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OC Register Preview
February 28, 2002
A Solid 'Onegin' at Opera Pacific
In its first Russian opera, the company gives an able performance of Tchaikovsky's subtle masterpiece.
By TIMOTHY MANGAN, The Orange County Register
Tchaikovsky famously wanted "Eugene Onegin" to be performed by students. He despised the posturing of professional singers and the "nonsensical staging" the opera would receive in a large theater. He had something more intimate and subtle in mind -- a not too opulent production, well-drilled musicians and "singers who can also act simply but well." The first performance of the work was, in fact, at the Imperial College of Music in Moscow.
With Opera Pacific's first-ever production of "Onegin" (its first Russian opera, actually), heard Tuesday at the Orange County Performing Arts Center, one begins to see what the composer was after. The opera deals with the kind of love that regular people can feel, not the world-destroying Shakespearean or Verdian kind. True, Onegin kills the jealous Lensky in a duel, but this is a duel of two stubborn boys unwilling to back down, not a heroic struggle. (Besides, in 19th-century Russia, duels were not uncommon; Pushkin himself, the author of the novel "Eugene Onegin," died in a duel.) Perhaps more to the point: The two ill-fated lovers in "Onegin" actually survive the evening. Think "Washington Square" not "Othello."
Opera Pacific's production, which originated at Chicago's Lyric Opera, is handsomely set, richly costumed and pretty well sung. It is not especially well acted. The stage direction is handled by Colin Graham (back after last year's "Macbeth") in a sensible manner, though. At least overacting is strictly forbidden.
The attractive young cast is mostly fresh of voice. Surprisingly, there isn't a Russian in the bunch, which makes for a group of singers who (probably) don't fully understand what they are singing and an audience reading supertitles to decipher it. Admittedly no Russian linguist myself, I wouldn't swear that tenor Hugh Smith wasn't jawing in Klingon.
The situation perhaps accounts for the particular quality of some of these performances. As Tatyana, for instance, Mary Mills sings prettily, easily and even luminously. She never seems to sink her teeth into the role, though. Her acting is careful and stiff, her passion only indicated not felt. (Maria Kanyova will sing the part Friday and Sunday.)
As Lensky, Smith displays a pleasant lyric tenor that nevertheless appears to be incapable of expressing the young man's temper and jealousy. The notes are surely dispatched but rarely grabbed onto and shaped and controlled.
Italian baritone Lucio Gallo, on the other hand, provides a crisp and cool Onegin; he carries himself well on stage. His phrasing is strongly directed, too, even if his narrow-gauge baritone is not the most ravishing instrument. Loud tended to be his key, not subtle.
In short, this central trio didn't quite appear to be living in their parts, as of Tuesday at least.
Josepha Gayer does a nice turn as the old nurse. Eric Halfvarson gives a touching portrayal of Prince Gremin. Elizabeth Batton sings the shallow Olga with a blush in her voice. The music teacher Triquet is mellifluously dispatched by Chad Berlinghieri.
With John DeMain away conducting "Porgy and Bess" in New York, it is left to guest conductor Stephen Lord, in his debut with the company, to bring it all together. He favors judicious tempos, savors instrumental details and elicits clean articulations. He never hits you over the head with Tchaikovskian melodrama, thank goodness, opting for broad sweep and finessed emphases instead. He couldn't always keep it together with the chorus, but its singing was a mixed bag anyway.
In all, then, this is a solid, if slightly flawed, production, certainly a good introduction to one of Tchaikovsky's masterpieces. Opera Pacific continues to do us proud.
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