Dress rehearsal: New Eugene Onegin at the ROH (Hvorostovsky/Villazon)
Mrs T xx
rehearsal for the new production of Eugene Onegin at the ROH. Here are
some of my thoughts, comments and descriptions of the set, costumes and
Personenregie for anyone who wants a sneak preview. As it was only a
dress rehearsal then I'm not going to talk about the singing or
orchestra, as obviously it wouldn't be cricket to do so.
Firstly, on a personal note - I must say I'm rapidly becoming
converted as a fan of Villazon (despite the scary eyebrows). It was La
Donna who suggested we wait for him at the stage door - (personally I
was only interested in seeing Dmitri at that point) but having met
Rolando for the first time then I have to confess he won me over
completely with his friendly, easy-going manners and Latin charm. It
also says a lot about Dmitri's utter professionalism that he insisted
on acting in character even at the stage door! Anyway, I have
several nice photos - so if any Dmitri/Rolando fans want them then
please e-mail me privately and I'll be happy to forward them.
Obviously a lot of you don't give a damn about what the costumes look
like etc. so apologies for going into so much detail.... Naturally feel
free to skip the bits you don't want to read!
Tatyana: AMANDA ROOCROFT
Olga: NINO SURGULADZE
Madame Larina: YVONNE HOWARD
Filipyevna: SUSAN GORTON
Lensky: ROLANDO VILLAZON
Eugene Onegin: DMITRI HVOROSTOVSKY
M.Triquet: RYLAND DAVIES
Prince Gremin: ERIC HALFVARSON
Peasant singer: ELLIOT GOLDIE
Trifon Petrovich: JONATHAN FISHER
Zaretsky: ROBERT GLEADOW
Guillot: RICHARD CAMPBELL
Bloke waving the stick: PHILIPPE JORDAN
Director: STEVEN PIMLOTT
Designs: ANTONY McDONALD
SETS: Mainly traditional with a few weird bits thrown in. Alas, no
chairs were knocked over at all which is very frustrating for me (in
fact I haven't enjoyed any good furniture abuse since I saw Rosina
trash the set in Barber of Seville back in January).
Act 1: Everything except the very front of the stage was hidden by a
huge screen with an "arty" painting of a naked man on it. When the
lights are shone through it the screen becomes transparent and you can
see the main part of the stage set which consists of an extremely
fake-looking green grassy knoll with a little stream in front of it.
Yes, ladies and gentlemen..... that's the ROH official show-off
gimmick for this production - real water! It's a very shallow
stream with two simple wooden walkways over it. Quite why they
bothered with these little bridges is beyond me, since the majority of
the characters decided to go paddling and splashing about in it -
presumably to get an audience reaction of "Oh look, it's definitely
real water! Gosh, isn't that clever!" I quite liked the set but
thought it all looked very unrealistic - and the bright green
Astroturf grassy knoll resembled something out of Teletubby Land.
For Tatyana's bedroom then we had the same countryside scene (grassy
knoll + river) plus the obligatory
"strange-lopsided-box-in-the-middle-of-the-stage" thing. This time
it was a pale pastel green oval-shaped box with lots of windows and a
bed. The bedoom/box thing was then pushed and floated off the stage in
a not very subtle manner by some extras.
Act 2: The same basic countryside set but they had added a
cream-coloured back wall with high French windows for the interior of
the ballroom and a few chairs. For the duel the normal set was turned
white by fake snow, the river was frozen and had a little rowing boat
on it next to a tree with a simple wooden cross/grave at its base. It
looked suitably bleak and desolate - I liked it. In a
vision/premonition then Lensky sees Olga put flowers on his grave
before going off with another man... something I thought was very
effective and worked well.
Act 3: Supposed to be set in the interior of a ballroom but actually
they did the entire first scene outside on the same Russian
countryside/frozen river. Yet another clever ROH gimmick - real ice
skaters skating around on something resembling real ice.
But it made Onegin look somewhat silly when he entered in the middle of
all that freezing snow and ice, looking all dishevelled with his shirt
gratuitously open half way down his chest and not even a scarf to keep
him warm. (Not that I was complaining at being gratuitously exposed to
Dmitri bare chest, mind you). The final scene was set in the same
oval lopsided box as Tatyana's bedroom but this time stacked with
bookshelves to look like a library. There were two other transparent
screens used - also with strange paintings of naked men - which La
Donna described as "gay Christian erotic art". Generally I
thought the sets were good, although I did get bored with everyone
going paddling in the water all the time and thought the wonky box was
too small and claustrophobic. Otherwise it was all quite cute, if
rather fake-looking.
COSTUMES: Beautiful and elegant - 9 out of 10. (1 point deducted
due to bad wig) Very "Pride & Prejudice". Luckily both Dmitri and
Rolando have the slim figures needed to get away with the Mr
Darcy-style high-waisted breeches and fitted tailcoats. Rolando was
in cream and beige and his breeches were........how should a lady put
this politely? Let's just say they were extremely well-fitting (not
that La Donna and I were looking at such things - honest!). He
later changed into blue with a long velour coat and looked perfect as a
miserable moping poet in the Werther style. Dmitri was also very
elegantly attired - my compliments to the costume department for such
an impeccable tailoring job. He started out in a brown breeches (not
quite as tight as Rolando's unfortunately) and a rich, rust-coloured
frock coat. In the ball scene in Act 2 he stood out as the only one in
black - wearing a black evening jacket with a sparkly silver
waistcoat, black knee-breeches and white stockings. Fortunately he has
the legs for it and looked incredibly dashing. Unfortunately the
beautiful costumes Dmitri wore were spoiled for me by the dark brown
wig they put him in for Acts 1 and 2. It looked solid, fake and just
didn't suit the natural colouring of his complexion. Poor Dmitri
looked distinctly uncomfortable in it. Fortunately my prayers were
answered and in Act 3 the older Onegin appeared sans stupid wig and we
all got to enjoy watching Dmitri's trademark silver mane getting
flicked around and generally overacting.
