Empty stage

The Metropolitan Opera House has been more faithful to Russian opera than many important opera houses around the world outside Russia. Many Russian singers have achieved international fame at the Met – and the New York audience is quite keen on this repertoire. That said, Tchaikovsky’s Eugene Oneguin is not necessarily a work in need of advocacy – it is probably the best known Russian opera in the West and the Met accordingly gave it well-loved singers.

Robert Carsen’s production has seen some glamourous casting – it has been featured on DVD with Renée Fleming and Dmitri Hvorostovsky in leading roles – but it is not in itself a glamourous production. On the contrary, it is simplicity itself. The bare white stage receives props for each scene and colour is largely provided by Michael Levine’s beautiful costumes. In the countryside scenes, the use of autumn leaves is poetic and creates the necessary atmosphere, but the Moscow scenes just needed something. As it is, the audience has the impression of watching a rehearsal.

If I had to mention the reason for this Onegin’s sucess, I would mention Jiri Belohlavek’s conducting. To start with, the Met’s orchestra seemed transfigured – offering voluminous, rich and warm sounds throughout. Belohlavek’s noble, pensive approach fits the work melancholy – some may say that he drained a bit of the Russian-ness of the score, but I considered the gain in expressive, almost Straussian atmosphere most welcome.

Karita Mattila’s soprano is smokier and less impetuous in both ends than it used to be – but the sound is irresistibly warm and creamy. She soared in ensembles and fulfilled her solos with immense depth of feeling. Her stage portrayal, from shy teenager to socialite, was expertly produced. Ekaterina Semenchuk’s solid mezzo soprano made Olga a bit more substantial than we are used to see.  Although Thomas Hampson was a bit fazed by Act III demands, his was an intelligent and elegantly sung performance. However, Piotr Beczala will remain the audience’ s favourite member in the cast. He sung with beauty of tone, sensitivity and good taste – Nicolai Gedda is the name that came to my mind. And this is a high compliment.

Among the minor roles, Wendy White deserves praise for a smoothly sung Madame Larina and  Barbara Dever was a touching Filippyevna. James Morris, on the other hand, was a bit rusty as Prince Gremin – and the role ideally requires a darker and deeper voice.