| A Russian Triumph | | Print | |
| Written by Stephen Mason | |||
| Thursday, 14 February 2008 | |||
 There is much to be said about Virginia Operas' debut production of Tchaikovsky's Eugene Onegin. But, the most important is that it was nothing less than a triumph. Based on the Alexander Pushkin novel, Onegin was heralded of the perfect example of Russian life. In similar fashion VOA production equally expressed what a perfect night at the Opera should be.
Telling the story of Lensky, a poet. Onegin, a jaded aristocrat. Tatiana, a dreamer and Olga, a girl so fascinated by love she couldn't see it when it was staring at her right in the face.
We find the love for Lensky and Olga has blossomed deeply over the years. They are sweet and tender but Olga is playful and childlike as Lensky falls deeper for her. We also go on a journey as Tatiana falls hard and fast for the charm and confidence of Onegin. She is naive and sweet but Onegin is not as enamored as Tatiana is and, he refuses her. Later on there is a party for Tatiana, It is very lively and fun but Onegin is annoyed and bothered by the whole spectacle. He decides to woo Olga, and in return makes Lensky jealous. There's is a duel that even though they are friends, Lensky felt he had to honor Olga. In the duel Onegin kills Lensky and is haunted by his actions for years. Several years later, Onegin returns from his travels and is taken to his cousins, Prince Gremin. Only to find that his cousin has taken a bride who happens to be the lovely Tatiana. she is now a confidant and beautiful woman who leaves Onegin will feeling of love and desire. He realizes that he made a mistake and his passion for her grows deeper.She knows she still loves him but she must hold to her honor of her husband and Tatiana sends Onegin away with a broken heart. VOA production of Onegin is brilliant both visually and vocally.Staged beautifully. by Russian-Israeli stage director Julia Pevzner. On a magnificent set designed by Russian- Israeli scenic designer Alexander Lisiyansky. Utilizing distorted mirrors to reflect the scewed reality held by the characters in this drama. Also in helping with the scenes, a great rotating structure was put into place, that was used to represent both the Lengrin home, in the countryside and, the Gremin estate.As well as gorgeous columns easily moved by the performers on stage. Also in helping with the movements of this drama, a partially obscure windmill that represented the turning of time.The combination of this amazing staging and set made all of the transitions of this Opera truly fluid. The Orchestra conducted masterfully by artistic director, Peter Mark handled Tchaikovsky's score with grace and a subtle beauty. At the Opera's opening the roles of Nanny Filippievna sung by Barbara Dever and the mother, Madame Larina sung by Susan Shafer set the tone for the Opera with there beautiful and richly deep Mezzo voices. Equally as impressive were the roles of Tatiana who was played by Russian soprano Veronica Mitina and Olga who was played by Russian mezzo- soprano Oskana Sitnitska. These two contrasting voices embodied these equally contrasting characters, with both vocal and dramatic skill. A major first act highlight was Tatiana's twelve minute letter aria effortlessly sung by Mitina.We really get a sense of her naivety and what first love is. Playing opposite the two brilliant young women, we have Lensky who is sung and acted by Patrick Miller who portrays Lensky with a raw honesty that will bring the viewer to absolute tears. In fact, his performance of Lensky's aria at the beginning of Act two is a magnificent centerpiece to the entire production. His voice is rich, effortless and with a tambor clear and serene throughout the Opera. Then we have baritone Jason Detwiler who's dark, yet unaffected voice portrays Eugene Onegin with a sincere and sultry arrogance that is vocally and dramatically unparalleled. And just as Lensky's aria was the centerpiece. Onegin's aria at the end truly completed the evening with pure emotion. The leads in this production were all extremely well cast but would be nothing without the amazing supportive players equally well cast. Two examples that stand out are the witty and over the top performance of Triquet, by Omar Salam. Also the role of Prince Gremin , the oblivious but sweet husband to Tatiana played by Todd Robinson. Each of these roles were performed with as much skill and passion as the leads and the production would severely lacking without them. Both the chorus and the dancers also greatly enhanced this production. In short, there is nothing I can find to criticize about VOA, Eugine Onegin. It is truly the best production from VOA I have attended in the last several years. I highly recommend that if you have not attended, you need to try and make every effort possible to do so. I was left with a sense of wonder and awe as I know you will be.VOA has truly raised the bar and I am excited to see what they are capable of in the future. |
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My husband and I saw this production wednesday night. It was wonderful. The highlight for me though was Mr. Robinson's portrayal of Prince Gremin. What great acting, and what an amazing voice. Not only is his bass voice gorgeous, but he is extremely musical. I have heard his aria done before and I have never liked it until now. Thank you Mr. Robinson. Also, the orchestra + chorus were on top of their games. My congratulations to them as well as to Peter Mark for quite possibly the best sounding opera of the year. Mr. Freebourn was absolutely delightful in his supporting role as well as other VOA members. Good ballroom dancing But he needs to stop slapping his knees. Well personally, I thought Mr. Freebourn was the best part of the whole thing. His dancing brought a smile to my face that very few things can do. :) And everyone else was pretty good too. Saw the show last Friday, absolutely right on. But you failed to mention one of my fave actors in a Super Duper capacity, local character actor Bryan Smith. the Supers really 'make' this show something special! |