Review: EUGENE ONEGIN, The Grange Festival
Ruzan Mantashyan is absolutely compelling as Tatyana
Love, jealousy, arrogance, death and rejection, Tchaikovsky's opera Eugene Onegin has all the trappings of a grand opera, but in essence is a simple story. Brimming with the composer's trademark emotion, Max Webster directs a captivating production at The Grange Festival, featuring an exceptional performance of its heroine Tatyana.
Tchaikovsky’s opera is based on Alexander Pushkin's classic verse novel which follows arrogant aristocrat Eugene Onegin who first rejects the impulsive love of young country-girl Tatyana, then kills his best friend in a rashly-fought duel. When Tatyana and Onegin meet again years later, she is married and the belle of society. Onegin falls desperately in love with her, but despite her reciprocal feelings, she shows loyalty and commitment to her husband and rejects Onegin outright.
The Armenian soprano Ruzan Mantashyan has performed the role of Tatyana worldwide and is absolutely compelling in the role. Her impeccable vocals are enhanced by some superlative acting, showing an emotional maturity developing between her gauche country girl and more imperious, dignified princess. Her voice is a standout; with bell-like clarity and incredible control. The contrast between her lighter vocals as a young innocent and then bringing in a steelier tone as she rejects Onegin is compelling.
Photo Credit: Richard Hubert Smith
Tchaikovsky shows little real regard for his title character, recognising his deep flaws from the start. Russian baritone Vladislav Chizhov is a young Onegin; aloof and casually cruel in his rejection of Tatyana. Chizhov's vocals develop over the course of the opera, coming to the fore as he pleads with Tatyana to be with him. He has great potential as a performer.
Elsewhere, Ryan Vaughan Davies is sympathetic, with moments of powerful emotion, as poet Lensky and Serbian bass Mark Kumanbayev impresses as a noble and measured Gremin. Veterans Diana Montague and Catherine Wyn-Rogers are an amiable Madame Larina and a kindly Filippyevna.
Max Webster’s theatrical staging is striking, contrasting the feminine in the first act with the masculine in the second. He starts with the whole chorus in female dress of shades of pink, as they echo Tatyana's movements and emotions. As we enter the ball, the chorus is dressed in white tie and tails, echoing Onegin, as his narrative becomes clearer. It's a very effective conceit, complimented by six agile dancers, enacting Arthur Pita's very modern choreography throughout.
Photo Credit: Richard Hubert Smith
Frankie Bradshaw’s set for the first half is light and breezy, with trees and a swing. The stylish reflective black walls and imposing lit chandeliers of Act 3 give a real sense of claustrophobia and observation, enhanced as the chandeliers descend and collapse for Tatyana and Onegin's final moments together. With such effective staging elsewhere, it's a real shame that the duel scene is played out in front of the curtain, robbing it of suitable impact.
Conductor Lidiya Yankovskaya sweeps the score along, with the Bournemouth Symphony Orchestra on top form with the brooding emotion in Tchaikovsky's score. The woodwind section, in particular, stands out in its command of the musical flow.
But this is Mantashyan's show; controlled, passionate and perfectly pitched, she gives a performance that will live long in the memory.
Eugene Onegin runs at Grange Festval until 12 July
Photo Credits: Richard Hubert Smith
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