Lyrical scenes of Eugene Onegin. Opera by P.I. Tchaikovsky "Eugene Onegin"

"Eugene Onegin".

Lyrical scenes in three acts; libretto by P.I. Tchaikovsky and K.S. Shilovsky based on the novel of the same name in verse by A.S. Pushkin.

Characters:
Larina - Elena Yuneeva
Olga - Natalia Semyonova,
Laureate of International competitions;
Tatyana - Elena Barysheva;
- Larisa Aseeva;
Filipevna, nanny - Valentina Ponomareva;
Evgeny Onegin - Leonid Zaviryukhin;
-Vladimir Avtomonov;
Lensky - Eldar Magradze;
-Yuri Shalaev;
Prince Gremin - Vladimir Dumenko;
Company commander - Evgeny Aleshin;
Zaretsky - Nikolai Lokhov;
Triquet, French - Vladimir Mingalev;
Guillot (no speeches)
peasants, guests, landowners, officers.

The action takes place on a village estate and in St. Petersburg in the 1820s.

Act one.

Summer evening. Garden at the Larins' estate. Larina's daughters Tatyana and Olga sing a romance. Larina and Filipevna remember the times of their youth. Peasants come to the estate to congratulate Larina on the end of the harvest. Their songs attract girls - thoughtful, dreamy Tatyana and carefree, playful Olga. Olga's fiance Vladimir Lensky comes to visit. Together with the poet in love appears

his friend Onegin is a secular young man who recently arrived from St. Petersburg. Tatyana is deeply excited by the meeting with Onegin. In him she sees her chosen one.

Tatiana's room. The girl is in the grip of disturbing thoughts. She cannot sleep and asks the nanny to tell her about her youth. But this does not dispel Tatiana’s excitement. Absorbed by a new feeling unknown to her, she writes a letter to Onegin, declaring her love.

In the Larins' garden, girls are picking berries, singing. Tatyana runs in in confusion. Onegin has arrived, he will be here now. What will he answer to her letter? Onegin is polite and reserved. He is touched by Tatiana's sincerity, but cannot respond to her love. The shocked girl listens to moral teachings with bitterness.

Act two.

There is a ball at the Larins' house. Many guests came to Tatyana's name day. Young people are dancing. Neighbors play cards. Onegin dances with Tatiana. A provincial ball with gossip and gossip makes Onegin severely bored. To take revenge on Lensky, who brought him here, he begins to court Olga. Lensky is outraged by his friend’s behavior and the frivolity of his bride. He challenges Onegin to a duel. Guests and hosts unsuccessfully try to reconcile friends.

Winter morning. Lensky and his second Zaretsky are waiting for Onegin not far from the old mill. All the thoughts of the young poet are addressed to Olga. The belated Onegin appears. Opponents hesitate, remember past friendship. But all routes to retreat are cut off. The duelists stand towards the barrier. A shot is fired, and Lensky falls, struck to death.

Act three.

The St. Petersburg nobility gathered in a rich mansion. Among the guests is Onegin, who has recently returned from his travels. Neither travel nor social pleasures can dispel his melancholy. Prince Gremin and his wife appear, in whom Onegin is surprised to recognize Tatyana. Prince Gremin says that his wife made his life happy. Onegin only now understands the perfection of the one whose first girlish feeling was rejected by him. Seized by sudden love for Tatyana, he decides to get a date with her.

In her living room, Tatiana reads Onegin’s letter in excitement. She still loves him. Suddenly Onegin enters. His words contain recognition and repentance. Tatyana remembers their first meeting, when happiness was still possible. But you can't bring back the past. Appealing to Onegin’s honor and pride, Tatyana asks to leave her. She is unshakable in the consciousness of duty and marital fidelity. Onegin is left alone.

History of creation.

About how, among others, in search of a plot for an opera, Tchaikovsky suddenly, unexpectedly for himself and others, chose the novel in verse by A.S. Pushkin “Eugene Onegin”, so beloved in Russia, he told himself, in all the details, in a letter to his brother P To I. Tchaikovsky on May 18, 1877: “Last week I was once at Lavrovskaya.

