I really don't like Skovhus' strange vocalism in this role... His odd straight tones, unsupported soft notes and occasional flat intonation drive me crazy.
First time the final moments of that duet did not move me AT ALL. The crass inaccuracies are downright comical and the suicide melodrama at the elevator (?) was so unrealistic and dumb, it's incredible. Never mind that I wasn't fond of Stoyanova's shrill voice. her unflattering gown and pathetic acting. And Skovhus...Jesus, I have heard him do MUCH better before.
Translation into English (the novel final chapter): Tatyana has left. Onegin costs, as amazed with a thunder, In its heart it is a lot of feelings and experiences. But the prince and Onegin has in the doorway seemed has left. Has left for ever.
Heroes of an opera should be more simple, but at the same time more noble. Many European statements of an opera "Evgenie Onegin" are far from Tchaikovsky true plan. But thanks to their good executors it is possible to look.
XLVIII Она ушла. Стоит Евгений, Как будто громом поражен. В какую бурю ощущений Теперь он сердцем погружен! Но шпор незапный звон раздался, И муж Татьянин показался, И здесь героя моего, В минуту, злую для него, Читатель, мы теперь оставим, Надолго... навсегда. За ним Довольно мы путем одним Бродили по свету. Поздравим Друг друга с берегом. Ура! Давно б (не правда ли?) пора!
Onegin - the young man, a noble nobleman. It very cold on character. Why Skovhus all time bends down and in general behaves, how Tonio in an opera "I Pagliacci" Leonkavallo? What for mass meeting and the prince with security guards is necessary in the ending?
Absolutely not clear there is a final scene of an opera. To Tatyana of 20 years. Her have married to rich prince Gremina (in Pushkin's novel the surname isn't mentioned). Why Onegin behaves, how the madman, and Olga - the unfortunate woman and all left?
Tatyana has heard Evgenie's steps. For fear and excitement has run across in other room, from a room has run out on a porch, from a porch in a court yard, and from there in a garden and has run so quickly that has broken all bushes of a lilac. Ran through the bridge, a meadow, was afraid to look back back. Ran on beds, through wood and avenue.
Example from Pushkin's novel. XXXVIII И между тем душа в ней ныла, И слез был полон томный взор. Вдруг топот!.. кровь ее застыла. Вот ближе! скачут... и на двор Евгений! «Ах!» — и легче тени Татьяна прыг в другие сени, С крыльца на двор, и прямо в сад, Летит, летит; взглянуть назад Не смеет; мигом обежала Куртины, мостики, лужок, Аллею к озеру, лесок, Кусты сирен переломала, По цветникам летя к ручью. И, задыхаясь, на скамью XXXIX Упала... «Здесь он! здесь Евгений! О боже! что подумал он!»
Olga was 17 years old when it has met for the first time Onegin. It was not the love, and love, children's love. Tatyana has written Onegin the love letter then itself it was terrified to that has made. And before appointment to Oneginym in a garden, only having seen it from it is far, ran so quickly for fear and shame that broke small fences, jumped through a grass and so forth. This scene is very well described at Pushkin and as Tchaikovsky by means of music has represented this scene.
When Tchaikovsky wrote an opera, he, together with the librettist, entirely leaned against the text of the novel of Pushkin. Hence, the opera "Evgenie Onegin" is not a serious psychological drama to what have presented in Amsterdam, and only lyrical scenes from Russian life of a XIX-th century of noble family.
oices at actors the good. Best Bo Skovhus, from the vocal point of view. But as to actor's skill and performance statement - very weak execution. First, at once it is visible that the director and executors of the main parties, except Elena Maksimovoj and Andrey Dunaev, didn't read Pushkin's novel "Evgenie Onegin". In this statement characters of Onegina and Tatyana aren't thought over absolutely not.
I really don't like Skovhus' strange vocalism in this role... His odd straight tones, unsupported soft notes and occasional flat intonation drive me crazy.
MaestroOpera 4 months ago
Valiente payasada! Uno de los finales más impresionantes de toda la historia de la ópera reducido a semejante esperpento. Y van...
xavisuescun 4 months ago
First time the final moments of that duet did not move me AT ALL. The crass inaccuracies are downright comical and the suicide melodrama at the elevator (?) was so unrealistic and dumb, it's incredible. Never mind that I wasn't fond of Stoyanova's shrill voice. her unflattering gown and pathetic acting. And Skovhus...Jesus, I have heard him do MUCH better before.
Elisabetta611 6 months ago
Translation into English (the novel final chapter): Tatyana has left. Onegin costs, as amazed with a thunder, In its heart it is a lot of feelings and experiences. But the prince and Onegin has in the doorway seemed has left. Has left for ever.
Heroes of an opera should be more simple, but at the same time more noble. Many European statements of an opera "Evgenie Onegin" are far from Tchaikovsky true plan. But thanks to their good executors it is possible to look.
ZyablovB 6 months ago
ZyablovB 6 months ago
Onegin - the young man, a noble nobleman. It very cold on character. Why Skovhus all time bends down and in general behaves, how Tonio in an opera "I Pagliacci" Leonkavallo? What for mass meeting and the prince with security guards is necessary in the ending?
Example from Pushkin's novel.
ZyablovB 6 months ago
Absolutely not clear there is a final scene of an opera. To Tatyana of 20 years. Her have married to rich prince Gremina (in Pushkin's novel the surname isn't mentioned). Why Onegin behaves, how the madman, and Olga - the unfortunate woman and all left?
ZyablovB 6 months ago
Having seen at a stream a bench, choking has fallen to it. "Here Evgenie, - Tatyana, - about My God has told, what he has thought?"
... Onegin has only let know to the girl that it too small for it ("you wrote to me, don't open"). Here and all history.
ZyablovB 6 months ago
Translation into English:
Tatyana has heard Evgenie's steps. For fear and excitement has run across in other room, from a room has run out on a porch, from a porch in a court yard, and from there in a garden and has run so quickly that has broken all bushes of a lilac. Ran through the bridge, a meadow, was afraid to look back back. Ran on beds, through wood and avenue.
ZyablovB 6 months ago
ZyablovB 6 months ago
Olga was 17 years old when it has met for the first time Onegin. It was not the love, and love, children's love. Tatyana has written Onegin the love letter then itself it was terrified to that has made. And before appointment to Oneginym in a garden, only having seen it from it is far, ran so quickly for fear and shame that broke small fences, jumped through a grass and so forth. This scene is very well described at Pushkin and as Tchaikovsky by means of music has represented this scene.
ZyablovB 6 months ago
When Tchaikovsky wrote an opera, he, together with the librettist, entirely leaned against the text of the novel of Pushkin. Hence, the opera "Evgenie Onegin" is not a serious psychological drama to what have presented in Amsterdam, and only lyrical scenes from Russian life of a XIX-th century of noble family.
ZyablovB 6 months ago
oices at actors the good. Best Bo Skovhus, from the vocal point of view. But as to actor's skill and performance statement - very weak execution. First, at once it is visible that the director and executors of the main parties, except Elena Maksimovoj and Andrey Dunaev, didn't read Pushkin's novel "Evgenie Onegin". In this statement characters of Onegina and Tatyana aren't thought over absolutely not.
ZyablovB 6 months ago