GRASPS THE HEART OF A TIMELESS TALE |
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) Photo: Jane Ussher an Opera in Three Acts by Pyotr Il’yich Tchaikovsky Libretto by the composer, after Pushkin Conductor: Alexander Polianichko Director: Patrick Nolan NBR New Zealand Opera The Genesis Energy Season Sung in Russian with English surtitles at St James Theatre, Wellington From 10 Oct 2009 to 17 Oct 2009 Reviewed by John Smythe, 14 Oct 2009 |
Part of me wants to say if only these privileged children of the landed gentry got their hands dirty with some real work they might not get themselves into such emotional messes. On the other hand the passions of young love can run deep in any social class and most people would recognise something of their own experience in this emotionally true production of Tchaikovsky's opera Eugene Onegin (based on a 'novel in verse' by Alexander Pushkin).
Director Patrick Nolan cleverly uses the overture and entr'actes to visually set up key elements, and - abetted by Bernie Tan's lighting design - ensures the focus is very much on the emotional core. Conductor Alexander Polianichko creates a seamless connection between the Vector Wellington Orchestra in the pit and the performers on stage.
Soprano Anna Leese is totally believable as the book-worm Tatyana who, mesmerised by French romantic novels, falls deeply in love at first sight of baritone William Dazeley's suave and urbane Eugene Onegin. They lead a strong cast of principles who fully inhabit their roles, using their excellent voices to clearly express their (mostly inner) thoughts and feelings.
The letter scene (Tatyana stays up all night writing a heart-wrenched love letter to Onegin) is beautifully sung, but Nolan keeps her seated behind a table, allowing her no physical expression of her volatile swirls of tormented excitement. Strange. Given the relatively sedate future that awaits her, it would seem a good idea to manifest some of the youthful agitation the music implies.
Onegin's response, and Tatyana's response to his response, are truthfully presented. With reasonable compassion he explains he is a committed bachelor because he fears that familiarity would soon kill any love that trapped him into marriage. And he lectures her on not letting lechers take advantage of her.
Kristen Darragh's Olga (contralto), Tatyana's sister, is delightfully simple in her happy love for Roman Shulackoff's equally complacent Lensky (tenor). They have grown up together and find familiarity a plus - until, at Tatyana's name day party, a bored Onegin decides to punish Lensky for saddling him with the provincial guests by flirting with Olga. Lensky, whose upset is as profound as his jealously is naïve, challenges Onegin to a duel.
Next morning, in a dawn scene of stillness pregnant with drama, the convention of singing their private thoughts while failing to communicate with each other allows us to see that pride is stopping both men from acting on their mutual awareness that a lifetime of friendship should hold more sway than these last few hours of foolish hostility. The rules of engagement are adhered to, Lensky is slain and Onegin goes abroad.
It is some years later when the tables are turned on Onegin. At a ball in St Petersburg he discovers a more mature Tatyana has married "hardened grey-haired warrior" Prince Gremin, whose love for her is touchingly rendered in Martin Snell's rich bass.
Too late - and why now, we have to ask - Onegin is a smitten with her as she once was with him. She reveals she does still feel love for him (or for the idea of him, since she still doesn't know him very well) but she now "belongs" to Gremin and "duty" dictates she may not listen to her heart. Oh the irony: to succumb to him would be to ignore his earlier lecture.
The supporting roles are equally strong in voice and performance. Patricia Wright (mezzo-soprano) brings a relaxed grace to the girls' mother, Madame Larina, in charge of the family estate. Wendy Doyle (mezzo-soprano) -replacing Rosemary Gunn, who broke her wrist after the Auckland season - belies her youth to give an excellent account of the family nurse Filipyevna.
Andrew Glover's beautifully relaxed and strong tenor voice and fine character skills make his Monsieur Triquet an amusing diversion in the first party scene. And Roger Wilson (bass) gives suitable gravity to Zartesky, Onegin's 'by-the-book' second in the duel.
In the hands of choreographer Timothy Gordon, the characteristically strong Chapman Tripp Opera Chorus rises well to the challenges demanded as dancing peasants, party guests and ball guests, even partnering with chairs in the rather surreal introduction to the Act 3 ball scene and galloping trippingly through the cotillion.
Genevieve Blanchett's set designs are impressive. The slim grey tree trunks in the estate's pastoral setting give way to monolithic towers of dark-stained wood that close in oppressively as the drama intensifies.
All in all NBR New Zealand Opera's Eugene Onegin is a strong and memorable production that grasps the heart of a timeless tale.
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See also reviews by:
John Button (The Dominion Post);
William Dart (New Zealand Herald);
Kate Ward-Smythe