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Subject: Re: Eugene Onegin (formerly X )
From: "G. Paul Padillo" <[log in to unmask]>
Reply-To:G. Paul Padillo
Date:Wed, 23 Aug 2017 16:12:26 -0400
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Max writes (in part):

"How about discussing some more interesting points of interpretation, ra
rather than questioning the value of the opera."

As the one who revived this thread (after several weeks of holding my to
tongue) I find it odd that Les chose to see only negativity and a po
pointlessness in my doing so.  

I like Max’s challenge.  I think there is more than one way to skin a cat . . . er
er, portray Tatyana.  While the Audrey Hepburn/Natasha Rostova example 
is as valid as any, I’ve seen at least a dozen different Tatyana’s who all of
offered something unique.  

I was a fan of the film Onegin with the voice of Vishnevskaya, but the first 
live Tatyana I fell head-over-heals for was none other than Hong Hei-Kyung, who was still only in her 20
Kyung, who was still only in her 20’s when I saw her.   She took my breath 
away.  Years later I would go gaga over the Kirov brought their home 
grown Irina Mataeva's Tatyana to Lincoln Center.  Mataeva’s Letter Scene 
captured the sexual awakening in alarming fashion, and during the 
postlude, we held our collective breath as this gorgeous young creature 
pressed, almost smeared her body into the wall, before slowly crumpling 
onto the floor.  Gergiev, who had not once paused so far to acknowledge 
applause or allow the musical line(s) to go unbroken, here had no choice 
but to ride out the cheering and shouts of “Bravi” before being able to 
continue on with the rest of the score.  “Years” later when all grown up, Mataeva
Mataeva’s Tatyana caused gasps appearing in Agostino Cavalca's Dr. Zhivago
Zhivago-inspired full length white fur and stole.  

Her Onegin was similarly perfectly cast.  My critic friend leaned over to me 
and said expressing his displeasure, finding him “beautiful . . . but dull,” which is precisely why I found him ideal.  
which is precisely why I found him ideal.  Onegin must exhibit a pre-mature world weariness bound in a nearly terminal case of ennui.  Perpetually bored he never once realizes it
mature world weariness bound in a nearly terminal case of ennui.  
Perpetually bored he never once realizes it’s because he, himself, is bo
boring.  

Max wrote that Tatyana should, in the early scenes “should sound young, 
vibrant and slender.”  Having only heard her in the role, I have long loved Racette
Racette’s way with this score.  For those willing to give her a try, here is a 
young Patricia Racette in the Letter Scene from a live Onegin a couple of de
decades ago.  She, for me, captures all the intensity, rawness and un
unbridled passion Tchaikovsky writes into this amazing music.  

https://www.youtube.com/watch?v=VlgFYBS0esM

p.

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