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Sun, Sep 16th 
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Eugene Onegin (Salzburg)
157min. Directed by Daniel Barenboim (Conductor).
Starring
Peter Mattei, Anna Samuil


Tchaikovsky is best known for his symphonic scores and ballets such as the “Nutcracker,“ “Swan Lake” and “Sleeping Beauty.“ Yet his operas also occupy a place of honor in his oeuvre, and two of them, “Eugene Onegin” and “The Queen of Spades,” both based on novels by Pushkin, are among his very finest works. The plot of “Onegin” is quickly told: on a Russian country estate, awkward, inexperienced young Tatyana is seized by a sudden passion for the handsome, blasé new neighbor Eugene Onegin. She writes him a love letter, but he makes it clear to her that he is not interested. Later, Tatyana‘s sister flirts with Onegin, her fiancé challenges him to a duel and is killed by Onegin. Years later, Onegin returns, finds that Tatyana has married an aged prince, and tries to win her back but fails... Tchaikovsky called his opera a sequence of “lyric scenes.” Its structure prefigures narrative techniques that later came into use in cinema: abrupt cuts and chronological leaps, intimate close-ups, atmospheric interjections... Bearing this practically cinematic structure in mind, director Andrea Breth has produced an intimate chamber play that mines the depths of veracity, precision and charisma of her singer-actors. The stage suggests both the concrete location of the action as well as the psychological condition of those driving the action forward. Breth‘s “phenomenal ‘Onegin’ interpretation” (F.A.Z.) even allows the integration of silent secondary episodes and miniature dramas.


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Eugene Onegin (Salzburg)
157min. Directed by Daniel Barenboim (Conductor).
Starring
Peter Mattei, Anna Samuil


Tchaikovsky is best known for his symphonic scores and ballets such as the “Nutcracker,“ “Swan Lake” and “Sleeping Beauty.“ Yet his operas also occupy a place of honor in his oeuvre, and two of them, “Eugene Onegin” and “The Queen of Spades,” both based on novels by Pushkin, are among his very finest works. The plot of “Onegin” is quickly told: on a Russian country estate, awkward, inexperienced young Tatyana is seized by a sudden passion for the handsome, blasé new neighbor Eugene Onegin. She writes him a love letter, but he makes it clear to her that he is not interested. Later, Tatyana‘s sister flirts with Onegin, her fiancé challenges him to a duel and is killed by Onegin. Years later, Onegin returns, finds that Tatyana has married an aged prince, and tries to win her back but fails... Tchaikovsky called his opera a sequence of “lyric scenes.” Its structure prefigures narrative techniques that later came into use in cinema: abrupt cuts and chronological leaps, intimate close-ups, atmospheric interjections... Bearing this practically cinematic structure in mind, director Andrea Breth has produced an intimate chamber play that mines the depths of veracity, precision and charisma of her singer-actors. The stage suggests both the concrete location of the action as well as the psychological condition of those driving the action forward. Breth‘s “phenomenal ‘Onegin’ interpretation” (F.A.Z.) even allows the integration of silent secondary episodes and miniature dramas.


Sun, Sep 16th 

No showings.




Purchase tickets by clicking an available showtime.
Change location
Austin | Charlottesville