Classical and Jazz: Review - Eugene Onegin for ENO at the London Coliseum
Published: 17 November, 2011
by SEBASTIAN TAYLOR
Easy-listening Tchaikovsky is turned into easy-opera in Deborah Warner’s luscious production of Eugene Onegin for the English National Opera at the Coliseum, a co-production with the Metropolitan Opera House in New York.
The Tchaikovsky cognoscenti may be disappointed by the lack of new insights or interpretations from a theatrical director of Warner’s experience.
But this production is so pleasing in so many res pects – and much of the singing and orchestral play ing under conductor Edward Gardner is so well executed – that it deserves to become an ENO crowd-puller.
It’s not just a “must” for seasoned opera buffs; it will provide a most rewarding evening out for newcomers wanting to try out opera for the first time.
Much of the produc tion’s charms spring from Warner’s use of splendid sets to maintain the balance and the contrast between crowd scenes and the key solos and duets, between the country dancing, birthday party and ballroom scenes and the love-interest and killing sequences.
South African soprano Amanda Echalez rises to the challenge of young Tatyana’s famed bed room scene where she composes her love-letter to Onegin, sung adequately by Audun Iverson, and his rejection of her love is well-handled in their duet.
Islington-based lyric tenor Toby Spence provides an exemplary performance as Lensky who is challenged to a duel and killed by Onegin. It’s a vital part that contributes so much to the tensions between the protagonists, and Spence demonstrates again that he’s becoming one of our finest tenors, with colour, tone and strength in depth.
A couple of nice Warner touches demonstrate how Tatyana matures into a strong woman in control. Early on, when Onegin spurns Tatyana’s love, he plants a perfunctory kiss on her before he striding off.
Then, years later in the last minutes of the opera, it’s Tatyana’s turn to spurn Onegin’s love.
Warner silences the orchestra while Tatyana gives Onegin a long, loving kiss before striding off to continue her life married to an elderly prince.
Now it’s Onegin who’s rejected, dejected, sad and ashamed, Warner making sure he’s paying the price for trifling so cruelly with a young woman’s affections.
• November 18, 23, 25, 29, 7pm; November 20, 3pm; and December 3, 6pm. From £22, English National Opera, Coliseum, St Martin’s Lane, WC2, 0871 911 0200,www.eno.org