Name: Yevgeny Onegin
Start: 2023-01-15T00:00:00.000Z
End: 2023-04-10T00:00:00.000Z
Location: Stadttheater

Organization

Stage director

Georg Zlabinger

Costume designer

Theresa Wilson

Singer

Tenor

Lianghua Gong

Triquet

Set designer

Martin Zlabinger

Conductor

Gregor Rot

Dramaturge

Jón Philipp von Linden

Baritone

Todd Boyce

Eugene Onegin

Soprano

Dušica Bijelić

Tatiana

Andrei Skliarenko

Lensky

Contralto

Marta Wryk

Olga

Bass

Moon Soo Park

Prince Gremin

Mezzo-soprano

Orsolya Ercsényi

Larina

Paata Tsivtsivadze

Zaretsky

Peasant

Niina Keitel

Filippyevna

Theater Bielefeld

Others

Bielefelder Opernchor

Orchestra

Bielefelder Philharmoniker

Extrachor des Theaters Bielefeld

russisk

Yevgeny Onegin -  (Eugene Onegin)

Bielefeld

Germany

Stadttheater

Yevgeny Onegin

Public

tysk

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Dancer

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

A written declaration of love has always been a delicate matter. You put all your hopes in a text that has been reformulated umpteen times – and you have to wait far too long for an answer that is rarely satisfactory. It was even more difficult as a woman in the corset of traditional gender roles, as the poet Alexander Pushkin describes with his young protagonist Tatyana in 19th-century Russia. After one afternoon she met the handsome Eugene Onegin from the neighboring estate, who came to visit as the companion of her sister Olga's fiancé, her heart leaps with joy – and fear. Should she/may she/can she confide her feelings to him?
Sleepless, she picks up her pen and just does it. Out of the inevitable all-or-nothing merry-go-round of emotions that connects young people from back then with those of today. But the actually tragic figure is the title hero himself. Onegin rejects the lovers as correctly as he is coldly, worse still: having won a duel to which his friend Lenski falls victim, he leaves "scorched earth" behind in Tatjana's homeland. After years of wandering the world, he unexpectedly meets her again, now the wife of a prince, and realizes that she is and always has been his great love.

It is typical of Pushkin that he treats his main characters quite ungraciously, but ironic distance was not Tchaikovsky's thing, who made this material the prototype of "lyrical tragedy". His heart seems to be beating more with Tatyana than with Onegin, and it was certainly no coincidence that the composition of this opera coincided with his own marriage and its unfortunate consequences - all the more intensively did the musical language become the most successful of his music theater works.

English

Eine schriftliche Liebeserklärung war schon immer eine heikle Sache. Man legt alle Hoff­nung in einen x­-mal umformulierten Text – und muss viel zu lang auf eine Antwort warten, die nur selten befriedigend ausfällt. Noch schwieriger hatte man es als Frau im Korsett traditioneller Geschlechterrollen, wie es der Dichter Alexander Puschkin anhand seiner jungen Protagonistin Tatjana im Russland des 19. Jahrhunderts schildert. Nachdem sie eines Nachmittags den gutaussehenden Eugen Onegin vom benachbarten Gutshof kennen­ gelernt hat, der als Begleiter des Verlobten ihrer Schwester Olga zu Besuch kam, hüpft ihr Herz vor Freude – und Angst. Soll sie/darf sie/kann sie ihm ihre Gefühle anvertrauen?
Schlaflos aufgewühlt, greift sie zur Feder und tut es einfach. Aus dem unabdingbaren Alles­oder­Nichts­Gefühlskarussel heraus, das junge Menschen von damals mit denen von heute verbindet. Doch die eigentlich tragische Figur ist der Titelheld selbst. So korrekt wie kalt erteilt Onegin der Liebenden eine Absage, schlimmer noch: Mit einem gewonnenen Duell, dem sein Freund Lenski zum Opfer fällt, hinter­ lässt er in Tatjanas Heimat »verbrannte Erde«. Nach Jahren des Herumirrens in der Welt trifft er sie unversehens wieder, nunmehr als Gattin eines Fürsten, und erkennt, dass sie seine große Liebe ist und stets war.

Typisch für Puschkin ist, dass er recht ungnädig mit seinen Hauptfiguren umspringt, doch ironische Distanz war Tschaikowskys Sache nicht, der diesen Stoff zum Prototyp der »lyrischen Tragödie« machte. Sein Herz scheint mehr mit Tatjana als mit Onegin zu schlagen, und es war sicherlich kein Zufall, dass die Komposition dieser Oper mit seiner eigenen Heirat und ihren unglücklichen Folgen zusammenfiel – umso intensiver geriet ihm die Musiksprache zum erfolgreichsten seiner Musiktheaterwerke.

Deutsch

Eugene Onegin by Tchaikovsky, P. I., tirs. 24 jan. 2023, Fra (2023/2023), Instrueret af Georg Zlabinger,, Dirigent Gregor Rot, Stadttheater, Bielefeld, Germany

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