The conversation turned to subjects for the opera.<...>Lizaveta Andreevna was silent and smiled good-naturedly, when she suddenly said: “What about Eugene Onegin?

This thought seemed wild to me, and I did not answer. Then, while having lunch alone in a tavern, I remembered Onegin, thought about it, then began to find Lavrovskaya’s idea possible, then I got carried away and by lunchtime I made up my mind. He immediately ran to look for Pushkin. I found it with difficulty, went home, re-read it with delight and spent a completely sleepless night, the result of which was the script for a delightful opera with a text by Pushkin. You will not believe<...>How glad I am to get rid of Ethiopian princesses, pharaohs, poisoning, all kinds of stiltiness. What an abyss of poetry there is in Onegin.

I am not mistaken: I know that there will be little stage effects and movement in this opera. But the general poetry, humanity, simplicity of the plot, combined with a brilliant text, will more than make up for these shortcomings.”

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Evgeny Onegin (P.I. Tchaikovsky)

"Eugene Onegin"- a tragedy in three acts. Composer - Pyotr Ilyich Tchaikovsky, libretto by the author in collaboration with Konstantin Shilovsky. The premiere took place on March 17, 1879 at the Maly Theater in Moscow.
The opera script is based on the novel of the same name by Alexander Sergeevich Pushkin.

Plot

One summer evening in the garden at the Larins' estate, two sisters - Tatyana and Olga - sing a romance. Olga's fiancé, Vladimir Lensky, arrives, accompanied by a friend. Tatiana falls in love with Evgeniy Onegin at first sight and writes him a love letter that same evening. The young nobleman was touched by the girl’s sincerity, but refused her love. Soon the Larins throw a ball in honor of Tatiana's name day. For fun, Onegin begins to court Lensky's fiancee. He challenges his “friend” to a duel, where he dies from a mortal wound. And then one day, when the passions subsided, Evgeny Onegin meets Tatyana again. But now she is Princess Gremina. Seized by sudden love for a girl, the nobleman repents of his former refusal. Tender love still glimmers in Tatiana’s heart, but the past cannot be returned. Having gathered her courage, Tatyana asks Onegin to leave her alone and he is left alone.

History of creation

For the plot of his opera, Pyotr Ilyich Tchaikovsky was looking for a story about a strong personal drama, so that the tragedy could touch him to the quick. In the spring of 1877, singer Elizaveta Andreevna Lavrovskaya invited him to write an opera based on the plot of the novel by Alexander Sergeevich Pushkin "Eugene Onegin". It is worth noting that in the same spring, Tchaikovsky himself finds himself in a situation somewhat similar to the plot of the play. Passionate ones come to him Love letters from a conservatory student whom Pyotr Ilyich barely remembered. Antonina Milyukova writes to him. The composer answers the girl with a cold refusal. However, the young lady turns out to be persistent and soon Tchaikovsky gets to know her better. A couple of months later (namely July 6, 1877) Pyotr Ilyich marries Antonina Milyukova, and three weeks later he flees from the marriage...

The composer was a great admirer of the work of the great Russian poet. He's so carried away interesting story that he wrote the script for the future opera in just one night. Work on the work lasted about a year: Tchaikovsky began composing music in May 1877 and completed it in February 1878. He was very worried about the fate of his unusual creation. The opera did not have the traditional stage effects of that time, and the performance of the parts required maximum sincerity and simplicity from the actors. That is why young people - students of the Moscow Conservatory - performed at the premiere of the opera "Eugene Onegin". The first productions did not make the right impression on opera connoisseurs. However, the opera soon caught the taste of the general public.
Opera "Eugene Onegin" is rightfully considered one of the composer’s best operas, a true masterpiece of Russian classics. The libretto goes well with the orchestral part. The ardent speeches of the main characters are reflected in the music, filled with graceful impulses, melodic ups and musical pauses. Tchaikovsky managed to convey all the subtleties storyline: melancholy of loneliness, unbridled sadness, luxury and idleness social life... The composer’s skill presents to the viewer scenic paintings popular and aristocratic environment.

