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Subject: Re: Eugene Onegin (Not a good opera)
From: Kenneth Bleeth <[log in to unmask]>
Reply-To:Kenneth Bleeth <[log in to unmask]>
Date:Tue, 22 Aug 2017 16:15:42 -0400
Content-Type:text/plain
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text/plain (131 lines)


Once, "Gremlin" is a (possible) typo. Twice, it's hilarious.

"The Polish baritone" = Mariusz Kwiecien

"Pitor" = "Piotr"



On Tue, Aug 22, 2017 at 3:44 PM, tom ponti <[log in to unmask]> wrote:

> While Eugene Onegin will never be one of my very favorite operas, I do
> enjoy it, especially with an outstanding cast. The performance I saw on TV
> Sunday was excellent, but I preferred the cast of a few years ago. Anna
> looked and sounded more girlish then. I found the Polish baritone more
> appealing than Mattei, though he also sang his role very well. I preferred
> Pitor to this Lensky. I really do not like the staging of the Letter Scene,
> it seems rather silly to me. This Gremlin had a wonderful voice, but unlike
> just about all, I preferred the previous Gremlin. He looked and sounded
> older, which seemed more appropriate  to me. Also, I thought he sang with
> more feeling in his great aria. Still, this was a very enjoyable
> performance. As for Tchaikovsky, I love his music, especially the s--t
> first piano concerto, one of my very favorite classical musical
> compositions. Perhaps Herr Reiner had been conducting too much Wagner at
> that time? Whatever, Horowitz was going to play the concerto his way,
> anyway.  Interesting that such a lousy concerto could be so loved and
> played by probably every great pianist of all time.
>
> ________________________________
> From: Discussion of opera and related issues <[log in to unmask]>
> on behalf of Max D. Winter <[log in to unmask]>
> Sent: Tuesday, August 22, 2017 3:04 PM
> To: [log in to unmask]
> Subject: Re: [OPERA-L] Eugene Onegin (Not a good opera)
>
> I find "Eugene Onegin" to be a profound opera, not superficial or
> sentimental at all.  In
> addition to the extraordinary letter scene and the duel, there is that
> very moving little scene
> between Onegin and Tatiana, in which Onegin is trying to be kind to her in
> a condescending
> way, and she is so humiliated, having made herself completely vulnerable
> with her letter
> and now finding herself not only rejected, but patronized.  Now that is
> very true to life.
> Which of us has not been in that position at some time - on either side of
> the dialogue?
>
> But the greatest scene of all, IMO, and one with has genuine human
> tragedy, is the final
> scene between Onegin and Tatiana.  No melodrama here, just human truth:
> two people who
> might have been happy together but the timing was wrong and they missed
> the boat, and
> now they will go on, separately, with their unhappy lives.  I also find
> Tatiana's rejection of
> Onegin one of the most admirable things in all opera.  She does what's
> right, not "what her
> heart tells her."  She's married, she has not only her own reputation and
> position to
> consider but also her husband's, as well as his love for her.  That is a
> very "un-modern"
> response - choosing principle over feeling and "what makes me happy."  I
> also love the
> irony that Onegin's final words ("How painful! how humiliating") are the
> same words Tatiana
> says to herself in the scene with him earlier in the opera.
>
> Speaking of condescension towards Tchaikovsky's music, there is a funny
> story about Reiner
> rehearsing the orchestra for Vladimir Horowitz's Silver Jubilee concert of
> the Tchaikovsky
> Piano Concerto No. 1 in 1953.  Apparently Reiner did not have enough time
> to rehearse the
> orchestra beyond the first measures.  He told the orchestra, "Well, the
> music is all shit
> anyway.  Just follow the pianist and do what he does."
>
> MDW
>
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