Posted on 01/11/2012

"Eugene Onegin" at the Mikhailovsky Theatre


The Mikhailovsky Theatre premiere of the opera "Eugene Onegin". Director Andriy Zholdak group of people in the gallery booed on bow - well, the audience in St. Petersburg is too conservative (unless it is a planned action, too slender a choir). Meanwhile, one can not agree with the ideas of the director, but that watch this show very interesting, - a fact.

From the traditional "Onegin" There remained only the raspberry beret - but what he got the clip! Performance resolved in black and white (the artist Monica Pormale in collaboration with the director). In the overture opens sterile white room, Tatiana sees a mirage - a playful little girl who, having fun, spilling black berries (hello jam!), Beads of them - for Tatiana. So in this virginal purity creeps, crawls senses (through the details of clothing, furnishings, finally, as Onegin, entirely in black) to engulf the entire world that the heroes were the third act in a completely dark room, where only glimpses of white spots porcelain plates and teapots, where former sufferer Tatiana - a femme fatale in a black corset and black glasses. And last bars altogether absorbing darkness. And after a pause - where to go to have the applause (though they started) - suddenly heard the initial D in bass and sounds again overture: and we see a picture of family idyll, Tatyana and Gremin the Christmas tree and snow-white little girl who lavishes white beads on the floor. Dead tree that Tanya landed in the third picture, before listen didactic rebuke Onegin, is on the fireplace. In essence, the story begins again ...

Honestly, the first act of "talking" with difficulty - annoying details that do not make sense and is "not out of the Opera." Servants like Onegin in a Faun - he played the melody on the bottle, when the dawn at the scene of Tatyana's letter. Or dwarf (Chernomora!), which seems to be all there runs invisibly. Or it runs - makes sure, that the lives of heroes was intended to track, and no unplanned loves you. Dwarf - a carrier of the powers under the force through the wall clock roll over on the other side (of what? This is metaphysics). Clocks show different times, spinning whirligig, Tatiana and her copy of the plate twist: the director acts out, in general, the key to Tchaikovsky's subject - the inevitability that resignation, the subject of rock. Onegin is trying by all means turn the fate reversed, sling dwarf box, Tatiana, seems ready to surrender (passionate kiss), but the Black Sea creeps through the door unharmed.

In this old Russian country estate all have "matured" or "overripe": nanny gets hysterical laundry from the washing machine (which is right there behind one of the doors of the living room), the eldest Larina wrings her hands all the time, Olga practically explode with desire, and to wedding for two more weeks to wait. Tatiana everywhere Grese phallic symbols, for example, in the form of retractable fireplace huge black stems of roses with thorns (before she pricked, taking a bouquet of Onegin). Onegin sprinkle it by the very black berries here and there pours milk. Lensky, Onegin is struck shot (to cause him to a duel was pure madness, in this performance he glory sharp shooter: ten balls and no misses), he climbs on capsized grandfather clock - and it poured buckets of milk - not trying to revive, not make them a slave ritual.

Sometimes excess of what is happening on the stage you want to step back and immerse yourself in the music. But this is not so easy. Interpretation of Michael Tatarnikova with all well-trained orchestra (the technical side of any claims) too straightforward. Nor is there any subtlety or admiring the details, nor Wagnerian longing (so if the director focuses on sexuality), or sympathy, not even halftone not very loud, loud, very loud, which, of course, "playing" in the dance scenes ( externalities), but does not support the inner movements of heroes. Male half - a brilliant, what Janis Apeynis his coldness and detachment (Onegin), which is quite young Eugene Akhmetov applying for reference Lena, at least in this production, where it is no more than a passionate lover. The female half of the premiere (some) lost partners in singing, but compensated artistry: Ryaguzov and Tatiana (Tatiana), and Olga (Sophia Feinberg) have created a multi-dimensional image, modulated with his heroines from one state to another, suppressed emotions and give them free . Zholdak who puts his actors (drama theater, not music!) Extremely complex task, and the bar is not lowered, should be pleased.

St. Petersburg-Moskva


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