Opera P.I. Tchaikovsky's "Eugene Onegin" is one of the most popular operas in the world.

"Eugene Onegin" is considered the pinnacle operatic creativity composer. The opera is based on the novel of the same name in verse by A.S. Pushkin.

Tchaikovsky had the idea of ​​a lyrical opera a long time ago, but he could not find a suitable plot. Once singer E.A. Lavrovskaya gave him the idea of ​​the plot of “Eugene Onegin,” but the composer considered the idea of ​​​​creating an opera based on Pushkin’s plot impossible, because considered Onegin a “holy book” that he would not dare to touch even in his sleep. In a letter to his brother M.I. Tchaikovsky, he wrote: “This thought seemed wild to me, and I did not answer.”

I. Kramskoy “Portrait of E. A. Lavrovskaya on stage”

But at the same time, the composer could not ignore the advice of E.A. Lavrovskaya, whom he greatly respected for her “wonderful, velvety, rich” voice, artistic simplicity of performance, and deep penetration into the style of a musical work. He wrote about Lavrovskaya: “And what is most precious about Lavrovskaya is that she does not resort to any external effects, to any theatricality... to charm the listener. Nowhere does she allow herself to feel the desire to please the well-known, routinely effective techniques generally accepted on the Italian stage... Lavrovskaya never goes beyond the limits of strict chaste artistry...”

And gradually P.I. Tchaikovsky is captivated by the idea of ​​writing an opera based on the plot of the novel by A.S. Pushkin.

Working on an opera

Work on the opera began in 1877 and was completed in less than a year.

Tchaikovsky admired Pushkin: his knowledge of life, knowledge of the character of the Russian person, subtle understanding of Russian nature, the musicality of verse - all this aroused admiration in the composer. The composer wrote the libretto in collaboration with K. S. Shilovsky. Of course, the libretto always differs in detail from the original work. IN in this case from Pushkin’s novel in verse (“the encyclopedia of Russian life”, according to V. G. Belinsky), Tchaikovsky took only what was connected with the spiritual world and personal destinies Pushkin's heroes. The composer himself modestly called his opera “lyrical scenes”; in musicology, opera belongs to the lyrical-psychological genre.

That is why Tchaikovsky was worried about the fate of his opera: it did not have traditional stage effects, and the performance required maximum simplicity and sincerity. This musical composition was a new step in opera art. Therefore, he decided to entrust its first performance to young musicians - students of the Moscow Conservatory.

Premiere

The premiere of the opera took place on March 17 (29), 1879 on the stage of the Maly Theater by students of the Moscow Conservatory. And the opera was conducted by the famous Russian virtuoso pianist and conductor, founder of the Moscow Conservatory and its first director Nikolai Grigorievich Rubinstein.

N.G. Rubinstein

The first performers of the main roles were:

M. Medvedev (Lensky, as part of a student performance)

P. Khokhlov (Onegin, on stage Bolshoi Theater)

M. Klimentova-Muromtseva (Tatiana, first performer in the student performance)

Contrary to the composer's fears, the audience was immediately captivated by this operatic interpretation of Pushkin's novel in verse and its the most expressive music. Almost immediately the opera became a triumphant success. Opera turned out to be a new word in the operatic genre, and this word was heard. The line of lyrical opera began with Tchaikovsky’s opera “Eugene Onegin,” and the composer himself continued this line with his next and last opera, “Iolanta.”

Soon from great success the opera was staged at the Bolshoi Theater in Moscow (1881) and Mariinsky Theater in St. Petersburg (1884), and then became one of the most popular works.

The opera has 7 scenes. The action takes place in the village and in Moscow in the 20s of the XIX century.

Picture one. Tatiana and Olga Larina sing a romance in the garden of their estate, and their mother and nanny remember the years of their youth.

