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Eugene Onegin
If you wanted to cast a performance of Eugene Onegin in English, you almost couldn't ask for a better lineup than the one you have here. John Shirley-Quirk brings youthful ardor to the title role. His rejection of Tatyana in Act I is done with brotherly kindness as opposed to callow indifference, which helps to keep the character somewhat sympathetic. Margaret Price's pure spinto soprano is ideally cast in the role of Tatyana. She managed to convince this listener of her metamorphosis from naive teenager in Act I to a self-possessed woman of the world in Act III. Robert Tear shows that when given the opportunity to sing a romantic tenor role, he was more than up to the task. As Gremin, Don Garrard's sumptuous tone almost denudes any illusion of an older man. And you are reading right that the Triquet is none other than Roger Norrington. He was a tenor in his early days.
Track List
Act I
1. The garden of the Larin country estate
2. The garden of the Larin country estate
3. The garden of the Larin country estate
4. The garden of the Larin country estate
5. The garden of the Larin country estate
6. The garden of the Larin country estate
7. The garden of the Larin country estate
8. Tatyana's room
9. Tatyana's room
10. Tatyana's room
11. Tatyana's room
12. Another part of the estate
13. Another part of the estate
2. The garden of the Larin country estate
3. The garden of the Larin country estate
4. The garden of the Larin country estate
5. The garden of the Larin country estate
6. The garden of the Larin country estate
7. The garden of the Larin country estate
8. Tatyana's room
9. Tatyana's room
10. Tatyana's room
11. Tatyana's room
12. Another part of the estate
13. Another part of the estate
Act II
14. The ballroom of the Larin house
15. The ballroom of the Larin house
16. The ballroom of the Larin house
17. The ballroom of the Larin house
18. The ballroom of the Larin house
19. On the banks of a wooded stream
20. On the banks of a wooded stream
21. On the banks of a wooded stream
22. On the banks of a wooded stream
15. The ballroom of the Larin house
16. The ballroom of the Larin house
17. The ballroom of the Larin house
18. The ballroom of the Larin house
19. On the banks of a wooded stream
20. On the banks of a wooded stream
21. On the banks of a wooded stream
22. On the banks of a wooded stream
Act III
23. The house of a rich nobleman in St Petersburg
24. The house of a rich nobleman in St Petersburg
25. The house of a rich nobleman in St Petersburg
26. The house of a rich nobleman in St Petersburg
27. The house of a rich nobleman in St Petersburg
28. A room in Prince Gremin's house
29. A room in Prince Gremin's house
24. The house of a rich nobleman in St Petersburg
25. The house of a rich nobleman in St Petersburg
26. The house of a rich nobleman in St Petersburg
27. The house of a rich nobleman in St Petersburg
28. A room in Prince Gremin's house
29. A room in Prince Gremin's house
Customer Reviews
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4.7
Based on 3 reviews
✓ Verified Buyer
United States
Lovely Performance, Small Cut
It should be noted that the "recognition quartet" beginning after Lensky's introduction of Onegin to the family.
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✓ Top Reviewer
United States
Beautiful Onegin Sung in English!
This is an example of how opera in English can be so effective. The singers here all have excellent diction. I had no difficulty following the plot or situations. Yes, the translation is a little stilted, but it's easy to follow and conveys the gist of the original Russian libretto.Price sings very beautifully as Tatiana. There is a little of Jane Austin about her, but that's not inappropriate to the story or situation. Shirley-Quirk is a more sympathetic Onegin than usual and sings extremely well with that distinctive sound of his. Tear is an excellent Lensky, not as mellifluous as some, but touching all the same. Minton is a lively Olga and Bainbridge an admirable Filipievna. It's a treat to have Norrington as Triquet (fortunately, he's not conducting!). Garrard is a very beautiful Gremin, making one wish his part was longer. Lloyd-Jones is a strong conductor and demonstrates why he was considered a Tchaikovsky expert.The sound is very good. Lensky must die of a heart attack as there is no sound of the gun going off! Less messy anyway...Highly recommended to Tchaikovsky fans and lovers of opera in English.
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✓ Top Reviewer
United Kingdom
richard inverne
It's fascinating to have these well-known singers in a TV production like this. The BBC was to be commended at the time for taking studio opera seriously and (for the most part) performing them complete. I find the three leads somewhat problematic. Price, whilst vocally glorious, is a bit prim-and-proper and too much the English (or Welsh!) "gel"...the word 'Marschallin' comes to mind...but part of the problem may be the somewhat stilted translation. Tear was to grow more comfortably into Lensky when he performed it at Covent Garden (also in English) some 5-6 years later; here he's not melifluous or ardent enough but still more than decent. Shirley-Quirk is -for me- too dark-toned; I hear little of the 'youthful ardor' commented upon by Andy. A kindly uncle (or Germont?) rather than Pushkin's callow, selfish youth. Still, he's vocally very rich and that's a recommendation in itself. Garrard is wonderful and was often so as Gremin in the theatre. I tip my hat at CG regulars Minton and Bainbridge. Norrington was indeed a tenor before he became a conductor. I remember a performance of Monteverdi's Ulisse when there was an understudy singing Telemaco. The singer had done very well until a point in the last act when he just forgot either the vocal line or the words. I was sitting in the front row at Poole Arts Centre and heard and saw Norrington simply start singing the lines until the (other) tenor recovered!
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