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OPERA: EUGENE ONEGIN
The Times (London)
March 13, 2013 Wednesday
Edition 1; National Edition
by Neil Fisher
Royal Academy of Music, NW1 ***
There's a precedent to the Royal Academy's new Onegin, an opera that
was actually first performed by students of the Moscow Conservatory.
Tchaikovsky clearly trusted in the simplicity of his seven "lyrical
scenes" and their emphasis on innocence, albeit of the soon-to-be-lost
variety.
The RAM more or less takes Tchaikovsky at his word in an ambitious
show performed in Russian. John Ramster's economical period staging -
let's hope the only unwieldy element of Adrian Linford's set, a weirdly
floating tree-sculpture, is fixed - mostly allows the action to speak
for itself. Jane Glover's unpretentious conducting steers us briskly
to the big moments and when we get there she never lets us soak in
them. The band plays decently, too, with only the squealing brass
suggesting a few sectionals might be in order.
Thrillingly, the Academy's first night Tatyana, Tereza Gevorgyan
(the run is double cast), manages to carry off both the bookish
teenager with a romantic glint in her eye and the Act III Princess
who kowtows to no one, not even newly repentant Onegin. Gevorgyan,
an Armenian singer of great potential, sings with lovely poise and
sophistication, not overmilking her Letter Scene and then ramping
up the fury in a lacerating final confrontation. Her sister Olga,
played more heartlessly than usual, is well done by Fiona Mackay,
and Anna Harvey is an effective Larina - Ramster has her sit silent
and stern, like Whistler's mother, during the final scene, a neat
and tragic touch.
Perhaps it was the effect of cavalier wigs, mutton-chops and breeches,
but Lensky and Onegin were less comfortable in their own skins.
Stephen Aviss's Lensky makes a decent stab at the role, hitting some
high notes a little too hard for comfort. But Ross Ramgobin's vacant
Onegin looks like Tatyana could eat him for breakfast - there's little
punch in his delivery and no sign of the arrogance or vulnerability
of the man. Stronger directorial support would have better propped
up both men. Good contributions, though, come from Stuart Jackson's
Monsieur Triquet, here a preening Pierrot, and Nicholas Crawley's
likeable Prince Gremin. Neil Fisher
Box office: 020-7873 7300, to Mar 18
From: Baghdasarian
The Times (London)
March 13, 2013 Wednesday
Edition 1; National Edition
by Neil Fisher
Royal Academy of Music, NW1 ***
There's a precedent to the Royal Academy's new Onegin, an opera that
was actually first performed by students of the Moscow Conservatory.
Tchaikovsky clearly trusted in the simplicity of his seven "lyrical
scenes" and their emphasis on innocence, albeit of the soon-to-be-lost
variety.
The RAM more or less takes Tchaikovsky at his word in an ambitious
show performed in Russian. John Ramster's economical period staging -
let's hope the only unwieldy element of Adrian Linford's set, a weirdly
floating tree-sculpture, is fixed - mostly allows the action to speak
for itself. Jane Glover's unpretentious conducting steers us briskly
to the big moments and when we get there she never lets us soak in
them. The band plays decently, too, with only the squealing brass
suggesting a few sectionals might be in order.
Thrillingly, the Academy's first night Tatyana, Tereza Gevorgyan
(the run is double cast), manages to carry off both the bookish
teenager with a romantic glint in her eye and the Act III Princess
who kowtows to no one, not even newly repentant Onegin. Gevorgyan,
an Armenian singer of great potential, sings with lovely poise and
sophistication, not overmilking her Letter Scene and then ramping
up the fury in a lacerating final confrontation. Her sister Olga,
played more heartlessly than usual, is well done by Fiona Mackay,
and Anna Harvey is an effective Larina - Ramster has her sit silent
and stern, like Whistler's mother, during the final scene, a neat
and tragic touch.
Perhaps it was the effect of cavalier wigs, mutton-chops and breeches,
but Lensky and Onegin were less comfortable in their own skins.
Stephen Aviss's Lensky makes a decent stab at the role, hitting some
high notes a little too hard for comfort. But Ross Ramgobin's vacant
Onegin looks like Tatyana could eat him for breakfast - there's little
punch in his delivery and no sign of the arrogance or vulnerability
of the man. Stronger directorial support would have better propped
up both men. Good contributions, though, come from Stuart Jackson's
Monsieur Triquet, here a preening Pierrot, and Nicholas Crawley's
likeable Prince Gremin. Neil Fisher
Box office: 020-7873 7300, to Mar 18
From: Baghdasarian