Both Olga and Tatyana had nice slim figures and looked good in the
Regency dresses. Olga was a brunette and always dressed in white, but
Tatyana started out in a more rustic simple brown dress and a
waist-length ash blonde wig with the sides tied back. (Another bloody
soprano heroine copying *my* hairstyle again!) Her nightdress was all
in white and in simple style. For Act 2 then Tatyana was in a
gorgeous white Empire-line dress with diamonds and her hair up,
elegantly arranged on top of her head. I loved the dress but felt it
was way too fashionable for her in this act. If they make Tatyana look
too beautiful and sophisticated in Act 2 then you don't get the full
effect of the contrast when she wears the clothes of a princess in Act
3 - and besides, Onegin looks down at everyone in Act 2 for being
provincial and this doesn't work if they're all too well dressed.
In Act 3 Tatyana starts out in a long black velvet coat with diamond
buttons and a red velvet turban. For the final confrontation she is in
a red and gold gown made of sequins with a long train. Nice though it
was, I felt it was too flashy - especially as the libretto states
that she is supposed to be in a morning dress and this was clearly an
evening gown. But I'm nitpicking now so I'll shut up.
The rest of the characters were all suitably dressed. The prize for
worst costume goes to the comedy gay Frenchman who had a hideous frizzy
wig and lime-green frockcoat over bright pink trousers. I must confess
to having a little snigger in Act 1 when the chorus of peasants
entered, complaining about how tired they are from working so hard in
the fields all day long. Working hard? There wasn't a milligram
of dirt to be seen on any of them! They were without a doubt the most
impeccably clean and best-dressed peasants I have ever seen in my life.
Their red and white robes were so dazzlingly bright, clean and
perfectly ironed that they looked like they had all just stepped out of
a commercial for washing-powder. For the other acts they were all
suitably dressed in the correct period and all looked nice enough.
PERSONENREGIE: Could do better. It was all very static and there was
a lot of pointless paddling and splashing around in the water. Dmitri
was perfectly cast as Onegin...... He just seems to have such a
natural talent for being all cold, haughty and reserved. (I won't
say "stiff" because with SJT around then it's just asking for
trouble...) When I saw him in Ballo last December I was very
impressed that he was able to stab his mate Riccardo to death in such a
cold and reserved manner, and this time it was no different. Clearly
making a habit of killing his friends, he shot poor Lensky with
alarming calmness and concentration and then stood there not moving,
with no evidence of remorse whatsoever. Personally I would like to
have seen Onegin go rushing over to his friend and hold him in his arms
as he died or something....- just some sort of display of emotion.
I'm afraid I didn't like the way the director staged the final
confrontation - it just seemed to lack pace and any sort of passion.
The music is so dramatic but this seemed to be ignored when setting the
movements for the singers. If I had been directing this scene then I
would have Onegin bursting into the room violently and throwing himself
on the floor dramatically at Tatyana's feet. In this production they
just had him casually wander on stage, fall to his knees in a
half-hearted manner and put his head on Tatyana's lap as she sat on
the floor. The whole stage picture was wrong IMHO because it didn't
show the way the balance of power had changed - which is how it
*should* have looked if Tatyana had been standing up tall with Onegin
lying prostrate on the ground. The music raced and became more
passionate but the singers would just stand there or wander about
aimlessly. I just wanted more from this scene - preferably a few
overturned chairs. Although to be fair, at the final curtain then
Dmitri did fall to his knees looking very tormented and pissed off.
Rolando was bloody good as Lensky. He really seemed to have grasped
the psychology of the role and gave a very intelligent interpretation
of the young reckless poet. I don't think I've ever seen anyone
die on stage as convincingly as he did. Although I got very confused
during the duel scene when Lensky put the pistol to his own head and
looked like he was going to shoot himself. "Wrong opera!" I was
thinking. But Villazon is a bloody good actor and when he got shot he
fell quite literally flat on his face dead. Was very impressed with
him in general, including his Russian pronounciation. It was a nice
touch to have Lensky's "ghost" turn up in Act 3 to haunt Onegin.
Amanda Roocroft was ok as the shy Tatyana and she certainly looked the
part. I imagine it must be very difficult for any director to set the
letter scene. I mean - what can you do? Tatyana sits on bed.
Tatyana gets up. Tatyana wanders round the room for a bit. Tatyana
writes letter. Tatyana sits back down on bed again etc. The music is
wonderful but it's always a bit dull to watch, let's face it?
Olga was also very good and had nailed down her character perfectly.
She's also a good dancer, which helps. The other roles were all very
well acted too.
Anyway, those were just my initial thoughts on what is generally a very
good production. I look forward to seeing it in a proper performance
as the cast is excellent and nit-picking aside, I really enjoyed it.
Mrs T xx
La Donna Mobile
> La Donna and I were baritone/tenor stalking ce matin at the dress
> rehearsal for the new production of Eugene Onegin at the ROH. Here are
> some of my thoughts, comments and descriptions of the set, costumes and
> Personenregie for anyone who wants a sneak preview. As it was only a
> dress rehearsal then I'm not going to talk about the singing or
> orchestra, as obviously it wouldn't be cricket to do so.
