A strong revival of Eugene Onegin at the Metropolitan Opera and a recital by Benjamin Bernheim offered the chance to hear “Kuda, kuda” twice in two days.
The Ralph Fiennes production of Eugene Onegin at the Paris Opera is just…fine.
I was reminded at the Met’s season premiere of Eugene Onegin Friday night always to expect the unexpected.
Is there any opera that can take more of a beating while still making an impact than Eugene Onegin?
Is there a more gorgeous male voice before the public today than Peter Mattei’s? Has Anna Netrebko ever sounded better?
Pytor Ilyich Tchaikovsky’s Eugene Onegin is his masterwork and its themes of social convention and unrequited longing surely struck a deep chord in a composer who, in late 19th century Russia, was gay and had to conduct himself carefully.
Last night, the Met opened the 2013-14 season with a handsome, fairly conservative new production of Eugene Onegin by Deborah Warner that replaces the handsome, fairly conservative one by Robert Carsen. (The trend is clear.)
I have been a devotee of Berlioz’s Les Troyens since I first discovered the Covent Garden recording conducted by Colin Davis.
Les Troyens is one of those things, or often two of those things, that should be a big event or it practically needn’t happen at all.* The keynote is grandiosity in the best way, from the subject to the musical demands (let’s include the implicit challenge of one singer performing both Cassandre and Didon—not because…
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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