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Eugene Onegin (1991)

Lyric Scenes in Three Acts

Music by Pyotr Ilyich Tchaikovsky

Text by Konstantin Shilovsky and Pyotr Ilyitch Tchaikovsky, based on Alexander Pushkin’s novel in verse

English translation by David Lloyd-Jones

The edition used is the Elite Edition by David Lloyd Jones, by arrangement with Theodore Presser Company, agents for United Music Publishers, Ltd., London, publisher and copyright owner.

The costumes were designed for the production at the National Arts Centre, Ottawa.

Eugene Onegin was first performed by the students of the Moscow Conservatory of Music on 29 March 1879.

Dates of Performance
May 25, 29, 31; June 6, 9, 11, 15 (matinée), 22

 

1991 Season
Eugene Onegin     Mitridate, King of Pontus

La bohème     Ariadne on Naxos

 

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Cast

Gwynne Geyer
Tatyana

 

Wanda Brister
Olga

 

Wanda Brister
Madame Larina

 

Denise Wood
Filipyevna

Robert Baker
A young peasant

 

Paul Groves
Vladimir Lensky

 

Dwayne Croft
Eugene Onegin (Yevgeny)

 

Michael W. Krueger
Captain Trifonov

Nico Castel
Monsieur Triquet

 

G. Bradley Garvin
Zaretzky

 

Jon Kolbet
Guillot

 

Laurence Albert
Prince Gremin

Creative Team

John Nelson
Conductor

 

Colin Graham
Stage Director

 

Neil Peter Jampolis
Set Designer

 

Michael Stennett
Costume Designer

Christopher Akerlind
Lighting Designer

 

Pam Kriger
Choreographer

 

Cary John Franklin
Chorus Master

 

G. Gary Winley
Stage Manager

Tracy D. Holliway
Assistant Stage Manager

 

Marcy Wilmsmeyer
Assistant Stage Manager

 

Tom Watson
Wig Master & Makeup

 

Laurie Hunter
Repetiteur

Synopsis

Scene 1
The Visit
Late summer on the estate of madame Larina, a widow and landowner.

The song of Tatyana and Olga recalls to Larina her own youth, her own infatuations and the arranged marriage she was forced to accept. Her fieldworkers come to celebrate the end of the harvest. Olga teases Tatyana about her romantic reveries. Lensky, a young poet and Olga’s fiancé, arrives and introduces his friend Onegin who has recently inherited a nearby estate. Tatyana is at once attracted to him; but he only condescends to indicate his boredom with country life, while advising Lensky to marry Tatyana instead of Olga.

Scene 2
The Letter
Tatyana’s bedroom

That night Tatyana is restless, devoured with love for Onegin whom she believes to be the hero of her dreams. She pours out her heart in a long, passionate and dangerous letter to him. In the morning she dispatches Filipyevna to deliver it, and at once has doubts concerning Onegin’s reaction to the way in which she has committed herself.

Scene 3
The Meeting
In the garden next morning

Tatyana’s doubts and foreboding prove to be well-founded when Onegin, in a charming and brotherly way, explains that love is not for him and that she would be better advised to exercise more caution and self-control in the future. Tatyana is distraught.

Scene 1
The Country Ball
At Madame Larina’s house

The following winter Tatyana’s name day, the twelfth of January, is being celebrated with a ball. The occasion is clouded for Tatyana by the presence of Onegin who regrets that he agreed to come to the ball with Lensky; he decides to have his revenge by flirting with Olga. The joke misfires — Lensky has been drinking too much: he publicly insults Olga and challenges his friend Onegin to a duel. Onegin, regretting his actions, has to accept.

Scene 2:
The Duel
At dawn the next morning

Both men regret their hasty behavior but injured pride and convention inexorably provoke the duel. Neither man has any intention of shooting at the other but, by an accident of fate, Lensky is shot dead.

Scene 1
The Ball in St. Petersburg
Prince Gremin’s house, several years later

Onegin, haunted by his friend’s death, has been traveling in Europe ever since the duel, while Tatyana, like her mother before her, has been persuaded to accept a good marriage—with the distinguished elderly general, Prince Gremin. Onegin, unable to take any interest in life, is amazed to discover that the distinguished and beautiful wife of Gremin is Tatyana. Tatyana manages to betray nothing of her agitation at this meeting, but Onegin realizes what he has so foolishly rejected and decides that only she can rescue him from his present despair.

Scene 2
The Parting
The next morning

Now it is Onegin who has poured out his heart in a letter and Tatyana whose turn it is to dismiss him. This letter prompts her to close up the house and move to the country with her husband; but, before they can leave, Onegin arrives to declare his love and to throw himself on Tatyana’s mercy. At first she coolly reminds him of his callous behavior all those years ago. Both muse on the happiness that could have been theirs and Tatyana finally admits her undying love for him but states firmly her unswerving devotion to her husband. She bids him farewell forever and leaves him overcome with shame and despair).

Opera Theatre dedicates the performances of EUGENE ONEGIN with gratitude to Alice and Leigh Gerdine for their many years of matchless devotion to the company.

The soloists are underwritten by a generous and deeply appreciated gift from Mr. and Mrs. Raymond Wittcoff.

The services of the Saint Louis Symphony are made possible by a much appreciated gift from Sally S. Levy.

A special gift for this production has been made by Mrs. Thomas H. Wagner in honor of the Gerdines and in memory of her husband.

The special matinee presentation of EUGENE ONEGIN for St. Louis area students and seniors was made possible by a major grant from The Southwestern Bell Foundation.

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