>
And in a bizarre operatic-like coincidence I also have thoughts, which I
shall replicate here, even though I have already blogged them
http://www.madmusingsof.me.uk/archives/2006/03/eugene_onegin_d.php#004291
Also a photojournal on the 'stalking' aspect of the day
http://www.madmusingsof.me.uk/archives/2006/03/sossled_day_out.php
Not bad for £4!
Convention states that one does not comment, critically or
complimentarily, on the performance of a Dress Rehearsal, because it's a
working rehearsal and, for example, singers may not sing out.
A new production, with new sets, new costumes and new wigs.
Ah yes, wig. Dmitri Hvorostovsky wore a black wig in the first two acts,
a bit of a shock when one is expecting to see that distinctive silver
mane. But it had come off by Act 3, to signify his aging.
Costumes. The leading men's' costumes were wonderful. Most noticeable
was that the trousers - sort of lycra breeches, Mr Darcy-style, were
tight. Very tight. But no tighter than they had to be. Both our leading
chaps have fine figures and looked delightful in these figure-hugging
trousers. We would advise them to go easy on pies, chocolate and beer
for the duration of the run. We considered many fine singers who would
not look good in such tight trousers. In the first Act Rolando's were
beige; in Act 2 for the ball and the duet he changed into light blue
velour breeches. Very fetching.
I know I am supposed to notice the Ladies' dresses a bit more than I do.
Amanda Roocroft's outfits after she married Prince Gremin were splendid.
I was torn between between the stylish black coat with double-breasted
jewelled buttons and snazzy red fur hat and trims she wore when she
first re-encountered Onegin, or the rather splendid gold over scarlet
dress in the Final Scene, which would match my jewellery.
I would be tempted to say that red was a dominant colour, because in Act
1, all the peasants were wearing red and white. However, the area
surrounding Tatiana's bedroom were green and blue. My companion
mentioned Dulux for the first scene; the letter scene in the bedroom was
exactly to me like a promotional colour chart one would pick up from
B&Q. The ball scene was very very colourful indeed. The duel scene was,
in effect, monochrome, set on a frozen river (we'll return to the
river), and the next 'ball scene' - which was enacted as a skating party
- was also monochrome with costumes in bold colours. The colours of the
final scene matched the old gold of Tatiana's dress.
There were gimmicks galore. Possibly no new production at the Royal
Opera House can happen without The Box. The misshapen box, set an angle,
which acts as an (almost) self-contained stage within a stage. In this
it served both as Tatiana's bedroom at her childhood home and her
library at Prince Gremin's townhouse.
Another gimmick was the frieze. The opera opened with an additional
curtain portraying an enormous picture of a naked man in foetus position
(so no naughty bits...). at least, I think it was a man. Very
androgynous. Possibly a buff man with incongruous man-boobs. This later
changed into a similar size homoerotic picture that must have been
inspired by a Crucifixion of Christ painting.
The most important gimmick however was the river. Do not underestimate
the importance of the river. I most certainly did at first. Act I scene
1 began with the girls sitting on a marble altar in the river; for some
reason it reminded me of the Dead Diana shrine at Althorp. The frieze of
the buff-man-with-man-boobs was lowered and behind I could see scenery.
I saw planks of wood and assumed them to be the 19th Century Russian
equivalent of sunloungers. The three dimensions of the rural scenery
worked well, with hills rolling away and in the distance a building. The
frieze rose to reveal the sunloungers to be plank bridges across a
river. One of the extras picked up the building and carried it away ,
ruining the illusion of perspective.
After Tatiana had spent the night writing a letter to Onegin, some hefty
chaps came on stage to wheel away her bedroom aka The Box, and the
ground on which it stood was flooded with water and suddenly became a
river again. I did not see the point of the wooden plank bridges because
everyone waded across the water regardless. Except for Onegin, who,
being a Haughty-Russkie used the bridge. And Tatiana who splashed
maniacally in it. Note for the Weak-Bladdered. You will need a wee stop
before this begins. There is a lot of water.
In the interval we speculated as to how the duel would be staged. We
concluded that we wouldn't mind a bit of Operatic Mud Wrestling in the
river, perhaps with some gentlemanly white shirts getting wet. In the
event, the river was frozen. Lensky pointed the gun at his own head
before attempting to shoot Onegin, but Onegin had shot him first. For
Lensky it was heart-wrenching (and he died). Onegin was as emotionally
involved as someone might be when knocking icicles off a garden gate.
We monitored the opera for key operatic moments.
No furniture was abused. Plenty was left in strategic places, looking as
if it might be ripe for abusing but it all remained firmly upright.
Rolando teased and tantalised my furniture-abuse-fetishist friend by
appearing to threaten the furniture on more than one occasion in the
aftermath of the ball, but in the end he merely knocked over a pile of
books - perhaps a more intellectual form of furniture abuse.
There was no chest hair on display although Onegin did turn up at the
Gremin's skating party with the top three buttons of his shirt undone.
Perhaps that's a uniquely Russian way of dressing for the cold. But I
understand that Dima doesn't do chest hair.
Wonderfully, we had some extremely good tenorial falling to the ground.
In despair, at the end of the Ball scene, in preparation for the musical
highlight of the entire opera, Lenski's Aria, Kuda, Kuda. And his tumble
to the ground on being shot was a tenorial death par excellence. The
Pupil has learnt well from the Master.
I'm going to the performance a week tomorrow, after which I shall
discuss issues like orchestra, and singing, and the stupidity of male
'honour'.
