11:31 am, December 17, 2017
Since the beginning of the season, Oksana Lyniv has been principal conductor of the Graz Opera. With "Eugene Onegin" she has chosen a work that is audibly dear to her heart. With great precision she let the first scene blossom when the mother of the two girls looks on with a resigned life. "The habit has sent us Heaven as a substitute for happiness," the text says, but the music tells something else. Lyniv traces in Tchaikovsky's music even small details, paints the longings, the confusion with clear lines, gives the loneliness pale colors, creates nervous tension and eruptive outbursts and makes even the dark pain shine even more splendid.
The stage – a simple White wood look box – conveys Russian flair (Gideon Davy), the women in their light to dark gray silk dresses (Dieuweke van Reij) sit at a long table and dream like Chekhov's "Three Sisters" of another life. The excellent singing choir (Bernhard Schneider) performs in black and white servant clothing or doubles in costume and mask the four main characters. Visually, the performance works well, however, director Jetske Mijnssen has realized some ideas that are not necessarily meaningful. Why Tatjana has to give the sawed virgin remains unclear. The duel ends – unlike in the original – with the suicide of Lenskis, which revaluates the figure of the Onegin, who thereby looks much less cold than if he himself would shoot the friend. Tatiana's husband, Prince Gremin, is a nursing case here, and she is by no means loyal to him, but she indulges herself in a night of love with Onegin. At the polonaise in the third act, a table is set, that's all there is to it, no ball, no dance, nothing at all. What a pity, as impressive as Lyniv conducts this music.
Tatiana's letter scene (here with a white cloth instead of a letter) became the emotional and musical highlight of the evening, which was mainly due to Oksana Sekerina, who touched and played with the unfortunate lovers safely led soprano, which has very nice piano tones, sang. Pavel Petrov could score as Lenksi with his aria before the duel, which he offered plain and clear. Dariusz Perczak was a respectable title-bender who mastered his game solidly without really breathe life into it. As an extremely lifelong and loving Olga, Yuan Zhang had a penchant for personnel, and the prince (Alexey Birkus) was no longer sickly in his aria, in which he describes his love for Tatjana, but noble and dignified. Manuel von Senden lent his appearance as Triquet, despite the black and white body suit, something of a French flair.