PostHeaderIcon Opera The Second Time Around

It is always instructive to read a book or see a movie twice though I rarely do.  You see some things differently or what you may have missed the first time and thus gain greater enjoyment. The same with opera. I  had that experience recently seeing two opera productions of  “Eugene Onegin”. The first production was at Chicago’s Lyric Opera in March and the second time with the Metropolitan Opera’s MetLive HD screening two weeks ago.

I have written how much I enjoyed Lyric’s staging, a beautiful, minimalist conception, by noted opera director, Robert Carsen. The Met’s version was a sumptuous grand opera staging of Tchaikovsky‘s score. The director was Deborah Warner and she shepherded a lively production featuring a superb cast in the leading roles and stunning choreography in the opera’s opening sequence and the third set’s        Opera Ball with its iconic waltz theme.

Anna Netrebko in Met's Eugene Onegin

Anna Netrebko in Met production

The MetLive production was a delicious bon bon with pleasing features but, as I watched it unfold over four hours, I kept thinking of the less-opulent Lyric performance. Carsen made us see the opera essentially as a wrenching love story that centered around two ill-fated love letters. The first letter was Tatiana’s innocent declaration of love to Onegin while the second was Onegin’s desperate appeal to win back Tatiana.

Peter Mattei in Eugene Onegin

Peter Mattei

I thought the Met’s Onegin, tenor Peter Mattei, was vocally a shade richer than Lyric’s Marius Kwiecien, Anna Maria Martinez‘s acting performance as Tatiana  was superior to the Met’s Anna Netrebko. Though Netrebko is opera’s reigning diva, I thought the role was not suited to her. It just seemed too impossible to picture her as an innocent, teenage girl. The screening stayed focused fairly close-up on her face and one saw a mature woman. While believability is not always respected in opera, I see it as a key component in winning an audience’s heart.

The next and last of Fathom Event’s MetLive HD season is Strauss’ beloved “Der Rosenkavalier” on this Saturday, May 13thI am especially anxious to see this production since the director is the same Robert Carsen who, once again, is winning raves for updating the action from 19th Century to Vienna to before the outbreak of World War I. It will also be my fifth time seeing this opera. Yet I anticipate it will reveal new insights which is one of the many pleasures opera provides.

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