--
http://www.madmusingsof.me.uk/weblog/
http://www.geraldine-curtis.me.uk/photoblog/
Jon E. Szostak, Sr.
Dmitri actually smile...he plays 'haughty' so damn well. Sounds like great
fun!
Jon E. Szostak, Sr.
"La Donna Mobile" <donnam...@REMOVEbrixton.fsworld.co.uk> wrote in
message news:dv7ebn$enm$1...@nwrdmz01.dmz.ncs.ea.ibs-infra.bt.com...
Mrs T xx
La Donna Mobile wrote:
>
> Ah yes, wig. Dmitri Hvorostovsky wore a black wig in the first two acts,
> a bit of a shock when one is expecting to see that distinctive silver
> mane. But it had come off by Act 3, to signify his aging.
A *bit* of a shock??? I was getting ready to walk out in protest!
>
> Costumes. The leading men's' costumes were wonderful. Most noticeable
> was that the trousers - sort of lycra breeches, Mr Darcy-style, were
> tight. Very tight. But no tighter than they had to be. Both our leading
> chaps have fine figures and looked delightful in these figure-hugging
> trousers.
Well done, La Donna. You've just convinced everyone on RMO that we're
two sex-crazed tarts who go to the opera for totally the wrong
reasons!!!!!!
. We considered many fine singers who would
> not look good in such tight trousers.
Marcelo Alvarez, wasn't it??
>> There were gimmicks galore. Possibly no new production at the Royal
> Opera House can happen without The Box. The misshapen box, set an angle,
> which acts as an (almost) self-contained stage within a stage. In this
> it served both as Tatiana's bedroom at her childhood home and her
> library at Prince Gremin's townhouse.
But I was disappointed that they didn't lift up the box and start
tilting it from side to side like they did in Barber. What a cop out!
>
> Another gimmick was the frieze. The opera opened with an additional
> curtain portraying an enormous picture of a naked man in foetus position
> (so no naughty bits...). at least, I think it was a man. Very
> androgynous. Possibly a buff man with incongruous man-boobs. This later
> changed into a similar size homoerotic picture that must have been
> inspired by a Crucifixion of Christ painting.
I don't remember seeing any like that at church........
>
> The most important gimmick however was the river. Do not underestimate
> the importance of the river.
Just wait for that hosepipe ban.....it won't be so impressive then!!!
>
> In the interval we speculated as to how the duel would be staged. We
> concluded that we wouldn't mind a bit of Operatic Mud Wrestling in the
> river, perhaps with some gentlemanly white shirts getting wet.
Yes.... the sight of Dmitri and Rolando rolling around in the river in
wet white shirts and tight breeches would undoubtedly have been the
highlight of the production. Quelle dommage..... (Note to self: must
go to confession for those impure thoughts!)
.
> For Lensky it was heart-wrenching (and he died). Onegin was as emotionally
> involved as someone might be when knocking icicles off a garden gate.
>
Ouch! LOL. But I'd like to think the problem with Onegin is that he's
just out of touch with his emotions (bless him!) and can't express what
he truly feels. I'm sure Silverfin will surface at any moment and
make a point about the hidden gay subtext......
> > No furniture was abused. Plenty was left in strategic places, looking as
> if it might be ripe for abusing but it all remained firmly upright.
> Rolando teased and tantalised my furniture-abuse-fetishist friend by
> appearing to threaten the furniture on more than one occasion in the
> aftermath of the ball, but in the end he merely knocked over a pile of
> books - perhaps a more intellectual form of furniture abuse.
It wasn't quite the same though. I feel cheated!
>
> There was no chest hair on display although Onegin did turn up at the
> Gremin's skating party with the top three buttons of his shirt undone.
> Perhaps that's a uniquely Russian way of dressing for the cold. But I
> understand that Dima doesn't do chest hair.
Actually, I think it was the top four buttons undone..... not that I
was counting.
Mrs T xx
alanwa...@aol.com
>
> Convention states that one does not comment, critically or
> complimentarily, on the performance of a Dress Rehearsal, because it's a
> working rehearsal and, for example, singers may not sing out.
What convention is this? True, the singers may use half voice but, if
asked, the orchestra will tell you whether their playing was shit or
not, dress rehearsal included. You always know. And, if you ask
nicely, the orchestra will also tell you whether it was shit or not on
any succeeding night (from an orchestral point of view of course).
There's an absolutely magic moment in Onegin. It occurs (for UK only,
possibly) in "Carry On Up the Khyber" where the beleagured British
Governor Sir Sidney Ruff-Diamond (Sid James) sits down to write a
letter to Queen Victoria which he begins "Dear Vicky" - at that point
the music from the Letter Scene enters. Watch the film and then listen
to the scene.
I had the honour of playing for this quote in "Music for the Carry On
Films"recorded in Prague/Gavin Sutherland.
Don't ever go, should it be staged, to Rossini's William Tell without
FIRST hearing the version of the Overture, enshrined by Spike Jones and
his City Slickers.
Kind regards,
Alan M. Watkins
Jon E. Szostak, Sr.
for totally the wrong reasons!!!!!!"...I'll have a dozen please.
Honestly...the humor in both your posts is quite satisfying enough...so what
the hell...bring on the coffee and tarts. I'll keep reading and enjoying
nonetheless.
Jon E. Szostak, Sr.
"Mrs T xx" <mrs.t...@btinternet.com> wrote in message
news:1142375152....@j33g2000cwa.googlegroups.com...
Jon E. Szostak, Sr.
themselves to listen to Spike's touching rendition of this old chestnut...at
least once before they die. Well...that and see Rome.