Olga's fiancé arrives - the landowner-neighbor Vladimir Lensky and Onegin, a young nobleman who recently arrived from St. Petersburg. Tatyana is very excited about meeting Onegin.

Picture two. Late in the evening, Tatyana is in her room, completely at the mercy of her thoughts. She cannot sleep and asks the nanny to tell her about her youth, but she almost does not listen to her story, all the girl’s thoughts are absorbed in Onegin. In a fit of new feeling that gripped her, she writes a letter to Onegin, declaring her love. The nanny's grandson takes the letter to Onegin.

Tatiana and Onegin in the garden. Illustration by L. Timoshenko

Picture three. Again the action takes place in the Larins' garden. Serf girls sing and pick berries. Onegin unexpectedly arrives, Tatyana is confused: what will he answer to her letter? But Onegin is polite and reserved. He is touched by Tatiana's sincerity, but cannot respond to her love. The girl listens to moral teachings.

Scene four. A ball in the Larins' house on the occasion of Tatiana's name day. Many guests have arrived, they dance, play cards... The provincial ball bores Onegin. He decides to take revenge on Lensky for bringing him here and begins to court Olga. Lensky is outraged by the behavior of his friend and the frivolity of the bride and challenges Onegin to a duel. Everyone is trying to reconcile friends, but to no avail.

Duel. Illustration by L. Timoshenko

Scene five. Early winter morning. Lensky and his second Zaretsky are waiting for Onegin at the place of the duel. The belated Onegin appears. The opponents are not enemies of each other, they are indecisive, remembering their past friendship. But all routes to retreat are cut off. The duelists stand towards the barrier. A shot is fired and Lensky falls, struck to death.

Scene six. Petersburg. The nobility of the city gathered in a rich mansion. Among the guests is Onegin, who has recently returned from his travels. Neither travel nor social pleasures can dispel his melancholy. Prince Gremin and his wife appear, in whom Onegin is surprised to recognize Tatyana. Prince Gremin says that his wife made his life happy. Captivated by sudden love for Tatyana, Onegin decides to get a date.

Tatiana and Onegin. Illustration by L. Timoshenko

Scene seven. In her living room, Tatiana reads Onegin’s letter in excitement. She still loves him. Suddenly Onegin enters. His words contain recognition and repentance. Tatyana remembers their first meeting, when happiness was still possible. But the past cannot be restored. Appealing to Onegin’s honor and pride, Tatyana asks to leave her. She is unshakable in the consciousness of duty and marital fidelity. Onegin is left alone.

Opera music

Despite the fact that P.I. Tchaikovsky considered himself unworthy “to touch “Eugene Onegin” even in a dream”; as a result, he managed to create a masterpiece - a still unsurpassed example of lyrical opera, in which Pushkin’s poetry harmoniously merged with soulful music, full of heartfelt warmth and drama.

Tatiana. Illustration by L. Timoshenko

Tchaikovsky managed to create the image of Tatiana through music, emphasizing the Russian national traits: sincerity, poetic character, ability to hear and understand other people, appreciate and respect other people’s feelings, understand one’s own life purpose. The image of Tatiana is the most vivid and impressive in the opera. The composer was even reproached for wrongfully bringing this image to the fore. But in this case, Tchaikovsky remained faithful to Pushkin: Tatiana’s special poetry and ethical sublimity were noted by all critics and researchers, starting with Belinsky. The same qualities are inherent in the opera Tatiana. Tchaikovsky psychologically accurately managed to convey the transformation of a dreamy girl into a woman with strong character and strong moral principles. Loyalty to duty for her is the highest and indisputable moral law.

The duet of Tatiana and Olga “Have You Heard” is close to Russian everyday romance, and when the dialogue between Larina and the nanny joins the voices of the girls, the duet turns into a quartet.

In the scene with the peasants, the drawn-out song “My little feet hurt” gives way to the playful, comic “It’s like crossing a bridge.”

