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Eugene Onegin, ENO, Seven magazine review |
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| Written by news desk - telegraph.co.uk |
 Deborah Warner's superb production of Tchaikovsky’s masterpiece scores both visually and emotionally
Fully deserving of its status as the best-loved Russian opera, Tchaikovsky’s masterpiece Eugene Onegin has been lucky on the British stage. Yet faew past productions have come near Deborah Warner’s new English National Opera staging for its mixture of haunting visual and emotional impact: cutting straight to the heart of the work, she shows how Onegin is simultaneously about two colliding Russian societies – rustic provincialism and cosmopolitan decadence – and three wasted lives.
Having a ball: Eugene Onegin performed by English National Opera at the London Coliseum Photo: Alastair Muir
Admirers of Warner’s work will not be surprised about this, but not everything is what you might expect from this director, or indeed from ENO: except for some gentle updating from Pushkin’s time to a Chekhovian late 19th century, the staging looks traditional, and there has been no skimping on the budget for extras and dancers. Kim Brandstrup’s movement is integral to many of the scenes, nowhere more than in the choreographed chaos of the Larin ball, the fourth and central scene of the work and truly the dramatic fulcrum here. Tom Pye’s sets range from a huge barn on the Larin estate to chilly marble pillars for the St Petersburg scenes, and Warner fills them with detailed characterisation. Edward Gardner matches this with his propulsive yet nuanced conducting of the chorus and orchestra, both on magnificent form. He makes everyone in the audience hold their breath with a long, suspenseful pause at Onegin’s and Tatyana’s farewell kiss. Portraying Onegin with more subtlety and less priggishness than often, Audun Iversen’s dark baritone is a good match for Amanda Echalaz’s gleaming Tatyana, who paces her Letter Scene superbly. But it is Toby Spence’s Lensky who really startles with his reckless energy, and his pre-duel aria is heart-wrenching. Among the supporting cast, Catherine Wyn-Rogers’s warm, world-weary Filippyevna is uncommonly good. |
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