Jon E. Szostak, Sr.
<alanwa...@aol.com> wrote in message
news:1142376971.9...@i40g2000cwc.googlegroups.com...
alanwa...@aol.com
Jon E. Szostak, Sr. wrote:
> Alan: Whether you go to a staged production or no...everyone owes it to
> themselves to listen to Spike's touching rendition of this old chestnut...at
> least once before they die. Well...that and see Rome.
>
> Jon E. Szostak, Sr.
It's not the gargling that gets me. It's the cowbells.
Honestly, it is a real effort keeping a straight face when playing this
piece (for me) once you know the Spike Jones version.
I am pleased to say. Brilliant musician that Mr Jones.
REG
singing because you thought the dress would not necessarily be
representative?
"Mrs T xx" <mrs.t...@btinternet.com> wrote in message
news:1142372735.6...@i40g2000cwc.googlegroups.com...
REG
YouTube clips of the Faust for future reference :)
"La Donna Mobile" <donnam...@REMOVEbrixton.fsworld.co.uk> wrote in
message news:dv7ebn$enm$1...@nwrdmz01.dmz.ncs.ea.ibs-infra.bt.com...
Steve Silverman
>
>
> Well done, La Donna. You've just convinced everyone on RMO that we're
> two sex-crazed tarts who go to the opera for totally the wrong
> reasons!!!!!!
I'm saying nothing.
Steve Silverman
shir...@hotmail.com
Mrs T xx wrote:
> La Donna Mobile wrote:
> >
> > Ah yes, wig. Dmitri Hvorostovsky wore a black wig in the first two acts,
> > a bit of a shock when one is expecting to see that distinctive silver
> > mane. But it had come off by Act 3, to signify his aging.
>
> A *bit* of a shock??? I was getting ready to walk out in protest!
Hard to picture him in a wig, definitely!
>
>
> >
> > Costumes. The leading men's' costumes were wonderful. Most noticeable
> > was that the trousers - sort of lycra breeches, Mr Darcy-style, were
> > tight. Very tight. But no tighter than they had to be. Both our leading
> > chaps have fine figures and looked delightful in these figure-hugging
> > trousers.
>
> Well done, La Donna. You've just convinced everyone on RMO that we're
> two sex-crazed tarts who go to the opera for totally the wrong
> reasons!!!!!!
Now Mrs. Terfel, you say that as if it were a BAD thing! <G> Despite
the unfortunate wig, it sounds as if Eugene Onegin was quite a feast
for the umm...eyes. Interesting, that at the ball in act three, Onegin
states he has reached the decrepit age of 26...Well that will turn
ANYONE gray.
>
> . We considered many fine singers who would
> > not look good in such tight trousers.
>
> Marcelo Alvarez, wasn't it??
>
Er... well, he'd best do a bit of exercising, possibly.
>
> >
> > In the interval we speculated as to how the duel would be staged. We
> > concluded that we wouldn't mind a bit of Operatic Mud Wrestling in the
> > river, perhaps with some gentlemanly white shirts getting wet.
>
> Yes.... the sight of Dmitri and Rolando rolling around in the river in
> wet white shirts and tight breeches would undoubtedly have been the
> highlight of the production. Quelle dommage..... (Note to self: must
> go to confession for those impure thoughts!)
Oh great. Just rock ME to sleep, tonight! The thought of Dmitri doing
the Darcy Dive into a nice rustic pond and emerge in wet, clinging
clothes! Aigh..... Add Rolando to the picture and I'm sure I'll be
wide awake at two a.m!
>
> .
> > For Lensky it was heart-wrenching (and he died). Onegin was as emotionally
> > involved as someone might be when knocking icicles off a garden gate.
> >
>
> Ouch! LOL. But I'd like to think the problem with Onegin is that he's
> just out of touch with his emotions (bless him!) and can't express what
> he truly feels. I'm sure Silverfin will surface at any moment and
> make a point about the hidden gay subtext......
>
> > > No furniture was abused. Plenty was left in strategic places, looking as
> > if it might be ripe for abusing but it all remained firmly upright.
> > Rolando teased and tantalised my furniture-abuse-fetishist friend by
> > appearing to threaten the furniture on more than one occasion in the
> > aftermath of the ball, but in the end he merely knocked over a pile of
> > books - perhaps a more intellectual form of furniture abuse.
Lensky is a poet, after all.
>
> It wasn't quite the same though. I feel cheated!
>
> >
> > There was no chest hair on display although Onegin did turn up at the
> > Gremin's skating party with the top three buttons of his shirt undone.
> > Perhaps that's a uniquely Russian way of dressing for the cold. But I
> > understand that Dima doesn't do chest hair.
>
> Actually, I think it was the top four buttons undone..... not that I
> was counting.
>
> Mrs T xx
How could we ever think that of you? =o) Well... people in Russia dive
into cold water in winter in sub-zero temperatures. Maybe pneumonia is
macho there. Or maybe they're so used to the climate they'd find
Antarctica stuffy.
Skating party? I thought it was a ball. I am puzzled... Thanks for a
great report, both Mrs. Terfel and La Donna. Know I'm jealous as all
hell.
Melissa
Mrs T xx
Steve Silverman wrote:
>> >
> > Well done, La Donna. You've just convinced everyone on RMO that we're
> > two sex-crazed tarts who go to the opera for totally the wrong
> > reasons!!!!!!
>
> I'm saying nothing.
>
> Steve Silverman
Good. Because the only reason we went was for the beautiful music.
