Marjukka Tepponen (Tatyana) and John Moore (Onegin); (c) Sunny Martini
Just what is Onegin’s problem? The alienation embodied by Pushkin’s anti-hero obviously struck a powerful chord for Tchaikovsky – he wrote an immense symphony, after all, based on Byron’s version of the character type (Manfred) – yet it’s not until Tatyana’s name-day party at the beginning of the second act in Seattle Opera’s new production that we start to get a concrete sense of his identity…
Filed under: directors, review, Seattle Opera, Tchaikovsky
MEMETERIA by Thomas May 