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Subject: Re: Portrayal of Triquet in Eugene Onegin
From: Michael Kaye <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Sun, 26 Feb 2017 19:31:25 -0500
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Actually, Monsieur Triquet's song for Tatiana is Tchaikovsky's arrangement
of a song with words and music by the French composer, playwright, and
painter Amédée de Beauplan (1790-1853), entitled "Le repos" (Reposons-nous
ici tous deux). In the opera, the new lyrics for Monsieur Triquet were
provided by co-librettist Konstantin Shilovsky.

"Le repos" can be found online on pages 172-175 in Volume 3 of "Échos de
France" at http://imslp.org/wiki/Échos_de_France_(Various)

Michael Kaye

On Sun, Feb 26, 2017 at 6:16 PM, Stephen Lord <[log in to unmask]>
wrote:

> He is MONSIEUR TRIQUET so needs to be treated by the guests with great
> respect as he is a Francophone. He is older as his song is set to an
> accompaniment similar to bel canto, thus being a throwback as the time of
> bel canto was done when the opera was written. No need for foppish
> behavior. Just a gentleman in a 19th century oh so refined way
>
> Sent from my iPad
>
> > On Feb 26, 2017, at 5:31 PM, Alain Letort <[log in to unmask]> wrote:
> >
> > This certainly is the way I have ever seen Triquet portrayed, including
> my very first
> > «Eugene Onegin», seen on 18 January 1969 at the Paris Opéra performed by
> the Bolshoi
> > Opera on tour.  The excellent cast included Yuri Mazurok as Onegin,
> Vladimir Atlantov as
> > Lensky, Galina Vishnevskaya as Tatiana, Mark Reshetin as Gremin, and
> Vitali Vlassov as
> > Triquet.  Mstislav Rostropovich («Monsieur Vishnevskaya», if I may be
> allowed that
> > solecism) conducted.  bizarrely, the triquet couplets were suing
> entirely in Russian, and
> > not in a mixture of French and Russian as originally written.  One would
> think the Bolshoi
> > would have made this small concession as a courtesy to its French
> audience.  Of course in
> > those days I didn’t know any better, I had not even heard a recording of
> Onegin or seen a
> > score.
> >
> > The production was traditional and lavish in the extreme.  The ballroom
> scene with the
> > «polonaise» took everyone’s breath away.  By the way, I believe those
> sold-out Bolshoi
> > performances were the first that Paris had ever seen of «Eugene Onegin».
> >
> > I note that the Aria Database describes the role of Triquet as belonging
> to the «buffo
> > tenor» Fach, which seems to confirm your impression (see
> http://www.aria-
> > database.com/cgi-bin/aria-search.pl?opera=Eugene+Onegin).
> >
> > And now back to «Onegin», the «polonaise» is starting !!!
> >
> > Cheers and all the best,
> >
> > Alain
> >
> > Alain Letort
> > Washington, D.C.
> > The Belly of the Beast
> >
> >
> > =====================================================
> >
> >> On Sun, 26 Feb 2017 22:07:56 +0000, Trish Callis <
> [log in to unmask]> wrote:
> >>
> >> The two productions I have seen treated Triquet as a dim-witted fop.
> Does anyone
> > know if this has always been the performance tradition?
> >>
> >> Patricia L. Callis (Trish)
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