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Csajkovszkij: Anyegin [Ermler] [Arthaus] [ ÉLŐ ]
Tchaikovsky: Eugene Onegin [Ermler] [Arthaus] |
| Pjotr Ilijics Csajkovszkij (1840-1893) |
| Urina Udalova (mezzoszoprán), Yelena Novak (alt), Alexander Arkhipov (tenor), Nikolay Baskov (tenor), Vladimir Redkin (bariton), Aik Martirosyan (basszus), Alexander Korotky (basszus), Vladimir Krasov (basszus), Maria Gavrilova (szoprán), Chorus of the Bolshoi Theatre (vegyeskórus), Boris Pokrovsky (rendező), Bolshoi Theatre Orchestra (zenekar), Mark Ermler (karmester) |
első megjelenés éve: 2000
157 perc |
| Opera |
| (2010)
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2 x DVD video |
| 6.393 Ft
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| 1. DVD video tartalma: |
| 1. | Eugene Onegin, Op.24
(Jevgenyij Anyegin)
Maria Gavrilova (szoprán), Urina Udalova (mezzoszoprán), Yelena Novak (alt), Alexander Arkhipov (tenor), Nikolay Baskov (tenor), Vladimir Redkin (bariton), Aik Martirosyan (basszus), Alexander Korotky (basszus), Vladimir Krasov (basszus), Chorus of the Bolshoi Theatre (vegyeskórus), Boris Pokrovsky (rendező), Bolshoi Theatre Orchestra (zenekar), Mark Ermler (karmester)
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Opera in 3 acts
Libretto: Konstantin Stepanovich Shilovsky, Peter Ilyich Tchaikovsky [Based: Alexander Sergeyevich Pushkin]
First performance: 17. March 1879, Moscow, Malij Tyeatr / 11. Jan. 1881, Moscow, Balsoj Tyeatr (official)
Recorded: Bolshoi Theatre, Moscow, 2000
Maria Gavrilova (Tatyana)
Vladimir Redkin (Eugene Onegin)
Nikolay Baskov (Lensky)
Aik Martirosyan (Prince Gremin)
Yelena Novak (Olga)
Urina Udalova (Larina)
Alexander Arkhipov (Triquet)
Vladimir Krasov (A captain)
Alexander Korotky (Zaretsky)
Arthaus presents a lavish and naturalistic staging of Eugene Onegin by Peter Ilyich Tchaikovsky (1840-1893) performed in Moscow, the city where the work had its world premiere on 29 March 1879. In their October 2000 production, the Bolshoi not only adopted a traditional music theatre approach, they also successfully revived a previous and popular production premiered in 1944.
A feast of music is spread before the audience for their pure enjoyment. The gifted singers are so secure in their command of the Russian idiom that the music's inner content, its lyrismo, is constantly at the fore. Vladimir Redkin with his profound, glowing baritone takes the title-role, and Maria Gavrilova sings Tatyana, her soprano gleaming at the top, is almost unequalled for warmth and radiance. This Eugene Onegin is a sumptuously arrayed feast of singing. But it is also a feast of good theatre, because it concentrates on the most important element of the tale it tells; namely the tragedy of the human soul and its suffering.
The setting and costumes are naturalistic and the drama develops its intensity primarily from the music and the text. The circumstances are with straightforward clarity. Eugene Onegin is an opera in "lyric scenes" as it is subtitled. The tone of the work is "lyrical", emotionally alert; conflicts are expressed by the intense singing and finely judged gestures of the performers alone. The direction of the acting is elegant, allowing each character to unfold note by note, without extraneous psychologizing.
This single-mindedness is a reminder of a typically Russian stage tradition, one which has been significant since the nestor of Russian theatre, Stanislavsky: the most important thing in creating a character is always to assume and establish the line that the role pursues in the action. Everything else, including external delineation of the role, will follow from that. This has a particular advantage for singers: their development is planned in advance and for that reason they can move freely within the given framework. |
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