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January 2004
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Fatal
Rendezvous by Bert Gedin
What
a New Year's present! I've just been asked to comment on the
performance of 'Eugene Onegin', which some 7 or 8 of us enjoyed
at Birmingham Symphony Hall, a few months ago. But, did I
take any notes? Not I!!! (Wherefore art thou, Stella?).
Apart
from being immensely impressed by the Rostov Ensemble, my
one powerful reaction is of a boringly, sickly-sweet first
half of the Pushkin/Tchaikovsky Opera, followed by an intensely
dramatic second half, set in 1820's St. Petersburg, &
surrounds, within the opulent Russian Empire.
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Where
our hedonistic hero, Onegin, settles a dispute, with a very dear
friend, Lensky, over one who "shines like a star in the dark
night", 17-year-old Olga. He, Onegin, "wins" the
gentleman's duel, but reality is eventually none too kind to him
- Tatiana (with whom he eventually realises he is in love) already
belongs to another, less romantic, perhaps, but a very steadfast
liason indeed. This poignant love story, we are told, "is the
decline of Imperial Russia sliding, eventually, into a people's
revolution." 'Eugene Onegin', not unlike certain other pre-20th
Century Russian creations, is an "artistically rich work in
words and music .... a telling social commentary on aristocratic
Russia before the revolution." Even Lenin would have said 'amen'
to that.
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