And Eugene Onegin is one of my favourite Verdi operas
Mrs T xx
La Donna Mobile
squabbles have broken out when people have offered opinions on the
singing and music. Better to avoid rows and squabbles.
Mrs T xx
REG wrote:
> Thanks, this is really great....I assume you didn't specifically review the
> singing because you thought the dress would not necessarily be
> representative?
Yes, although my thoughts on the singing were generally very positive
then obviously it was a dress rehearsal and not a performance and so it
wouldn't be fair to make any comments or "judgements" about the music
at this stage.
But opening night is tomorrow (I think) and I know several RMO people
who are going next week and will certainly oblige with reviews on the
music. Unfortunately I can't get to see it again until 3 April due to
my own singing commitments. I desperately hope that maybe someone in
the ROH costume department will change their mind about Dmitri's wig.
I overheard at least 3 other audience members commenting on how it
seemed to make Dmitri look uncomfortable and the noticeable
difference/improvement when he got rid of it in Act 3. It must be
very hard for a singer to do their best if they don't feel happy with
their costume/wig.
Mrs T xx
MezzomanUK
by The Duke who is also very cute in the form of Peter Auty and he sings
like an angel if lacking the last ounce of swagger for this role . Alas you
are too late for Judith Howarth`s marvellous Gilda but Opie is still amazing
and alsion Roddy should be rather good.
Trev.
"Mrs T xx" <mrs.t...@btinternet.com> wrote in message
news:1142372735.6...@i40g2000cwc.googlegroups.com...
Mrs T xx
the end of the ballroom scene in Act 2
Bit of a girly fight.....it was quite convincing, but looked more like
two schoolboys trying to pull each other's hair out rather than two men
trying to kill each other.
Was quite enjoyable though......although obviously we would have
preferred to see them rolling around in the river and getting their
shirts all nice and wet....
Mrs T xx
Jon E. Szostak, Sr.
singing...or holding back. One may always comment upon such things as long
as it's broached in that manner. (e.g. when they sang full out the singers
were...etc. etc.)
Jon E. Szostak, Sr.
"Mrs T xx" <mrs.t...@btinternet.com> wrote in message
news:1142408908.6...@i40g2000cwc.googlegroups.com...
Jon E. Szostak, Sr.
him of same. ;-)
Jon E. Szostak, Sr.
"Mrs T xx" <mrs.t...@btinternet.com> wrote in message
news:1142419315.9...@i39g2000cwa.googlegroups.com...
La Donna Mobile
Yeah, and I bet when Steve goes to an actual perofrmance he'll eat his
words that Hvorostovsky is not a great Verdian baritone.
Mrs T xx
La Donna Mobile wrote:
> > > > I'm saying nothing.
> > >
> > > Steve Silverman
> >
> > Good. Because the only reason we went was for the beautiful music.
> > And Eugene Onegin is one of my favourite Verdi operas
> >
> > Mrs T xx
>
> Yeah, and I bet when Steve goes to an actual perofrmance he'll eat his
> words that Hvorostovsky is not a great Verdian baritone.
Absolutely. His Verdian singing style and pronounciation was so
perfect that you could almost believe it was Dmitri's first language.
I particularly liked his moving aria in Act 3 "Tatyana, sono stato un
stupido bastardo"
Mrs T xx
www.Handelmania.com
Rolando is the sweetheart of sweethearts...like Dmitri......and if you
see them..send my love...Rolando knows me as "Carlitos" and Dmitri
knows me as Mr.Handelman.....Lovable dudes both......
I made tapes for Dmitri....he is a big bastianini fan..and i made
him some stuff...there is a similarity in sound and style too.
I am so happy to hear from you and the detailed review..as ever Charlie
Silverfin
Mrs T xx wrote:
> Ouch! LOL. But I'd like to think the problem with Onegin is that he's
> just out of touch with his emotions (bless him!) and can't express what
> he truly feels. I'm sure Silverfin will surface at any moment and
> make a point about the hidden gay subtext......
>
Well I will try, but I have drunk lots of wine tonight after attending
a 3hr Psychology lecture,and that can't b e good for anyone.
And I'm afraid I don't know the libretto that well and am relying on
general plot alone...
So Onegin has been in love with his 'friend' Lensky for ages, and while
thankful (not that he'll show it) for their lovely friendship, has
been becoming somewhat resentful that Lensky is pernicously ignoring
the attractions of the handsome Dmitri, I mean Onegin, and persisting
in chasing around after country wenches instead. When Tatiana professes
her feelings to Onegin, he actually does make a point of explaining
that he was touched by her letter and thinks she would be a good and
virtuous wife - but he just doesn't fancy her. Or in fact any women, at
that point in his life. By the time of the ball, Onegin's resentment of
Lensky's perceived indifference to him is really building up into
something of a complex. He cannot believe Lensky;s feelings for Olga
are real, and decides to test this out by flirting with her. To his
horror, he is wrong. The penny finally drops for Lensky, and he is a
homophobe and thinks Onegin ought to die for his orientation, so
challenges him to a duel. They both have misgivings, but feel that they
must take a moral stance on this issue. Etc.
Silverfin
alanwa...@aol.com
Blimey! You see I have absolutely no idea what is going on up their or
the sicoligcals implitications of same.
Unfortunately I only went to a common skool wot didn't tell me nuffink
lyke that but wot went on about demi-semi quaver rests and the lyke in
Polonaises (is that right?) in the thing and said this sort of stuf
matered.
I was miseled. I know I have been miseled often. At an old age wot am
I am left wiv?
Nuffink as it turnes owt.
