Review of Tchaikovsky’s “Eugene Onegin” at Belfast’s Grand Opera House
★★★★☆
It’s quite common for memory to blur certain experiences, such as my recollection of Opera Northern Ireland’s performance of “Eugene Onegin” in the Grand Opera House of Belfast back in 1981. The time was immediately post the terrible bombing incident that had brought destruction. Maestro Kenneth Montgomery was in charge of the orchestra, yet my memory of the actual performance is fuzzy.
With the latest staging of Tchaikovsky’s masterpiece by NI Opera, memory takes centre stage. Under the helm of Cameron Menzies, its artistic director, the plot is interpreted in a new light. The character of Tatyana, portrayed as a frail older woman, is constantly present with her wheelchair placed in a large, harshly illuminated space. The stark and desolate brick walls of the set perhaps suggestive of a forsaken mental institution. Kevin Treacy directs the lighting with subtle brilliance.
Anne Flanagan plays the older lady, wandering around the stage, appearing to relive Pushkin’s tale through the seven poetic acts by Tchaikovsky. The opera is performed in the Russian language and translations in English are provided on either side of the stage for assistance.
The set design is minimalistic, comprising tables, a few chairs and a hay bale, with stage right cluttered with bits and pieces left upon for the whole show which occasionally unsettle the choreographed movements. Projected visuals upon the walls serve to hint at changes in internal and external settings. These projected visuals are the creation of Niall McKeever, the set designer and video director, which include a horse, melting ice, snow, and tree branches in the midst of winter.
All the performers have done a commendable job in echoing Tchaikovsky’s nuanced characterisations. The starring roles are all portrayed by female performers rooted in Northern Ireland. Mary McCabe has been exceptional in her role of Tatyana, elegantly transitioning from an innocent young woman experiencing her first love, to the haughty yet love-filled Princess Gremin, despite her rejection by Onegin.
Each of the three supporting roles, all taken by mezzo-sopranos, boast unique and varied vocal qualities. Sarah Richmond, playing the vivacious sister Olga, displays a charming and consistent voice. Carolyn Dobbin, playing Madame Larina, the sisters’ mother, exhibits an animated stage charisma complemented by an exquisite and assertive vocal range. Jenny Bourke, alias Filipevna, the maid and confident of Tatyana, stands as a strong counterpart to Larina, with a beautiful vocal tone which remains clear and distinctive.
Yuriy Yurchuk, a Ukrainian baritone, embodies Eugene Onégin to perfection, initial displaying a haughty attitude which later faced with regret and retribution. His voice boasts a flattering, even tone of excellent quality and effortless projection. During a peculiarly choreographed duel atop a table, Onégin takes Lensky’s life, his best friend who becomes jealous and was Olga’s lover. Lensky is brought to life by the American tenor Norman Reinhardt, employing passionate and well-structured vocal phrases. His voice though superb, hinted some fatigue at the culmination of his scene-setting aria during the waiting of the impending duel.
The Scotland-born baritone Niall Anderson, portraying the grave Prince Gremin, effectively encapsulates the melancholy of Tatyana’s husband in his solemn aria, marked with appropriately resonating lower notes. Providing comedic relief is Aaron O’Hare, a tenor from Northern Ireland, in the charismatic role of Monsieur Triquet, singing confidently to an ever impressive choir.
Despite their unusual activities that include dancing, wearing bizarre masks for the faux folk songs of the peasants or cleaning the floors during the formally-set St Petersburg Ball, they maintain their confident singing, resonance and harmony. Elegantly adorned octet dancers in Regency-style attires, designed by Gillian Lennox, contribute an elegant touch to the dances including the waltz and polonaise, all thanks to Jennifer Rooney, the movement director.
Tchaikovsky is renowned for his outstanding orchestration, a crucial asset in his repertoire. The choice of pace by conductor Dominic Limburg is empathetic, ensuring a harmonious rapport between the stage and orchestra, complete with powerful crescendos and impressive horn solos. Although announced as a fresh endeavour, the Northern Ireland Opera’s Orchestra has some progress to make towards perfect harmony within the group. Questions linger whether the Ulster Orchestra has withdrawn from opera. Northern Ireland Opera’s performance of Eugene Onégin continues at the Grand Opera House in Belfast, with forthcoming performances on the 17th, 19th, and 21st of September.