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msand3's review
3.0
2.5 stars. Despite the libretto’s strong link to the excellent source material, this is an uneven opera. Tchaikovsky’s music is muted in the first act, sounding almost like an average old Hollywood film score. Only in Act II, especially the cotillion scene, and the beginning of Act III do we experience the power of Tchaikovsky’s lively composition.
The driving theme of the opera remains the same as Pushkin’s original text: we desire what we can never obtain and, in the process, overlook, take for granted, and/or destroy the bonds that we do have. Selfish love (ranging from playing insincere parlor games to engaging in an over-idealized fantasy) can only end in heartache or unrequited feelings. Tatiana breaks this vicious cycle by denying her misleading desire and remaining true to her word in an act of selflessness that ensures her honor remains intact even as her heart remains broken. Giving in to Onegin's pleas would only extend the cycle of destruction.
The emotional impact derives almost entirely from Pushkin’s verse, with the opera just riding on the tailcoats. It’s a shame because there are great moments here -- particularly the cotillion in Act II and Gremin’s passionate description of finding love in Act III -- but it’s not enough to carry the opera for me.
The driving theme of the opera remains the same as Pushkin’s original text: we desire what we can never obtain and, in the process, overlook, take for granted, and/or destroy the bonds that we do have. Selfish love (ranging from playing insincere parlor games to engaging in an over-idealized fantasy) can only end in heartache or unrequited feelings. Tatiana breaks this vicious cycle by denying her misleading desire and remaining true to her word in an act of selflessness that ensures her honor remains intact even as her heart remains broken. Giving in to Onegin's pleas would only extend the cycle of destruction.
The emotional impact derives almost entirely from Pushkin’s verse, with the opera just riding on the tailcoats. It’s a shame because there are great moments here -- particularly the cotillion in Act II and Gremin’s passionate description of finding love in Act III -- but it’s not enough to carry the opera for me.
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