Tchaikovsky – Evgeny Onegin

One day I will write a proper essay on Evgeny Onegin, maybe in the form of comparative study between the novel and the opera. But for right now I just want to jot down some spontaneous thoughts on what is, in my opinion, Tchaikovsky's greatest work as well as my favourite opera.

I am a fan of all things Russian; music, language, ballet and women. 

Evgeny Onegin is my favourite opera and also my favourite work by Tchaikovsky.

N.B. I refuse to refer to it as “Eugene Onegin” as English speakers often do, as, to quote my Russian piano teacher, “Eugene is not even close to Evgeny!”.

Even more that Boris Godunov, I think this is the greatest of all Russian opera.

I find it hard to articulate exactly why I love this work but I will attempt to do so.

Firstly I love the libretto, based on Pushkin’s novel in verse (which is my absolute favourite book).  The story is certainly one of the most captivating ones set to music (Carmen is another).

I empathise strongly with both Tatiana and the ill-fated Lensky.  Both are people in love for the first time, and idealise the objects of their affection. Tatiana projects all the heroes of her favourite novels into Onegin's image, while Lensky… actually I don’t know what Lensky sees in Olga, who doesn’t seem to offer much beyond a pretty face and lively personality. It’s heartbreaking that Lensky threw away his life for such a woman! I certainly would’ve fallen for Tatiana myself.

Tatiana's letter, sung by the wonderful Galina Pisarenko:

 

Tchaikovsky clearly recognised the emotional plight of the two figures and gave them the stand out arias from the work; the letter scene for Tatiana and the “куда куда вы удалились” (where have you gone…) soliloquy for Lensky. The former is full of hope and passion while the latter is wistful and longing, yet both make my heart break for the characters. By given these characters better music than of our eponymous hero, Tchaikovsky is tipping his hand a bit; it’s quite clear he doesn’t care for Onegin. Indeed, Tatiana’s husband, Prince Gremin is given a beautiful aria of his own, whereas he barely makes an appearance in Pushkin’s poem.

 Lensky's aria, sung by the incomparable Sergey Lemeshev (he really owns this role):

 

Musically, what impresses me the most is how well Tchaikovsky has set Pushkin’s text (which is often quoted in its original form).  At no point does it feel like “Aria”, now “Recitative”, now “Aria” etc. Rather each seems to progress naturally from one to the other in a continuous manner.

Tchaikovsky sometimes struggled with form in his works, but this tendency is not present in Evgeny Onegin. In fact he displays considerable skill in the way he organises and develops his thematic material. For example I think it’s a masterstroke to bring the “Letter scene” theme when the tables are turned and it is Onegin pleading his love to Tatiana.

I also like that vocally we have not just the typical Sopranos and Tenors but also a Bass-baritone (Onegin) and a Contralto (Olga) in major roles. I'm also a sucker for lyric voices.