Apparently.
K89n R462rys,
Alan M. 56tyhgx
Mrs T xx
Silverfin wrote:
>> So Onegin has been in love with his 'friend' Lensky for ages, and while
> thankful (not that he'll show it) for their lovely friendship, has
> been becoming somewhat resentful that Lensky is pernicously ignoring
> the attractions of the handsome Dmitri, I mean Onegin, and persisting
> in chasing around after country wenches instead. When Tatiana professes
> her feelings to Onegin, he actually does make a point of explaining
> that he was touched by her letter and thinks she would be a good and
> virtuous wife - but he just doesn't fancy her. Or in fact any women, at
> that point in his life. By the time of the ball, Onegin's resentment of
> Lensky's perceived indifference to him is really building up into
> something of a complex. He cannot believe Lensky;s feelings for Olga
> are real, and decides to test this out by flirting with her. To his
> horror, he is wrong. The penny finally drops for Lensky, and he is a
> homophobe and thinks Onegin ought to die for his orientation, so
> challenges him to a duel. They both have misgivings, but feel that they
> must take a moral stance on this issue. Etc.
>
> Silverfin
Gosh, you're right! It all makes perfect sense now you've explained
it like that. I'm sure if I had a music degree like you then I could
hear Onegin's repressed homosexuality in the music but unfortunately
I'm not clever enough :-)
Now all we need to do is to find a hidden incest subtext in there.
Mrs T xx
Silverfin
Mrs T xx wrote:
> Silverfin wrote:
> >> So Onegin has been in love with his 'friend' Lensky for ages, and while
> > thankful (not that he'll show it) for their lovely friendship, has
> > been becoming somewhat resentful that Lensky is pernicously ignoring
> > the attractions of the handsome Dmitri, I mean Onegin, and persisting
> > in chasing around after country wenches instead. When Tatiana professes
> > her feelings to Onegin, he actually does make a point of explaining
> > that he was touched by her letter and thinks she would be a good and
> > virtuous wife - but he just doesn't fancy her. Or in fact any women, at
> > that point in his life. By the time of the ball, Onegin's resentment of
> > Lensky's perceived indifference to him is really building up into
> > something of a complex. He cannot believe Lensky;s feelings for Olga
> > are real, and decides to test this out by flirting with her. To his
> > horror, he is wrong. The penny finally drops for Lensky, and he is a
> > homophobe and thinks Onegin ought to die for his orientation, so
> > challenges him to a duel. They both have misgivings, but feel that they
> > must take a moral stance on this issue. Etc.
> >
>
> it like that. I'm sure if I had a music degree like you then I could
> hear Onegin's repressed homosexuality in the music but unfortunately
> I'm not clever enough :-)
>
No, you just become distracted by the words.
> Now all we need to do is to find a hidden incest subtext in there.
>
I'll leave that one to you.
Incest's not my cup of tea. (Or morris dancing.)
Silverfin
leonora
perfect that you could almost believe it was Dmitri's first language.
I particularly liked his moving aria in Act 3 "Tatyana, sono stato un
stupido bastardo"
UnO stupido bastardo
actually!!
Leonora
(trying very hard NOT to visualise The Divine Thomas as Escamillo, in
the obligatory tight trousers.....)
La Donna Mobile
Tatiana and Olga.
Obvious, innit
La Donna Mobile
"Whoever at the Royal Opera it is who thinks Amanda Roocroft is fit to
sing leading roles at the house should be shot. If she was singing in
my back garden I would close the curtains."
Jon E. Szostak, Sr. wrote:
Mrs T xx
La Donna Mobile wrote:
> Someone on parlour, who went to the first night last night, stated
> "Whoever at the Royal Opera it is who thinks Amanda Roocroft is fit to
> sing leading roles at the house should be shot. If she was singing in
> my back garden I would close the curtains."
>
She wasn't that bad. But quick.......ask them about the Wig
!!!!!!!!!!!!!!
Mrs Txx
Jon E. Szostak, Sr.
ultimate would be to have a hairy Louis XIV chair battered about between
Dmitri and Bryn during a performance of 'War and Peace'.
Jon E. Szostak, Sr.
"Mrs T xx" <mrs.t...@btinternet.com> wrote in message
news:1142612377....@u72g2000cwu.googlegroups.com...
Mrs T xx
Jon E. Szostak, Sr. wrote:
> ultimate would be to have a hairy Louis XIV chair battered about between
> Dmitri and Bryn during a performance of 'War and Peace'.
>
> Jon E. Szostak, Sr.
Nyet, nyet.....ti nye panimayesh !!!
I *hate* The Wig and was hoping to hear that by some miracle they had
decided to send Dmitri on without it last night.
I still have no official confirmation as to the presence or absence of
afore-mentioned Wig. I'm hoping maybe SJT or someone else was there
who can advise on this crucial point :-(
Mrs T xx
Mrs T xx
http://entertainment.timesonline.co.uk/article/0,,14936-2090996,00.html
A rather cruel comment in there about Dmitri's acting. I blame it all
on The Wig.........
Mrs T xx
La Donna Mobile
But do you *strongly* disagree?
Mrs T xx
La Donna Mobile wrote:
> > > A rather cruel comment in there about Dmitri's acting. I blame it all
> > on The Wig.........
> >
> > Mrs T xx
> >
>
> But do you *strongly* disagree?
>
I can't understand it at all. Onegin is supposed to be cold and
heartless but maybe Dmitri needs to be defrosted just a teensy weensy
bit.....
