Eugene Onegin - [Yevegeny Onyegin] - Tchaikovsky
Tatyana - Nicole Car
Onegin - Dalibor Jenis
Olga - Sian Pendry
Madame Larina - Domenica Matthews
Lensky - James Egglestone
M. Triquet - Sam Roberts-Smith
Prince Gremin - Konstantin Gorny
c. Guillaume Tourniaire,
This opera is a must-see … yet I attended one of the last
performances. A tasteful, clever production is peopled by serious singers
in a gutsy and profound opera with a maudlin start, partying middle and an
ending which is unhappy for three of its main players. And this is what
opera is made of … or
it should be.
It was not initially clear who the real ‘star’ was, so balanced were the singers. However,
on reading Mr Jenis’s
biography it is likely that he was the one raising the standard … he is slated for Nabucco in Berlin, Figaro
in Paris, Escamillo and Renato in Verona, Yeletsky in Bratislava (his home
town), Don Giovanni, Roderigo, Macbeth, Di Luna and more besides in just one
year. Such a ‘star’ in the title role brings out the best in
everyone else and should sell seats (and subscriptions for next year).
The voices were large, accurate and exciting with the exception of Monsieur
Triquet (who is meant to be delicate and effete).
In the title role Slovakian baritone Mr Jenis sings solidly and his
acting is credible, made all the more challenging with a ‘double’ shadowing much of his stage action. His
party trick is the sustained high note which he uses with great aplomb, but not
to excess. If you have got it, why not flaunt it? Goose bumps all
round, yet the audience gave no rapturous ovations during the performance,
saving appreciation to the end.
As Lensky Mr Egglestone coloured his long and difficult aria elegantly,
starting out almost inaudibly piano (‘Kuda … kuda’) yet rising to a major fortissimo, knowing
his risk of being dead in minutes in the duel. And we saw his body on
stage for the remainder of the opera, one rather odd aspect of an otherwise
sympathetic and tasteful staging. At least it avoided the indignity of
dragging a corpse off stage.
Ms Car sang superbly, possessed of a large and pleasing voice.
Tatyana’s long letter scene (Onegin
also has a ‘letter
scene’ at the end of the opera)
kept the tension between her modesty and impetuousness. Simultaneously
the written word was cleverly projected onto billowing curtains while Tatyana
and her ‘double’ vied for the pen and paper (one might
quibble at the quill and absent ink well - maybe it was a pencil).
Russian bass Konstantin Gorny sang Gremin’s haunting aria with dignity and seismic
style. It is rare to hear a true bass and it is always a pleasure when it
is as schooled as this. That he is young and handsome is no odder than
mature sopranos playing youthful roles.
The action unfolded within three large openings in a panelled palace
interior. Large bi-fold doors or curtains at times revealed autumn woods,
garden scene, dancing or a snow storm.
Apart from myself, I noted at least two other gents in the audience
wearing a strawberry shirt and light blue jacket. Perhaps the gents’ style centre of Sydney has returned to
Bennelong Point!
A nice touch, after mention of Samuel Richardson novels by the sisters,
was an ever-present pile of books on stage. A screwed up letter was also
left on stage for several scenes, finally accompanied by its reply, much too
delayed to be meaningful.
The production’s unique moment for me was in the duel when Onegin’s ‘double’ ran to try to stop the bullets which nevertheless
hit their mark as Lensky dropped to the ground.
The chorus was first class, only one member remaining from the old days,
Dr Robert Mitchell, whose ‘corporate memory’ must be invaluable to this company. Supporting cast members were
all also excellent.
The Sydney Onegin was a co-production with London and Turin directed by Kasper Holten with sets by Mia Stensgaard with costumes by Katrina Lindsay.
There is the well know magnificent waltz for the ball scene … and the piece for Gremin’s reception performed presto with clarity and equipoise … from a consummate orchestra with competent maestro at the helm.
There is the well know magnificent waltz for the ball scene … and the piece for Gremin’s reception performed presto with clarity and equipoise … from a consummate orchestra with competent maestro at the helm.
In my side circle seat I was part of a near capacity house. Yet as
usual there were about 50 restricted view seats unoccupied. These should
have been given to music students, each of whom would have had a unique
experience in the theatre to savour for the rest of their lives. ‘Empty seats are a curse on the management of
a theatrical company’
(W. Shakespeare, Globe Theatre board minutes, London, 1596 TIC).
Notes by Andrew Byrne ..
Opera blog: http://andrewsopera.blogspot.com/
