Eugene Onegin

Last night David and I saw Tchaikovsky's Eugene Onegin at Chicago Lyric Opera. It was a treat to hear this gorgeous score once more.

Again, Chicago Lyric is spending its bucks on singers instead of scenery, which is alright with me. 



Mariusz Kwiecien sang the title role with an excellent baritone voice. He has sung this role at the Met and internationally. 



Ana Maria Martinez was Tatiana. Before the opera began someone came on stage to announce that Ms. Martinez was singing with a cold and asked the audience's indulgence. No need. She sang beautifully. 

It reminded me of a performance of Aida I heard in Vienna some years ago when the stage manager came out and announced that Ms. Price (Leontyne) would be replaced by someone, and Mr. 'whoever the tenor was' also would not sing, ending with 'Fiorenza Cossotto was ill- but would sing anyway'. Of course she tore the house down, as did Ms. Martinez.



Lensky was wonderfully sung by Charles Castronovo. This is an amazing tenor voice.



Equally fine was the Prince Gremin of Dmitri Belosselskiy. A rich sonorous voice in his one aria in the final act.

The rest of the cast sang beautifully. Chicago seems to know how to pick 'em!

Again the limitations of the Lyric stage were obvious. Basically one set, three walls which changed with the lighting, very little stage furnishings, a floor covered with leaves for the first half of the opera- that was it. Lots of chairs encircling the stage for two acts???

 Lyric's huge chorus sang wonderfully but often seemed stuffed onto the stage. Alejo Perez conducted this wonderful music.

I think I heard my dear, late mentor Olga Averino sing Tatiana's wonderful 'letter scene' at some time or other. Olga's Godfather was Modest Tchaikovsky, brother of Peter. A beautiful connection to have when hearing this opera. 

A perfect opera!

This evening David and I heard what may possibly be the most perfect operatic performance I have ever experienced. Of ANY opera!

It was the Chicago Lyric's presentation of Dvorak's magnificent Rusalka. It was sung by what may be the perfect cast. 

Rusalka  is a fairy tale of a water sprite who lives at the bottom of a river and emerges at night to walk the earth. According to legend, these creatures are the spirits of young women who died early, often after being jilted by their lovers. The tale of Undine follows a very similar path. I saw Audrey Hepburn portray this part on the Broadway stage in 1974.

Rusalka falls in love with a handsome prince who comes to the river and wants to become human so she can be with him in the world. She asks the Water Goblin how she can achieve this and he sends her to the witch, Jezibaba. She tells Rusalka that in return for turning her into a human she must remain mute whenever she is with other humans. Rusalka agrees to this and plans to marry the Prince. However, tiring of having a lover who cannot speak, he falls in love with a foreign princess, casting Rusalka out. She goes back to the witch and begs to be turned into a water sprite again. The witch tells her that this will only happen if she kills the Prince. He comes looking for Rusalka, having decided he can't live without her. She kisses him, he dies, and she is left to roam the river bank forever.

Whew! Quite a story!

Possessed of an amazingly beautiful voice, Ana Maria Martinez was Rusalka in every way. Her middle and lower range seem mezzo and contralto until she soars to sublime high notes. She even has a gorgeous messa di voce up there. This is one of the finest soprano voices I have heard in a very long time.

Equaling her in every way is Brandon Jovanovich as the Prince. He can produce stentorian high notes or give you a sweet, limpid voix mixte. His acting skills match Ms. Martinez in fervor and dedication. The two of them have performed these roles together previously which undoubtedly added to the evening's performance.

As Jezibaba Jill Grove used her wonderful mezzo voice to terrify and thrill. I would love to hear her as Azucena and Eboli. Eric Owens possesses an enormous bass-baritone voice which commanded the role of the Water Goblin.

The rest of the cast was equally fine. The set, designed by John Macfarlane, was a wonderful twisted mass of trees in Acts 1 and 3, and the palace kitchen and ballroom in Act 2. 

The orchestra was conducted by Sir Andrew Davis and was perfectly balanced with the singers at all times. This seems to be a welcome norm at Chicago Lyric. Singers don't have to shout to be heard.

All in all we were completely mesmerized by the whole production, as was the entire audience, who asked for curtain call after curtain call.

Bravo Chicago Lyric!

Dvorak was born on one of the estates of the Lobkowicz family in Bohemia. William Lobkowicz, who would be the 13th Prince Lobkowicz if titles were still used, studied voice with me at Harvard. I spent a wonderful ten days with Will and his family several years ago during which I heard a performance of Rusalka at the State Theatre in Prague.

Dvorak's wonderful score is simply beautiful beyond words and this opera marks the high point in Czech opera.