PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

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A staging with ups and downs. The attempt to interpret the reality of Pushkin’s tale in a less conventional way was not always successful. For example, the initial scene with a shack placed in a field that would be Tatjana’s room (and on whose roof Tat’jana and Olga sing) is not convincing and the same goes for the village party during which the duel between Oneghin and Lensky takes place transformed into a Russian roulette reminiscent of “The hunter” by Michael Cimino.  Oneghin is a dude dressed with modern clothes unlike the other protagonists on the scene with clothes of the period. Very suggestive is instead the final scene of the dance in the palace of the Prince Gremin, where the dancing figures are seen against the light through a red veil that seems to symbolize the distance between the real world and the decadent world of Oneghin.  And also the final duet on a black background with an elegant Tat’jana highlights the desert of feelings of the two protagonists.  Much has been written about the direction of Martone. Personally I do not consider it one of his most successful but some “slatings” seem to me decidedly exceeding. And the public success (where the Russian component was very significant) is a proof of this. Zangiev’s direction is excellent, able to emphasize with intensity the human drama of Tat’jana and Oneghin (and also that of Lensky). In this context, we must highlight the woodwind performances (and especially the oboe and the bassoon) that play such a large part in the main arias of the opera. In total, the orchestra of La Scala was as always up to the fame of the theatre. For the voices an absolutely superlative performance of Dmitry Korchak as Lenskji by far the best of the cast while of Alexey Markov as Oneghin can be said that his was a sufficient performance without particular praise. As for the Tat’jana of Aida Garifullina no complains about the intonation and emission but her voice is not dramatic (I would say that she is a lyric soprano) and therefore she was unable to infuse in her performance those tragic aspects that underlie the character. Among the other performers a praise to Dmitry Ulyanov in the role of Prince Gremin, warm and intense voice. In the norm the other singers. Overall a good (but not exceptional) performance.

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PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!