Tchaikovsky, Eugene Onegin: Sung in Russian with surtitles. Soloists, Chorus and Orchestra of the Royal Northern College of Music / Tecwyn Evans (conductor) Bruntwood Theatre, RNCM, Manchester, 29.3.2007 (RJF)



Everybody knows Tchaikovsky’s spectacularly melodic ballet music. Many will also know his concertos for violin and piano, some of the symphonies and the popular overtures. But outside Russia the composer’s operas have been on the fringe of mainstream repertoire with only Yevgeny Onegin and Pique Dame (The Queen of Spades) really making much impact. The programme note suggests that the neglect of much of Tchaikovsky’s work in the early part of the 20th century was to do with his rather fraught private life. The composition of Onegin was started before his ill-advised marriage and completed after the marital breakdown that left him in a mentally unstable state. Heterosexual love might not have been his thing, but it would appear to have brought out the best in him as he started the composition of Onegin by grappling with Tayana’s letter scene. This twenty minutes or so scene is a great challenge for the lead soprano. After a brief interlude with her nurse, Tatyana expresses her adolescent fascination and love for the rather starchy Onegin who spurns her together with a moralising and patronising lecture. That second scene of Act 1 also sets the musical pattern of the opera.

The year of composition marks the genre of the opera. Wagner was holding forth with his music dramas and even Verdi, the king of the aria, duet and trio, often with cabaletta repeats, was moving towards a more seamless musical form with the revised Simon Boccanegra of 1881 and Otello six years later. There is really only one old style melodic aria in Onegin, that of Count Gremin in the Ball Scene of the last act. Of course other characters have their solos but they are not in the earlier tradition of Italian or French opera. In Onegin, Tchaikovsky manages to insert his lovely melodies via dance situations during the evolving story, whilst simultaneously moving the plot along in what might be seen as the more modern declamatory aria and manner. .

Whilst many performances of both Onegin and Pique Dame, were, and still are, given in major opera houses in transliterations into the local language, it is increasingly the habit to give the work in Russian. Learning the words phonetically is difficult even for seasoned professionals, so that the challenge for conservatoire students is much greater. Not only do they have to learn the sounds, but also their meaning if they are to express the emotions of the words and give dramatic cohesion to the performance. I cannot speak for the quality of the Russian that was sung, but I can state without equivocation that the emotions and nuances of the evolving story came through very clearly, particularly from the female singers. So why make it extra difficult for young singers aspiring to enter the profession? I guess that Stefan Janski, Director of Opera Studies at the College and of this production, would be quite clear. The students are aspiring to enter one of the most competitive and demanding of artistic professions. Those who can add the skills demanded are those most likely to succeed.

Stefan Janski joined RNCM in 1986 and I have seen most of his productions in the intervening years - from the memorable Don Carlo featuring Sarah Fulgoni as Eboli and Pavlo Hunka as Philip- through to the Vixen last December in the smaller opera studio. His productions always have the hallmarks of clarity and of awareness both of the needs of the drama and the singers' movements and positions on stage.

It helps of course if his set designer is on the same wavelength. Here the sets were designed by Simon Rorstrand and were situated behind a multi panelled rood screen which could be raised fully, or in part. The raising of the central section prior to the letter scene proved problematical on the night I attended with the table at which Tatyana was to sit for her letter writing being knocked over. This necessitated the screen being lowered, adjustments made and the orchestra starting all over again. I mention this only because the response of the Tatyana of Nadine Livingston and Filipyevna of Diane Hatfield was wholly and exemplary professional in circumstances which must have set their hearts racing. Tatyana carries the biggest singing burden of the opera with the demand for a wide range of singing and acting skills. Nadine Livingston won the Joyce and Michael Kennedy award for the singing of Richard Strauss at the college last year and more recently added the prestigious Frederic Cox award to her laurels. The last time I saw Onegin, another alumnus of the college, Sally Johnson, acted and sang the part, in English, with aplomb. I do not think Nadine Livingston’s voice has yet the power of her predecessor but her range of colour, particularly in the last scene when Onegin comes to plead his love, and grovel for his earlier behaviour, was most impressive. Her vocal development, at 22 years of age, is still work in progress but her performance in this production was most promising. Overall the singing of the women was the strength of this performance. Helen Jarmany’s Marina was sung with steady legato although she could have both looked and acted a bit older; she is after all the mother. Kathryn Rudge, only in her third undergraduate year, was a suitably flighty Olga and like Diane Hatfield’s Filipyevna was sung and acted equally well.

When I think back to the men who have graced the RNCM’s opera productions over the past forty years, I have to report sadness at the standards on this evening. None of the singers was in any way distinguished with John Dempsey particularly disappointing as Gremin in a most wonderful setting of the Act III Ball Scene. With reflecting walls and rear stage, and a massive suspended ‘gold chandelier’ it took the breath away and was justifiably applauded, even though the applause intruded on the composer’s lovely melodies. The stage was filled with dancers, with the extra women reflecting the current balance in the opera department perhaps. The choreography by Bethan Rhys-Williams, like that in the dance at the start of Act II, was absolutely outstanding and helped to make this scene the highlight of the evening.

In the orchestra pit Tecwyn Evans kept a tight rein on the orchestra when supporting the singers, but let his troops off the leash for Tchaikovsky’s refulgent music whenever he could. Although this was not one of the most memorable opera nights at the RNCM so far as the singing was concerned, a full audience went away both happy and, courtesy of the surtitles, more knowledgeable about Eugene Onegin.