IN
its first-ever Russian outing, Opera
Pacific’s lavish production of Eugene Onegin (originally
from the Lyric Opera of Chicago) must be commanded for its
naturalistic, richly atmospheric sets and costumes that evoke the
Russian countryside of Tchaikovsky’s childhood.
For those grown weary of the minimalist ‘Eurotrash’
productions that are increasingly common these days, Opera
Pacific’s production is a balm to the sore eye.
One thing that I find curious: in its all-out effort to put on a Russian masterpiece, the
company chose to adopt the now-discredited title Eugene Onegin,
instead of the Russian transliteration Yevgeny Onegin.
Tchaikovsky’s delicate, intimate opera – or
‘lyrical scenes’, as the composer himself preferred to call it– was
rather unique in an era dominated by the French grand opera genre
and senseless spectacles. This
passionate tale of unrequited love and belated remorse, set against
a melancholy backdrop of wintry landscape, is something that
transcends political boundaries and touches the heart of every
sensitive soul.
The singing, even for a ‘B’ cast, was of
the very high standards that I have come to expect from Opera
Pacific. The only
weak link– and I use the word ‘weak’ only in a relative sense–
was baritone Lucio Gallo’s portrayal of the eponymous role.
Eugene Onegin remains an “aloof, condescending, worldly bon
ton” (in composer’s own words) until the final scene, when he
shows signs of remorse and real emotions.
With his gruff delivery and ill-focused tone, Mr. Gallo
missed the warmth, elegance, and refinement that Tchaikovsky demands
from his anti-hero.
Soprano Maria Kanyova gave a deeply committed
performance as Tatyana, who is as dreamy and poetic as Onegin is
detached and unfeeling. Ms.
Kanyova, with her youthful voice and beautifully focused soft high
notes, conveyed much of the shyness and vulnerability that are
central to Tatyana’s character.
The famous Letter Scene was a gripping roller coaster ride of
emotions-- from the initial awakening of love, to the impetuous
declaration in a long, heartfelt letter, to the sudden doubt and
fear (“Who are you? My guardian angel or a wily tempter?!”)
Ms. Kanyova infused the long scene with lyrical and emotional
qualities which are the mark of a fine actress.
As Tatyana’s flighty, light-headed sister
Olga, mezzo-soprano Elizabeth Batton gave highly spirited singing
with a sensuous touch (I, for one, would love to hear her Carmen.) Eric Halfvarson’s impeccably sung Old Prince Gremin
had a grave, gentle ardor that was at once dignified and poignant. The British tenor Hugh Smith gave an equally commanding
performance as Lensky, a lovelorn poet with an impulsive streak.
His wooing of Olga in Act One had a sense of utter sincerity
that contrasted sharply with the young girl’s flirtatious
demeanor. Mr. Smith
sang Lensky’s aria before his fatal duel with Onegin in such a way
as to transport the teary-eyed listener out of the dreary wintry
scene and into the warm, colorful meadows of spring.
The rest of the fine cast was made up of Opera
Pacific Resident Artists: mezzo
Silvia Vasquez as Mme. Larina, the sympathetic mother of Olga and
Tatyana; mezzo Josepha
Gayer as Filipyevna, their delightful nanny; tenor Andrew Fernando
as the dutiful officer Zaretsky; and tenor Chad Berlinghieri as
French music teacher Triquet, who delivered his birthday couplet for
Tatyana with elegance.
Maestro Stephen Lord conducted the music with precision, clarity, and quietness, but failed to match his lead
soprano for the impulsive, stirring emotions in the Letter Scene. Director Colin Grahms, who has worked with many legends in
his long, fruitful career, including Benjamin Britten, here
succeeded in illuminating the characters through the inspired use of
props. I particularly
enjoyed the scene where Tatyana was daydreaming about her new beau
with a book in her hand, and Olga taking the book from her sister
and turning it right side up.
All in all, a
most enjoyable Sunday afternoon at the opera.
Truman
C. Wang is editor of Classical Voice.
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