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18 September 2020 (Fri), 19:00 World famous Bolshoi Ballet and Opera theatre (established 1776) - Marvellous Main (Historic) Stage - Opera Pyotr Tchaikovsky "Eugene Onegin" Lyric scenes in three acts

Running time: 2 hours
The performance has 2 intermissions

Schedule for Pyotr Tchaikovsky "Eugene Onegin" Lyric scenes in three acts 2022

Composer: Peter Tchaikovsky
Choirmaster producer: Valery Borisov
Light Designer: Damir Ismagilov
Costume Designer: Galina Solovieva
Stage Director: Evgeny Arie

Opera company: Bolshoi Opera
Orchestra: Bolshoi Theatre Symphony Orchestra

Opera in 3 acts

Performed in Russian, with syncronized English supertitles

World premiere: 11 January 1881, Bolshoi Theatre, Moscow, Russia
Premiere of this production: 15 May 2019

Intensely passionate drama set to some of opera’s most sweeping, soulful, and heart-stoppingly beautiful music — that is Eugene Onegin.

Tatiana is a lovesick country girl, and Onegin is the sophisticated young man who callously spurns her love before realizing, too late, what a mistake he’s made. 

Here is Pushkin’s profoundly human, hopelessly romantic, ultimately devastating story, elevated by Tchaikovsky’s richly layered and unabashedly expressive music. Find out why Eugene Onegin is beloved by opera audiences the world over.


Libretto by Pyotr Tchaikovsky and Konstantin Shilovsky based on the novel in verses of the same name by Alexander Pushkin. 

Music DirectorTugan Sokhiev 
Stage DirectorEugeny Arye 
Set DesignerSimon Pastukh 
Costume DesignerGalina Solovyova 
Chief Chorus MasterValery Borisov 
Lighting DesignerDamir Ismagilov

 

Tchaikovsky’s Eugene Onegin have long ago broken all records for opera production longevity. And now the Bolshoi is about to offer our regenerated Russian society new interpretations of this masterpiece, embracing all recent developments in theatre and musicological thought. To work out new aesthetic principles for the stage treatment of Russian opera classics - is a colossal undertaking for which the Bolshoi Theatre has been preparing itself for many a year.

The new Eugene Onegin is more than a mechanical substitute of a new for an old production. The basic idea of the project is to return to the musical source, the composer’s initial conception, which he managed to realize at the Maly Theatre 1879 premiere of his lyrical scenes. "I will never give this opera to the Imperial Theatre Directorate, before it has been seen at the Conservatoire. I wrote it for the Conservatoire because it is not the routine and convention of a large stage, with its meaningless, if sumptuous productions, that I need here…" (From Pyotr Ilych Tchaikovsky’s letters to K. Altman).

The man responsible for this new, virtually chamber production of Tchaikovsky’s opera is Dmitri Tcherniakov, whose large scale opera productions have garnered many prizes. At the Bolshoi, Tcherniakov continues to develop the other trend in his staging stylistics, to which he put a start in his previous production for the Theatre’s New Stage - Stravinsky’s The Rake’s Progress.




Synopsis

Act I

 

Scene 1


Petersburg. Strolling in the Summer Garden, Surin tells Chekalinsky about the previous night’s gambling: as usual, Нerman had spent the whole night by the gaming table, gloomily following the game, but not taking part in it. 

Нerman and Count Tomsky come into the garden. Нerman admits he is in love with a girl whose name he does not know even. He is afraid she is above him in station and therefore will prove beyond his reach. 

Prince Yeletsky informs his friends that he is to get married. Нerman asks him about his betrothed. „There she is”, Yeletsky replies, pointing to Liza who is in the company of the old Countess, known as The Queen of Spades. Gherman is in despair: for Liza is the very girl with whom he is in love. 

„Happy day, I bless you!” Yeletsky says. „Unhappy day, I curse you!” Нerman exclaims. 

Tomsky tells his friends that in her youth the Countess was a great beauty. A passionate gamblег, in Paris she had once lost everything at the gaming table. Count Saint-German had told the ’Moscow Venus’ the secret of three cards which had helped her win her fortune back. The Countess had been warned she would die at the hands of a man who, „impelled by despair”, would come to her to demand the secret of the three cards. 

Tomsky’s story made a great impression on Нerman. The Summer Garden empties, a storm is about to break. All take shelter except Нerman who stands as if in a trance. He swears that if Liza does not become his, he will take his life. 

Scene 2 

Liza’s room at the Countess’ house. Some girls of her own age have come to see Liza. Their merrymaking is interrupted by a stern housekeeper: the Countess is annoyed — it is already late and she cannot sleep because of the noise the girls are making. Left alone, Liza confides her secret to the night: she is in love with Herman. 

Herman appears at the balcony doors. He declares his love to Liza. There is a loud knocking at the door. The old Countess has come to Liza’s room herself to find out what the noise is about. Hiding, Herman remembers the legend of the three cards. Overcome by a burning desire to find out the secret of the winning cards, he immediately forgets his love for Liza. The Countess leaves the room and Gherman comes to his senses. He again tells Liza he loves her. She begs him to leave but, won over by the strength of his passion, she admits to reciprocating his feelings. 

Act II

Scene 3


A ball given by a rich dignitary. Yeletsky notices that Liza is out of spirits and keeps questioning her as to the cause of her malaise. Liza avoids giving an explanation. The entreaties of her fiance to whom she is indifferent, leave her cold. 

Liza gives Herman the key to a secret door into the Countess’ house: they must see each other. The way to Liza’s room lies through the old woman’s bedroom. It seems to Gherman that fate itself is helping him discover the secret of the three winning cards. 

