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Subject: Re: "Eugene Onegin" question
From: k youngmann <[log in to unmask]>
Reply-To:k youngmann <[log in to unmask]>
Date:Sat, 13 Jan 2018 12:48:40 -0600

text/plain (29 lines)

The finale of Onegin is one of my absolute favorite scenes, a wonderful example of “opera as drama.” Indeed, often when I’m trying to impress upon non-opera lovers that opera can / should be about drama, this scene is high on my list of examples.

For some odd reason I remember George London quoted as saying that he had a problem with Onegin’s final words in an English language production as “Despised! Rejected! My life is over now.” This was the only role I ever saw London perform; it was in the late 50’s in the Met’s (in my opinion) ill-advised English production. Better they should have performed it in the original. Bing also saddled him with Mandryka in English with Lisa Della Casa, a German speaker, which may have made sense to Bing… It’s especially ironic that they cast him in the English translation because he sang such excellent German.

Kurt Youngmann (who regards London as one of the towering giants among 20th century singers)

> On Jan 13, 2018, at 12:25 PM, Nina Gettler <[log in to unmask]> wrote:
> The only thing Onegin learns too late is that he wants Tatiana now that he can't have her.
> Pushkin's narrator says that Onegin didn't want the young, shy girl who was in love, poor, and artless. He wanted the princess, the goddess, who was forbidden fruit.
> His last words in the opera show that he's still just thinking of himself [Shame. Sadness. Oh, my wretched fate]

“With pantheism…the deity is associated with the order of nature or the universe itself…when modern scientists such as Einstein and Stephen Hawking mention ‘God’ in their writing, this is what they seem to mean: that God is Nature." - Victor J. Stenger

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