Eugen Onegin - Schedule, Program & Tickets
Eugen Onegin
Lyrical scenes in three acts
Libretto by Konstantin Schilowskij and Pyotr I. Tchaikovsky
after Pushkin's verse novel "Eugene Onegin"
World premiere on March 29, 1879 in Moscow
Premiere at the Deutsche Oper Berlin on September 28, 1996
In Russian with German and English surtitles
3 hours / one break
The young poet Lenskij is engaged to the fun-loving Olga. When he introduces his friend Eugene Onegin to the house of his future mother-in-law, the landowner Larina, this great impression is made on Olga's sister Tatjana, a shy and dreamy girl who falls in love with the world-famous Onegin. In a letter, she confesses her love for him, but he has no understanding for her and rejects her. Tatjana's misfortune is exacerbated by Onegin courting her mother Olga during a ball to provoke his friend Lenskij. It comes to a scandal. The jealous Lenskij challenges Onegin to a pointless duel and is killed. Onegin flees abroad and only returns home years later. At a splendid festival in St. Petersburg, he meets Tatiana again, who has become the wife of Prince Gremin. Onegin realizes sadly who he lost then. He tries passionately to recover Tatjana, but she is committed to her marriage, although she still loves him. Onegin stays alone.
EUGEN ONEGIN, alongside PIQUE DAME Pyotr I. Tchaikovsky's best-known opera, is also one of his finest stage works of all. The search for a suitable material had been difficult, for he had precise ideas: "I do not want anything that is part of the so-called Grand Opera. I look for an intimate but powerful drama built on the conflict that really touches me. At the same time I do not disdain the fantastic element; for it knows no obstacles, because the kingdom of the imagination knows no bounds. "[Letter of January 14, 1878]
Pushkin's verse novel Eugene Onegin met his wishes very well. The external action seemed unspectacular, except for the duel, but the conflicts of the persons involved went straight to the heart and corresponded in many ways to Tchaikovsky's own experiences. Emotions of all shades - melancholy, longing, passion and grief over a botched life - characterize the musical image, which is enriched by rousing choirs and swinging dances and complemented by folk song moments.
In the staging of the Deutsche Oper Berlin, these scenes are among the most colorful and charming of the whole opera. Tchaikovsky was particularly fascinated by the figure of Tatyana, which gave him occasion for one of the most beautiful letter scenes in opera history. Each of the characters involved had their own charm: the merry Olga, the rapturous Lensky, or the dignified Prince Gremin, who has only a short but impressive appearance, and of course the title-hero, who goes through a significant development in the course of the work , The episodic arrangement of the work does not correspond to the traditional opera dramaturgy, but that is what the composer had already rejected before. On the contrary, it forms the basis for the special atmosphere that permeates these "lyrical scenes," as Tchaikovsky called his opera, and is a special feature of Slavic opera in general. For the director Götz Friedrich, however, it is one of the peculiarities of this work in particular, "that the scenes of the Onegin do not unroll patriotic images of history or use national legends, but rather that they introduce complicated inner processes of rather unheroic people in everyday social life in scenic-musical sequences ... The Lyric Scenes, beginning with Tatjana's yearning motif, end with Onegin's loneliness, his sense of damnation. Where does he fall? Into nothing? To a new meaning of life? "
Subject to change.
Libretto by Konstantin Schilowskij and Pyotr I. Tchaikovsky
after Pushkin's verse novel "Eugene Onegin"
World premiere on March 29, 1879 in Moscow
Premiere at the Deutsche Oper Berlin on September 28, 1996
In Russian with German and English surtitles
3 hours / one break
The young poet Lenskij is engaged to the fun-loving Olga. When he introduces his friend Eugene Onegin to the house of his future mother-in-law, the landowner Larina, this great impression is made on Olga's sister Tatjana, a shy and dreamy girl who falls in love with the world-famous Onegin. In a letter, she confesses her love for him, but he has no understanding for her and rejects her. Tatjana's misfortune is exacerbated by Onegin courting her mother Olga during a ball to provoke his friend Lenskij. It comes to a scandal. The jealous Lenskij challenges Onegin to a pointless duel and is killed. Onegin flees abroad and only returns home years later. At a splendid festival in St. Petersburg, he meets Tatiana again, who has become the wife of Prince Gremin. Onegin realizes sadly who he lost then. He tries passionately to recover Tatjana, but she is committed to her marriage, although she still loves him. Onegin stays alone.
EUGEN ONEGIN, alongside PIQUE DAME Pyotr I. Tchaikovsky's best-known opera, is also one of his finest stage works of all. The search for a suitable material had been difficult, for he had precise ideas: "I do not want anything that is part of the so-called Grand Opera. I look for an intimate but powerful drama built on the conflict that really touches me. At the same time I do not disdain the fantastic element; for it knows no obstacles, because the kingdom of the imagination knows no bounds. "[Letter of January 14, 1878]
Pushkin's verse novel Eugene Onegin met his wishes very well. The external action seemed unspectacular, except for the duel, but the conflicts of the persons involved went straight to the heart and corresponded in many ways to Tchaikovsky's own experiences. Emotions of all shades - melancholy, longing, passion and grief over a botched life - characterize the musical image, which is enriched by rousing choirs and swinging dances and complemented by folk song moments.
In the staging of the Deutsche Oper Berlin, these scenes are among the most colorful and charming of the whole opera. Tchaikovsky was particularly fascinated by the figure of Tatyana, which gave him occasion for one of the most beautiful letter scenes in opera history. Each of the characters involved had their own charm: the merry Olga, the rapturous Lensky, or the dignified Prince Gremin, who has only a short but impressive appearance, and of course the title-hero, who goes through a significant development in the course of the work , The episodic arrangement of the work does not correspond to the traditional opera dramaturgy, but that is what the composer had already rejected before. On the contrary, it forms the basis for the special atmosphere that permeates these "lyrical scenes," as Tchaikovsky called his opera, and is a special feature of Slavic opera in general. For the director Götz Friedrich, however, it is one of the peculiarities of this work in particular, "that the scenes of the Onegin do not unroll patriotic images of history or use national legends, but rather that they introduce complicated inner processes of rather unheroic people in everyday social life in scenic-musical sequences ... The Lyric Scenes, beginning with Tatjana's yearning motif, end with Onegin's loneliness, his sense of damnation. Where does he fall? Into nothing? To a new meaning of life? "
Subject to change.
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