Olga’s aria “I am not capable of languid sadness” helps to understand her carefree and lively character. Lensky’s Arioso “I love you, Olga” is a self-characterization of an ardent and romantic young man.

In the writing scene, with psychological sensitivity, the composer captured the heroine’s various mental states: impulse, timidity, determination and, finally, affirmation of love.

In the center of the third picture is Onegin’s aria “Whenever life is in the home circle.” It also characterizes the hero: the melody is cold and a little monotonous.

At the beginning of the fifth scene, Lensky’s elegiac aria “Where, where have you gone, the golden days of my spring” sounds. Her music is full of sadness, painful forebodings, but surprisingly melodic and sincere.

In Onegin’s final arioso, the melody from the scene of Tatyana’s letter is repeated - it expresses Onegin’s flaring love.

The duet of Tatiana and Onegin is full of contrasts and impetuous.

Opera performers

Music of the opera by P.I. Tchaikovsky cannot leave anyone indifferent. That is why parts from the opera were included in the golden repertoire best singers peace. For example, the part of Onegin was performed in different time so famous opera singers, like A. Voroshilo, P. G. Lisitsian, Y. Mazurok, N. Kondratyuk, G. Ots, I. Pryanishnikov, E. Kibkalo, D. Hvorostovsky and many others.

D. Hvorostovsky

Famous performers of the Lensky part: I. S. Kozlovsky, S. Ya. Lemeshev, L. V. Sobinov, A. Solovyanenko, Z. L. Sotkilava and others.

Leonid Sobinov as Lensky

The part of Tatiana was performed by N. Zabela-Vrubel, A. Nezhdanova, G. P. Vishnevskaya, L. Kazarnovskaya, Anna Netrebko and others.

Childhood and family of Evgeny Anegin

After completion, he entered the faculty of opera singing at the local College of Arts, where he studied under the strict guidance of Alexander Alexandrovich Petukhov, a professor at the Moscow Conservatory.

The start of Evgeny Anegin’s singing career: first songs

The next step was the competition “ National artist"in 2000. The first qualifying round, held in his native Krasnoyarsk, was judged by singer Larisa Dolina, and the judges immediately noted the “talent” that had recently appeared. Here he was able to reach the fifth stage, after which he chose to give up a possible struggle by choosing classes solo career. Although it turned out to be an incomprehensible decision for the jury, as it later became clear, it turned out to be the most acceptable for the future singer Evgeny Anegin.

After successful starts at two competitions, Evgeniy was offered permanent place at the State Central Concert Hall "Russia". There he performed as a soloist, taking part in dozens of official concerts until 2006. The year 2004 was marked by the awarding of the title “Honored Artist of the Chechen Republic.” This happened after a number of his performances at the Days of Chechen Culture held in Moscow.

In 2006, after the closure of the famous State Central Concert Hall, he was offered the position of director for special projects in concert hall"World". This place for Evgeny Anegin became a good “university” of show business, where he was able to study the smallest details already from the inside.

The release of Evgeny Anegin’s first video and the start of an independent solo career

Evgeny Anegin. Love songs

This song was also the first for which it was decided to shoot a video a little later. It was released in the spring of 2008.

Subsequently, the song “Moon” and three more compositions such as “Don’t be so cruel”, “If only” and “Summer” became the accompaniment to the film by Vladimir Dmitrievsky. "Egoist". According to the director, they are the ones who most clearly reflect modernity and help to display all the ups and downs that arise.

The first albums of Evgeny Anegin

In addition, the recording of the pop album “I’m Not the One” was carried out at the same time. Its release, as planned, fell in the fall of that year. Second clip release

For the second video, Evgeny Angegin approved the song “What?” Filming was completed at the end of October 2008.

The clip itself ended up being as colorful as possible. It managed to combine salvation, love, and jealousy. The action takes place in one of the many clubs and ends in a foam pool.

After the opening of the film festival “Cut!” in the spring of 2009, many began to believe that Evgeny Anegin was thinking about moving into the film industry. However, the singer himself denied this speculation. Although I did not discard it as an option for its development creative path in future.

