on attending this opera, as he had realized about Tchaikovsky in music class final faculty yr. To arrange we watched the model on the Met on Demand app, as it’s the similar manufacturing. Oddly sufficient, I used to be within the viewers for that efficiency.

On the matinée at this time he was capable of sit largely nonetheless for the two.5 hour efficiency, and was fairly attentive. He was happy to be in Row T of the orchestra, as he has two initials that begin with this letter. He patiently met all my opera mates and answered their questions regardless of his shyness. On the finish he declared that it was “wonderful” and “magnificent.”

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