Tchaikovsky: Eugene Onegin - DVD

ENGLISH

Tchaikovsky: Eugene Onegin (OA1120D) (2013)<br /> <br /> Simon Keenlyside (Eugene Onegin); Krassimira Stoyanova (Tatyana); Elena Maximova (Olga); Pavol Breslik (Lensky); Diana Montague (Madame Larina); Peter Rose (Prince Gremin); Royal Opera Chorus; Orchestra of the Royal Opera House; Robin Ticciati<br /> <br /> An opera full of poignancy and exquisite sensitivity to the nuances of growing up and wrestling to understand your emotions, Eugene Onegin is an inspiring vehicle for Kasper Holten’s first production for The Royal Opera. Working with the Danish set designer Mia Stensgaard, whose design hallmark is clean, strong images ripe with emotion, and fielding a brilliant cast (including Simon Keenlyside in the title role), Holten provides a fresh<br /> reading of this classic opera.<br /> <br /> ‘Lyrical Scenes’ was Tchaikovsky’s description of Eugene Onegin: his tender exploration of a young girl’s awakening passion, her rejection by the aloof Onegin and her ultimate choice of honour over true love is far more intimate in tone than the archetypal grand Russian opera.<br /> <br /> Holten himself describes the opera as ‘full of poetry and melancholy, encapsulating the fragile and turbulent emotions of youth, self-realization and finally the yearning to go back and undo what cannot be undone’.<br /> <br /> "Simon Keenlyside in the title role brings virility to the unpleasant, usually buttoned-up hero. You can see why the teenaged Tatyana might fall for him, even if he is on the mature side. This Onegin delights in being louche, playful, arms folded, casual rather than stiff. He sings with flexibility, expression and, most of the time, a golden tone, suggesting more capacity for emotion than is usually evident: even brutes have their decent qualities." (The Observer)<br /> <br /> "Kasper Holten’s new production of Eugene Onegin, his first staging for the Royal Opera House, was in many ways excellent – an auspicious debut indeed. Krassimira Stoyanova’s Tatyana was beautifully sung, no mere cipher, but a strong, flawed character, uncertain of where she was heading and all the more credible for that. As ever, Keenlyside’s way with words, just like Stoyanova’s, was pretty much beyond reproach. Beauty there was aplenty in the honeyed tones of Pavol Breslik, every inch the Romantic poet; his verbal acuity was no less impressive. Peter Rose’s Gremin did everything it should – and more. Likewise the Royal Opera Chorus was on splendid form, for which Renato Balsadonna should once again receive considerable credit." (Seen and Heard International)<br /> <br /> "The cast is led by two outstanding artists - British baritone Simon Keenlyside and Bulgarian soprano Krassimira Stoyanova. Both artists sing with exceptional imagination and commitment. In Stoyanova’s case, particularly, it is hard to conceive a voice more perfectly aligned with the needs of the role - she combines Slavic vocal firmness and heft with the purest lyricism ... there are some exceptional individual performances. As Onegin’s friend Lensky, Slovak tenor Pavol Breslik sings with purposeful intensity ... Christophe Mortagne delivers an unforgettable cameo as Monsieur Triquet. In the pit, rising star Robin Ticciati conducts a dynamic, passionate musical performance. " (The Stage)<br /> <br /> "Robin Ticciati’s conducting proved alert, responsive and engaged ... As Tatyana and Onegin, Krassimira Stoyanova and Simon Keenlyside sang with style, grandeur, ardour and every desirable quality except the freshness of youth. Meanwhile Pavol Breslik’s blonde bombshell of a Lensky stole the show ..." (The Daily Telegraph)<br /> <br /> " ... Simon Keenlyside’s Onegin ... From start to finish his anti-hero is socially and emotionally dysfunctional, which makes for a fascinating study – and Keenlyside, commanding the stage in voice, presence and gesture, makes the most of it. " (The Financial Times)