The guy is perfectly capable of being a very good actor - we've seen
evidence of it before! Just look at him in the ROH Trovatore DVD, or
his Eugene Onegin from Paris (see link below for video clips)
http://hvorostovsky.com/subpgvideos/videopages/video3onegin.html
And this is one of my favourite links.......some nice clips of him from
the Salzburg Figaro with his shirt all undone and his bare chest
gratuitously on display.....
http://hvorostovsky.com/subpgvideos/videopages/video7figaro.html
Mrs T xx
La Donna Mobile
> La Donna Mobile wrote:
>
>>>A rather cruel comment in there about Dmitri's acting. I blame it all
>>>on The Wig.........
>>>
>>>Mrs T xx
>>>
>>
>>But do you *strongly* disagree?
>>
>
>
> heartless but maybe Dmitri needs to be defrosted just a teensy weensy
> bit.....
>
> The guy is perfectly capable of being a very good actor - we've seen
> evidence of it before! Just look at him in the ROH Trovatore DVD, or
> his Eugene Onegin from Paris (see link below for video clips)
>
> http://hvorostovsky.com/subpgvideos/videopages/video3onegin.html
>
> And this is one of my favourite links.......some nice clips of him from
> the Salzburg Figaro with his shirt all undone and his bare chest
> gratuitously on display.....
>
>
> Mrs T xx
>
Don't worry dear, in the revival Erwin Schrott gets to wear the wig...
Mrs T xx
La Donna Mobile wrote:
> >> >
> Don't worry dear, in the revival Erwin Schrott gets to wear the wig...
>
I thought it was Mr Funlay in the revival?
I expect the black wig was just for Dmitri's benefit. Any dark-haired
sucessor in this production will probably have their own hair for Acts
1 and 2 and be given grey streaks in Act 3.
Mrs T xx
Jon E. Szostak, Sr.
Jon E. Szostak, Sr.
"Mrs T xx" <mrs.t...@btinternet.com> wrote in message
news:1142623256.4...@u72g2000cwu.googlegroups.com...
Aaron M. Renn
--
Aaron M. Renn (ar...@urbanophile.com) http://www.urbanophile.com/arenn/
Mrs T xx
Aaron M. Renn wrote:
> How long is the performance? I was thinking about seeing it this week.
>
> --
Act 1: 70 minutes
Interval: 30 mins
Act 2 & 3: 75 minutes
You'd better hurry if you want tickets as it seems to be sold out for
most performances and I think they only have the very expensive ones
left for 2 of the dates in April
Mrs T xx
La Donna Mobile
Ditch the Wig! Ditch the Wig! Ditch the Wig!
Mrs T xx
explained the significance of the river and what the paintings of the
naked men had to do with it all, which I'm grateful to them for.
http://arts.guardian.co.uk/reviews/story/0,,1733697,00.html
Mrs T xx
Mrs Jones
the mark then!
Mrs Jones x
(Looking forward to seeing 'the wig', the stream and especially the
tight breeches on Friday.)
Jon E. Szostak, Sr.
Polish interfering with the Russian?
Jon E. Szostak, Sr.
"Jon E. Szostak, Sr." <jszostaks...@comcast.net> wrote in message
news:e8ydnX7c-or...@comcast.com...
Mrs T xx
Jon E. Szostak, Sr. wrote:
> Wait...Mrs T xx- shouldn't that be 'paDnimayesh' and 'paDnimay'? Or is my
> Polish interfering with the Russian?
>
> Jon E. Szostak, Sr.
>
There's definitely no "D" sound in the Russian
It's "ya panima-yoo, "ti panima-yesh", "on/ana/ano panima-yet" etc.
Won't write it in Cyrillic as it tends to show up funny on Google for a
lot of people
Am just annoyed that I've spent the past 3 weeks doing a real crash
course revising the grammar (in preparation for Eugene Onegin) but then
when I come face to face with my favourite Russian baritone then my
mind goes blank and I can barely string a sentence together in English,
let alone russky yazik :-(
Mrs T xx
Nika
isn't all that wrong.
Nika
Aaron M. Renn
the reviews, I was expecting bad things, particularly since I was jet lagged.
Indeed, I did yawn quite a bit in the first act. But on the whole I enjoyed
it.
I suspect that the production more so than the singing is what turned
people off. At least on further review that is what the reviews seemed
to say. It didn't bother me, though there were elements I didn't like.
For example, they put in a river, but then had several characters take
turns splashing around in it kicking water in the air to remind us that,
gosh, yes, that is water in stage. The production does beat us over the
head with things like this from time to time.
Just for the record, the naked guy isn't giving us the full monty. I've
always been skeptical of productions that use huge screen paintings to
deliver some symbolic point, and I don't think this one added anything
to the production.
Villizon has an absolutely gorgeous voice, though he didn't sound
convincingly Russian to me. I also enjoyed Hvorostovsky's
Onegin, though I'd have to agree, he mostly just stands around. And his
attempts at dancing were almost comical. The leading men in the cast
outclassed the ladies. I didn't really care for Roocroft's Tatyana
at all. I'm not sure I'd care for anything she sang, truthfully, because
I did not find her voice pleasant. As always, take this with a grain
of salt as my amateur vocal assessment.
MezzomanUK
give Roocroft another go-she is quite wonderful in the Amsterdam Don Carlo
dvd as Elisabetta-again with Villazon.
"Aaron M. Renn" <ar...@urbanophile.com> wrote in message
news:dvoipi$f0u$1...@e250.ripco.com...
La Donna Mobile
the terrace smoking, but if the temperature is anything like tonight
that might be done on brief forays...