Scene 4


The Countess’ bedroom. Here everything is reminiscent of the distant youth of the ’Moscow Venus’ and Herman forgets why he has come. Possessed by the wish to find out the secret of the three cards, he decides to remain in the bedroom and make the Countess reveal it to him. 

On her return from the ball, the Countess, having dismissed her maids and hangers on, remembers her youth and the marvelous balls in Paris. Herman suddenly appears and asks the Countess to reveal her secret to him. The old woman remains silent. Herman, threatening her with a pistol, repeats his request. The Countess dies.... 

Hearing the noise, Liza runs into the bedroom. Catching sight of the dead Countess, she exclaims in despair: „So it was the cards, not me you were after!” 

Act III

Scene 5


Herman’s quarters in the barracks. Herman is reading a letter from Liza in which she asks him to meet her on the embankment and give an explanation of his conduct. Herman is tormented by thoughts of the dead Countess. Against a background of the wailing wind and raging snowstorm outside, the old woman’s ghost appears to Herman, who has gone out of his mind. She tells Herman he must marry Liza and that the secret of the three cards — Three, Seven and Ace — will be his. 

Scene 6 

The embankment of the Winter Canal. Dusk is falling fast. Liza is waiting for Herman hoping that he will dispel her suspicions that his murder of the Countess was premeditated. She waits a long time. Liza begins to lose hope and is ready to believe in Herman’s villainy. But then Herman appears and for a brief moment it seems to them both that happiness may be possible, that all their sufferings are over. But, possessed by the thought of the three cards, Herman, half out of his mind, pushes Liza aside and runs off. Liza throws herself in the canal. 

Scene 7 

At the gambling house, the game is in full swing. Herman puts all his money on the three, the card named to him by the ghost, and wins. He doubles his stake. The second card, the seven, also brings him luck. 

Herman, in very overwrought state, challenges anyone to stake once more. Yeletsky offers to play with him. But Gherman’s third card turns out to be the Queen of Spades, not the ace. His card is trumped. Herman sees the ghost of the Countess. Gibbering with fear and rage he shoots himself.



Synopsis

Act I. 

Eugene Onegin has been called from wildlife of pleasure to his sick uncle, of whose property he takes possession after the uncle’s sudden death. He has brought with him from the big city profound satiety of all enjoyments and a deep contempt for the society of mankind in his solitary country seat. Here, however, he forms a friendship for a young fanatic, the poet Lenski. Through him, he is introduced to Larina, a woman who owns an estate. Her two daughters, Olga and Tatiana, correspond to the double nature of their mother, whose youth was a period of sentimentality in which she allowed herself to be affected like others by Richardson’s novels, raved over Grandison, and followed the wild adventures of Lovelace with anxious thrills.

Life later had made her rational, altogether too rational and insipid. Olga now has become a cheerful, superficial, pleasureful silly young girl; Tatiana, a dreamer whose melancholy is increasing through reading books which her mother had once used. Lenski is betrothed to Olga. Tatiana recognizes at her first sight of Onegin the realization of her dreams. Her heart goes out to meet him and in her enthusiasm, she reveals all her feelings in a letter to him. Onegin is deeply stirred by this love; a feeling of confidence in mankind that he had not known for such a long time awakens in him. But he knows himself too well. He knows that every faculty as a husband is departing from him. And now he considers it his duty not to disappoint this maiden soul, to be frank.

He refuses her love. He takes the blame on himself, but he would not have been the worldly wise man if his superiority to the simple country child had not been emphasized chiefly on this account. But Tatiana only listens to the refusal, she is very unhappy. Onegin remains her ideal, who now will be still more solitary, in spite of it.

Act II. 

Tatiana’s name-day is being celebrated with a big hall. Onegin goes there on Lenski’s invitation. The stupid company with their narrow views about him vex him so much that he seeks to revenge himself on Lenski for it, for which he begins courting Olga. Lenski takes the jest in earnest; it comes to a quarrel between the friends Lenski rushes out and sends Onegin a challenge. Social considerations force Onegin to accept the challenge; a duelling fanatic landlord, Saretsky stirs Lenski’s anger so severely that a reconciliation is not possible.

This part in Pushkin’s work is the keenest satire, an extraordinarily efficacious mockery of the whole subject of duelling. There is derision on Onegin’s side, too, for he chooses as his second his coachman Gillot. But the duel was terribly in earnest; Lenski falls, shot through by his opponent’s bullet. (This scene recalls a sad experience of the poet himself; for he himself fell in a duel by the bullet of a supercilious courtier, Georg d’Anthès-Heckeren, who died in Alsace in 1895).


Act III. 

Twenty-six years later. Onegin has restlessly wandered over the world. Now he is in St. Petersburg at a ball given by Prince Gremin. There, if he sees aright, Princess Gremina, that accomplished woman of the world is "his" Tatiana.

Now his passion is aroused in all its strength. He must win her. Tatiana does not love him with the same ardour as before. When she upbraids Onegin that he loves her only because has now become a brilliant woman of the world it is only a means of deceiving herself and her impetuous adorer as to her real feelings. But finally her true feeling is revealed. She tells Onegin that she loves him as before. But at the same time, she explains that she will remain true to her duty as a wife. Broken-hearted Onegin leaves her.








Schedule for Pyotr Tchaikovsky "Eugene Onegin" Lyric scenes in three acts 2022


"Eugene Onegin" liric scenes in three acts - premiere! - Bolshoi Theatre
 
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"Eugene Onegin" liric scenes in three acts - premiere!


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