In a fit of youthful passion, Tatiana bares her soul to the mysterious Eugene Onegin, setting in motion an epic drama of love and regret. Featuring Tchaikovsky's trademark dances and irresistible melodies, Eugene Onegin is the composer's operatic masterpiece.
Baritone Hyung Yun (Carmen, 2009) stars in the title role, having won over critics and audiences alike in recent Madison appearances. Soprano Maria Kanyova, unforgettable in Madison Opera's Madama Butterfly (2008), sings the role of Tatiana, and tenor Scott Ramsay debuts as Vladimir Lenski. Candace Evans (Carmen, 2009) directs, and Madison Opera Artistic Director John DeMain leads the full forces of the Madison Opera Chorus and Madison Symphony Orchestra in this company premiere.
Cast
Production
Conductor: John DeMain
Director: Candace Evans
Sung in Russian with projected English translations
Run time: appr. 3 hours, one intermission
Related Events
Opera Up Close: Eugene Onegin Preview / October 30, 2011
Opening Night Celebration / November 4, 2011
Pre-show lobby events
One hour prior to curtain
Get into the mood of Eugene Onegin with the sounds of the UW Russian Folk Orchestra, and enjoy a glimpse of Russian culture with an artifacts exhibit hosted by the Russian Educational Association. These events are pre-show in the Overture Hall lobby--- come early to take it all in!
ACT I. With her devoted servant Filipevna, the widowed Madame Larina sits in the garden of her country estate. Her daughters, Olga and Tatiana, sing a love song that reminds the older women of days gone by. Peasants coming from the fields bring freshly cut hay for their mistress and celebrate the completion of the harvest with songs and dances. Olga taunts Tatiana for failing to enjoy the festivities. Pale and shy, Tatiana remains pensive and apart, wrapped in the fantasy of her beloved novels.
As the peasants leave, the poet Lenski, Olga's suitor, and his worldly friend Eugene Onegin arrive. When Madame Larina and Filipevna enter the house, the four young people mingle, awkwardly at first. Then Lenski pours forth his love to Olga. Onegin, strolling with Tatiana, asks if she does not tire of her bucolic existence. Visibly upset by the handsome stranger, the girl answers with difficulty. As night falls, the two couples go in for dinner.
In her bedroom, Tatiana persuades Filipevna to speak of her first love and marriage. Filipevna notices that the girl's mind is wandering and asks if she is ill. Tatiana declares she is in love and begs to be left alone. Resolved to reveal her passion to Onegin, Tatiana sits up the entire night and writes to him, full of fear and shame. She closes by pleading for his mercy and understanding. When day breaks, she gives the letter to Filipevna for her grandson to deliver.
As they work to pass the time, a group of women gathered in Madame Larina's garden sing about flirting with boys. When they leave, Tatiana hurries in, soon followed by Onegin, who asks that she hear him out. He admits he was touched by her letter but adds he would tire quickly of marriage. Though she has all the virtues he might wish in a wife, the most he can offer is a brother's love. He advises more emotional control, lest another man fail to respect her innocence. Crushed, Tatiana rushes away.
Some months later in Madame Larina's house, a party is under way in honor of Tatiana's name day. As young couples glide merrily across the floor, the older guests sit watching and gossiping. Onegin dances with Tatiana but clearly is bored with these country people and their provincial sensibilities. To get back at Lenski for dragging him there, he dances with Olga, who is attracted momentarily and responds to his advances. Onegin's game is interrupted by Triquet, an elderly French tutor, who serenades Tatiana with a song he has written in her honor. When dancing resumes, Lenski jealously confronts Onegin. The merrymaking stops. Madame Larina implores them not to quarrel in her house; Lenski is remorseful but cannot contain his rage at Onegin, who accepts his challenge to a duel.
ACT II. At dawn on the banks of a stream near an old mill, Lenski and his second, Zaretski, await Onegin. Reflecting on the folly of his brief life, and saddened by its now unalterable course, the young poet imagines his beloved Olga visiting his grave. Onegin arrives with his second. The two men, standing apart and without looking at one another, sing a cannon in which each admits privately that they have acted rashly -- that they would rather laugh together than fight -- but pride and impulsiveness prevail. The duel is fought and Lenski is fatally shot.
Several years later, in a hall of a palace in St. Petersburg, a magnificent ball is in progress. Onegin has traveled widely, seeking to alleviate his boredom and give his life meaning. With bitterness he says his search has led him tonight to a monotonous social event. Suddenly he recognizes Tatiana across the room, but she is no longer the girl he knew: sumptuously gowned, she walks with poise and dignity. Questioning his cousin, Prince Gremin, he learns that Tatiana is now Gremin's wife. The older man tells of his marriage two years earlier and describes Tatiana as his life's salvation. When Gremin introduces Onegin, Tatiana maintains her composure, excusing herself after a few words of polite conversation. Captivated, Onegin dashes from the palace.
In the Gremins' town house, Tatiana receives Onegin in answer to an impassioned letter he has written. When he falls at her feet, she remains controlled. Now that she has a rich and noble husband, she asks, does he desire her position or her shame? She recalls the days when they might have been happy; now he can bring her only grief. As Onegin's pleas grow more ardent Tatiana prays for courage. Suddenly finding strength, she rushes out, leaving the distraught Onegin behind.
