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09 February 2018 (Fri), 19:00 Moscow theatre "New Opera" - Opera Eugene Onegin (Seven lyrical scenes) - P.Tchaikovsky

Running time: 2 hours 10 minutes (till 21:00)


Schedule for Eugene Onegin (Seven lyrical scenes) - P.Tchaikovsky 2019/2020

Composer: Peter Tchaikovsky
Designer: Sergei Barkhin
Musical version: Evgeny Kolobov
Choirmaster producer: Natalya Popovich
Stage Director: Sergei Artsibashev
Costume Designer: Eleonora Maklakova

Orchestra: Symphony Orchestra of the "New Opera" Theatre

Performed in Russian with synchronised English supertitles

World premiere: 11 January 1881, Bolshoi Theatre, Moscow, Russia
Premiere of this production: 5 October 1996

As interpreted by Evgeny Kolobov, the opera Eugene Onegin is the quintessence of fatal passions, wasted feelings and severed relationships. All the characters live in sorrow, feeling lonely. The rapid action carries no festivity and comes to a tragic denouement. “O death, I’m looking forward to you!” was the finale of the Tchaikovsky opera’s first version, on which the Novaya Opera’s staging is based.  



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 Eugene Onegin (Seven lyrical scenes) - P.Tchaikovsky 2019/2020


Eugene Onegin (Seven lyrical scenes) - P.Tchaikovsky - Novaya Opera
 
About This Video
01:14
Evgeny Kolobov: "Eugene Onegin is virtually a tragedy. Anyway, that’s how I hear this opera, how I feel it. This is why, for me, this opera is a Duel, with the capital "D", between Onegin and Lensky, Lensky and Olga, Onegin and Tatyana, Tatyana and Gremin."


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