Dmitri Hvorostovsky - Eugene Onegin - Act III Arioso

[sopranoms]

Mr. Hvorostovsky makes me like Onegin=).

[po1212Po]

HVOROSTOVSKY IS GREAT SINGER AND EVEN MORE!

[poggiline]

Can someone tell me who did the staging? I like it very much. But Gergiev is terrible. To be honest I don´t hear any interpretation...It´s just playing notes - as always with him...

[slawayaru]

SIMPLY WONDERFUl! And GERGIEV!!! I could have guessed that it is him conducting! Great interpretation!

[durandal87]

I adore this, zounds! 5000 stars and immediately amongst my preferred videos!

[rrgallo]

I like the lighting effect...especially the contrast achieved by turning on the light at the end of the aria and showing the other guests having the time of their lifes dancing...I just love it....

[plumbago]

Why did they do that with the lighting, making a huge shadow on the wall? Anyone?

[echen2000]

The lighting in this production is supposed to reflect the emotional state of the character. Here Onegin is in borderline madness after realizing his deep folly. The shadows, the high contrast lighting and the frentic dance steps all reflect his deranged mind.

[plumbago]

Thank you. It kind of reminded me of monster lighting, although I don't see Onegin as a bad guy either. He just wasn't in love with her and told her so, as nicely as possible.

[echen2000]

I agree. Onegin's downfall was not his rejection of Tatyana per se but his cynicism towards love and happiness, and his inability to back out of the duel. The rejection scene is actually the only time he was honorable.

[BrucknerEnthusiast]

I'm not sure Onegin is honourable even here; he gives no thought to whether Tatiana is settled in a worthwhile relationship with Prince Gremin. But Onegin is a fascinating character, and ultimately a sympathetic one. Even in the 19th-century Tchaikovsky wasn't viewed as being particularly faithful to Pushkin; it's easy for different listeners to interpret the characters in contrasting ways, depending on whether they knew the original poem first, or Tchaikovsky's opera.

[echen2000]

I agree the book and the opera affects one's interpretation differently. In the book, Onegin never asked Tatyana to leave her husband. I also liked the way Hvorostovsky played the ending. His pleas gave the impression of madness and delusion more than selfish calculation.

[rmm413]

I too (really) wish that I had been there. I've seen this artistic team perform before together at the Met (Hvorostovsky, Fleming, Vargas, Gergiev in Traviata), and I thought they were wonderful together then, as they are now in this Onegin. Thank you very much for posting these clips.

[hightenor123]

My friend who was in the house said Dimitri was covered during this aria completely, I wonder how they manipulate it on the broadcast?

[rmm413]

The microphones are placed at the foot of the stage and are thus closer to the singers than the orchestra is. I've noticed that this often distorts the sound of the singers between the house and the broadcast. At any rate, the three times I've seen Hvorostovsky at the Met, I could always hear him fine (and he always sounded great).

[echen2000]

I was at the Met, and Dmitri was not covered by the orchestra in this aria. In fact, this is part of his mot heart-felt singing of the night. I think your friend meant he covered his high notes here, which he did.

[egrosz]

But Valery Gergiev was in Israel and conducted some

Opera.One of them was the Prokofiev's very interesting opera "The Fiery Angel"

[egrosz]

I regret that I was not there.I was in Met only once in my life,and I saw Aida.

[Gabba02]

I've been three times. I saw Rigoletto with Pons and Rost; Barbiere with Florez, and Madama Butterfly with Villaroel. This was all in 2003 (when I was living in New York). All were wonderfully staged and performed. It is a truly great opera house, with a great reputation.