Courtesy of Opera News
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Tatiana and Olga. [Credit: David Bachman/Pittsburgh Opera]
Onegin and Lenski prepare to duel. [Credit: David Bachman / Pittsburgh Opera]
Onegin enters Prince Gremin's ballroom. [Credit: Tim Matheson / Vancouver Opera]
Tatiana and Onegin meet for the final time. [Credit: David Bachman / Pittsburgh Opera]
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Here are two recommended Eugene Onegin recordings and one recommended DVD.
Recording conducted by James Levine, with Thomas Allen, Mirella Freni, and Neil Shicoff:
Recording conducted by Semyon Bychkov, with Dmitri Hvorostovsky, Nuccia Focile, and Neil Shicoff:
DVD of the Metropolitan Opera production, conducted by Valery Gergiev, with Dmitri Hvorostovsky, Renée Fleming, and Ramon Vargas:
Interested in Pushkin's poem? Read the translation by Stanley Mitchell, published by Penguin Classics. Available formats: hardcover, softcover, Kindle Edition, and audio CD.
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Role: Tatiana
Previously at Madison Opera: Opera in the Park 2011; Cio-Cio San in Madama Butterfly.
Recent Performances: Donna Anna in Don Giovanni (Opera Theatre of St. Louis); Marie Antoinette in The Ghosts of Versailles (Wexford Festival, Opera Theatre of St. Louis); Pat Nixon in Nixon in China (Canadian Opera Company, Opera Colorado); Cio-Cio San in Madama Butterfly (Central City Opera).
Praise: “Maria Kanyova was splendid…she showed great acting skill, matched by a ringing...clear and handsome voice.” –John Barker, The Isthmus
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Role: Eugene Onegin
Previously at Madison Opera: Opera in the Park 2011; Escamillo in Carmen; Valentin in Faust.
Recent Performances: Valentin in Faust (Metropolitan Opera); Lescaut in Manon (Metropolitan Opera, Los Angeles Opera); Sharpless in Madama Butterfly (San Francisco Opera, Welsh National Opera); Marcello in La Bohème (Los Angeles Opera).
Praise: “As the swaggering Escamillo, Hyung Yun struts around the stage…He rips through “Votre toast” […] with aplomb and confidence, showcasing a powerful baritone instrument.” –Lindsay Christians, The Capital Times
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Role: Lenski
Previously at Madison Opera: Opera in the Park 2011.
Recent Performances: Edgardo in Lucia di Lammermoor (Lyric Opera of Chicago); Mark in Tippett’s The Midsummer Marriage (Lyric Opera of Chicago); Fritz in La Grande-Duchesse de Gerolstein (Opera Boston); Ferrando in Così fan Tutte (Arizona Opera); title role in Faust (Eugene Opera).
Praise: “He brought a passionate intensity to the role [of Edgardo] that matched the fire of Dessay’s riveting Lucia.” –Chicago Sun-Times
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Role: Olga
Previously at Madison Opera: Flora in La Traviata; Miss Jessel in The Turn of the Screw; Mercédès in Carmen.
Recent Performances: The Drummer in The Emperor of Atlantis (Opera Boston); Meg in Little Women (Utah Opera); Cherubino in The Marriage of Figaro (Opera Theatre of St. Louis).
Praise: "Mezzo Jamie Van Eyck, as Jo's sister Meg, was luminescent..." -Robert Coleman, Opera News
"Jamie Van Eyck was a standout..." -Mark J. Estren, The Washington Post
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Role: Prince Gremin
Recent Performances: Oroveso in Norma (Tulsa Opera); Commendatore in Don Giovanni (Portland Opera, Santa Fe Opera); High Priest of Ball in Nabucco (Palm Beach Opera); Jailer in Tosca (Metropolitan Opera); Ramfis in Aida (Opera Birmingham); Sarastro in The Magic Flute (Deutsche Oper Berlin); Zuniga in Carmen (Madison Opera, Deutsche Oper Berlin).
Praise: “…bass Harold Wilson unfurled a voice of impressive size and smoothness.” –Mike Silverman, The Associated Press
“Harold Wilson…has the sort of warmly lyrical bass voice that would sound marvelous reciting algebra problems…” –James D. Watts, Tulsa World
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Role: Mme. Larina
Previously at Madison Opera: Annina in La Traviata.
Recent Performances: Aunt March in Little Women (Children's Theatre of Madison): Lady Sophy in Utopia, Limited (Madison Savoyards).
Praise: “Allisanne Apple gives a humorous lesson on English maidenhood. Apple is a joy to watch...” –Lindsay Christians, The Capital Times
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Role: Filipevna
Madison Opera debut
Recent Performances: Filippyevna in Eugene Onegin, Mother in Lulu, Feklusa in Katya Kabanova, and Mamma Lucia in Cavalleria Rusticana (Metropolitan Opera); Mrs. Wintry in Séance on a Wet Afternoon (New York City Opera).
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