Evgeny Anegin and Yulia Mikhalchik, singer today

Evgeniy Anegin - Moon

She also received such an award as the “Golden Gramophone”. In total, today he has created 2,487 songs, many of which are constantly popular and are included in the charts. The singer does not talk much about future prospects in cinema or music. Therefore, fans always look forward to any new works of his.

Personal life of Evgeny Anegin

However, it is impossible to call him deprived of attention. He is quite popular among fans and just women. But among them, he still could not find a suitable candidate as a future life partner. So many more fans have, albeit minimal, chances to connect their lives with him and get at least a piece of his fame, which only grows with the advent of more and more hits.

Music by Pyotr Tchaikovsky

Libretto by Pyotr Tchaikovsky and Konstantin Shilovsky novel of the same name in poems by Alexander Pushkin

Director - Alexey Stepanyuk

Going to enjoy yourself, probably famous opera the Russian pillar of romantic music, Pyotr Ilyich Tchaikovsky, I was not going to write down my impressions, because everyone knows her without me, but my joy from meeting the beautiful and the desire to spread my thoughts throughout the tree are so great that I see no reason to restrain myself.

I heard the opera once before - my class and I went with a subscription to the Conservatory. The only thing I remember was Gremin’s phrase “I love Tatyana madly!” Ironically, this character was not even considered important and key by Tchaikovsky himself, as I read somewhere, but for some reason I remember him best.

Today I watched the director's cut on new stage Mariinsky Theater (there is also an “old school” version on the main stage, directed by Yuri Temirkanov, all the way back to 1982!). This is a very important note, because although I have not seen the old production yet, I strongly suspect that there is a difference in perception. And tangible. New production was made by director Alexey Stepanyuk, who also directed “The Queen of Spades” with such a similar visual aesthetic that it is appropriate to say that these performances are a kind of series. And I even insist on this, because in the third act, in the scene of the St. Petersburg ball, an elderly lady parades across the entire stage with a cane, extremely reminiscent of the Countess from “ Queen of Spades» manner, clothing and gait. I wouldn’t be surprised if Lisa and Herman are still running around somewhere, however, these are only fleeting impressions - the time of action of “The Queen of Spades”, judging by the costumes, is still a little different, earlier. And that's not what this is about.

Since I am a woman and in this sense a little forty, loving everything shiny, the so-called “Apple” production of “Eugene Onegin” amused my eyes with “glamor” and cinematic brightness of colors, even in those scenes where black and white predominate - this is always very bright contrasts. Pastoral idyll a la russe at the beginning and the gloomy glamorous pathos of St. Petersburg at the end! I am delighted and eat like a duckling. There are real scenery, although in the first act there are only steps strewn with apples, a table, a haystack and a swing, but what lush projections on the backdrop! By the way, it is not for nothing that apples are present in such large quantities - among the Slavs, the apple was a symbol of love, fertility and marriage, and at the beginning of the performance they act as a symbol of bright girlish hopes for a bright future filled with love. “Rejuvenating” apples from Russian and Scandinavian fairy tales in the play as memories from the past, as a return to the girlish desires of the already married Tatiana when meeting Onegin - in final scene she touches the apples lying on the window, and since in Christianity the apple is considered the very fruit from the Tree of Knowledge, from which the first people ate and now we are all here, it is also a symbol of Tatyana’s temptation. And everyone remembers about the apple of discord from Greek mythology- here is a dispute between friends, which ended in the death of the poet.

