by Petr Tchaikovsky
By Victoria State Opera
At State Theatre Nov 18, 21, 24, 27, 30 Dec 2, 6, 9, 1995
Followed by Ruddigore
Reviewed by Kate Herbert on 21 November 1995 for The Melbourne Times
God sent us habit instead of happiness and love," sings Larina (Jeannie Marsh) in the opening of Eugene Onegin.
Tchaikovsky agonises over the common choice of familiarity and convention rather than the heightened experience of a prolonged and genuine passion. Herein lies the tragedy of the opera and of our so many of our little lives.
Tchaikovsky has adapted Pushkin's witty verse novel about a young country girl who in a nanosecond falls in love with the cool and arrogant Onegin, a jaded, foppish young St. Petersburg aristocrat. He rejects her overtures only to regret his foolish and hasty decision years later. She opts for comfort and we all wince.
Tchaikovsky's form is closer to that of a Chekhov play rather than a Verdi opera. It comprises intimate scenes from country life with personal, rather than political or global, themes. The score heightens the poignancy of this hapless group of Russians, delicate single woodwind lines accentuate the pathos and anguish. Richard Divall, with orchestra, captures the delicacy and pathos of the score.
Cheryl Barker's voice is sweet and warm for the role of Tatyana. Peter Coleman-Wright's rich baritone sustains the role of Onegin. The star in this production is Gregory Tomlinson as Lensky. His fine tenor and resonant performance capture the ardour of the truly passionate character in the story. Lensky risks his life for love. Attaboy! His lament before the duel and his subsequent death were profoundly moving.
An icy wind blows though Michael Edwards' production and it is accentuated by the flat, wooden walls and leafless trees of Dale Ferguson's set. This relentless dullness is relieved finally by the more opulent costumes (Hugh Coleman) and design in the ballroom in Act Three when Onegin encounters Tatyana, the woman.
By Kate Herbert 21 Nov 1995
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