Thanks to bright colors and some stage freedom in the actions of the characters, which the director allowed, the production turned out to be very emotionally rich, somehow lively, human, touching, passionate and sometimes even piquant. For example, the scene of “Tatiana’s Letter” - she does not write it at the table, but essentially lies down and dreams, but what girl at her age did not rush around without sleep, dreaming and thinking about her beloved? I don’t think that the maidens of the 19th century, even the noblewomen, were any different (although they hardly ran through the fields in shirts, that’s for sure). And the opera itself, as the author intended it, is very understandable, evoking a response not as an abstraction, but as empathy for what can happen to anyone. You don't see that very often in opera. No wonder Tchaikovsky called “Eugene Onegin” lyrical scenes. There really is no pathos of high tragedy characteristic of “ grand opera" This is a story about essentially simple people, about their feelings, thoughts and desires, and that is why, I think, this opera does not become outdated and will not become obsolete. In addition, it is very understandable and pleasant to the ear. musical material, which is easily listened to by everyone without exception. And all the images revealed on the stage are also in the music - cheerful pastoral scenes, folk tunes, romances, playful and “touching” marches, waltzes, etc. All the experiences of the characters, especially Tatyana, and even natural phenomena are beautifully and very subtly described in the music.

As a result, I really liked everything, especially key scene“Tatiana's Letters”, psychologically, in my opinion, exactly hits the target, the scene of the first explanation of Tatiana and Onegin, in which even my heart sank, and the duel at the mill. I will also note the presence of pleasant details in the costumes - the peasants wore bast shoes, Mama had a parasol and a special apron, which the mistresses of the estates put on for “work”, etc.

I read reviews that many people miss dancing, especially in the St. Petersburg action; to justify the director, I will say that according to the scenography, Onegin stands on the proscenium and looks into the ballroom, where everything happens as if in slow motion, despite cheerful music, and then sings about boredom. Apparently, the director showed this scene through the eyes of the hero, who is “sad and bored and has no one to shake hands with, it’s better to be one-legged than to be lonely and la-la-la” (C).

I will express a seditious thought for opera lovers, but with the brightness of the images, this production comes close to musicals - only in visual terms, of course - and musicals always “hit the eyes” very strongly in order to evoke the emotions of the viewer. And so I would say that the target audience, which the production aims to target, is youth. By the way, the actors are approximately the same age and look good. And it pleases. It would be ideal if pleasant appearance accompanied by good vocals.

I watched the performance, listened to the words and thought about how subtle it was! How psychologically accurate. A girl falls unrequitedly in love with a city dandy, an egoist to the core, confesses, and is refused. Time passes, she “flies up” in the brilliance of her true strength and beauty, and then she meets Him again. Who hasn't dreamed of this while being rejected? From the series “He will regret it!” and “When your teeth fall out, I won’t chew for you!”, although young Tatyana is pure in soul and thoughts, these thoughts arise in the head of a mature woman after the passionate confession of the “recovered” Onegin and are expressed as a reproach. And it’s right that Tatiana rejects him... because everyone who is familiar with the plot of “Anna Karenina” by another great classic can imagine how escapades like the one that Anna Karenina committed, and which Onegin demanded from Tatiana in words, end for a woman of the world “For me you must leave everything, everything: the hateful house and the noisy world! There is no other way for you! And as Onegin is accurately described - in fact, nothing has changed in his behavior, since in this demand there is only a desperate cry of an egoist demanding what he wants, there is no true care of a lover there. This is very clearly shown in the opera, it shows through in all its veins. Although women are always women, therefore, I think that many people’s hearts sank with pity when looking at the kneeling, passionately pleading Onegin / Alexei Markov.

The most beautiful Evgeny Onegin! Proud, stubborn and crazy! Ideal image for me. Who looks better in bolivar? high boots and a long coat? Who wasn't even spoiled strange looking huge lapels on his tailcoat (by the way, why didn’t he wear a fashionably tied tie at the ball? Handsome Brummel wouldn’t have approved of that!)? Who speaks more contemptuously and condescendingly at the village “beau monde”? Who else could waltz so easily and doomedly fall to their knees, while remaining incredibly beautiful? And sing in such a clear, deep sparkling voice that I wanted to listen and listen... And all this is the birthday boy of today - Alexey Markov, the delight of my ears and the joy of my eyes. Seriously, the image of Onegin he created hit the bull’s eye haha. Anyone who met Alexei “at the ball” would immediately say: “Friend, Onegin, is that you?!” It's a pity there are no such balls...