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Wed. Oct. 10, 2018, 7 p.m. - 10 p.m. Vienna

Peter I. Tschaikowski

Eugen Onegin

Conductor: Louis Langrée, Director: Falk Richter
With Olga Bezsmertna, Elena Maximova, Alexey Markov, Dmitry Korchak, Ferruccio Furlanetto

  • Peter I. Tschaikowski  |  Musik
  • Louis Langrée  |  Conductor
  • Falk Richter  |  Director
  • Martin Kraemer  |  Costumes
  • Joanna Dudley  |  Choreography
  • Carsten Sander  |  Light Design
  • Katrin Hoffmann  |  Bühne

Olga Bezsmertna | Tatjana

OLGA BEZSMERTNA completed her studies at the Kiev Academy of Music in Ukraine in 2010. She was among the finalists of the Hans Gabor Belvedere Singing Competition in Vienna in 2010 and 2011. During her debut singing competition in Germany in 2008, she was awarded the first prize as well as the Public prize and the Puccini Prize. In 2007 she had an engagement at the Oper Oder-Spree Festival. In 2006, she received an award at the International Rimsky-Korsakow Singing Competition in St. Petersburg. Furthermore, the soprano received the first prize at the international singing competition of the Bertelsmann Trust. In 2011, she took part in the Young Singers Projects at the Salzburger Festspiele. Her repertoire includes, among others, Contessa d’Almaviva, Pamina, Donna Elvira, Fiordiligi, Micaëla, Marguerite, Nedda, Marfa (Die Zarenbraut) and Tatjana. She is an emsemble member of the Wiener Staatsoper, where she gave her debut in 2012 and sang among others: Dame (Cardillac), Pamina, 3. Norn, Contessa d’Almaviva and Rosalinde. Current performances include her debut at the Deutschen Oper Berlin and at the Salzburger Festpiele. 

Elena Maximova | Olga

ELENA MAXIMOVA completed her vocal training at the Tschaikowski-Conservatoire in Moscow and became engaged as a soloist to the Moscow Stanislavski Music Theater. There, Elena Maximova was heard, among others, in the following roles: Polina (Pique Dame), Siébel (Faust), Orlofsky (Die Fledermaus), Su­zuki (Madama Butterfly), Rosina (Il barbiere di Siviglia), Olga (Eugen Onegin), Carmen and Charlotte (Werther). Elena Maximova gave her debut in 2005 on the stage of the Bavarian State Opera in a new production of Rigoletto (Maddalena). She also sang there Suzuki, Carmen, Olga and Frederica (Luisa Miller). Furthermore, she has sung at the Opéra in Lyon (Eugen Onegin, Pique Dame) and performed as Carmen at houses like the Berlin State Opera, the Teatro Comunale in Florence, the Palau de les Arts in Valencia and in the Scala. Elena Maximova is also active worldwide as a concert singer. Recently she sang Carmen, Preziosilla, Charlotte, Despina, Rosina, Nicklausse and Isabella in Moscow, Carmen in Palermo, Helsinki and Moscow, Olga in the ROH London and the Met. She gave her debut at the Wiener Staatsoper in 2012 as Carmen and also sang Maddalena.


Dmitry Korchak | Lenski

Since the tenor DMITRY KORCHAK won a prize at the Fran­cisco Viñas-Competition in Barcelona in 2004 as well as two prizes at the Plácido Domingos Operalia Competition in Los Angeles, he has become one of the most sought after singers of his field. He was born in 1979 in Russia and studied singing and conducting in Moscow. His earliest engagements include Elvino (La sonnambula) in Rome, Verona, Seville and Carnegie Hall; Conte d’Almaviva (Il barbiere di Siviglia) in Los Angeles, the Berlin Staatsoper, in Toulouse, Nemorino in Paris, ROH Covent Garden, the Nederlandse Opera, Bayerischen Staatsoper, the leading role in Dom Sébastien in Pesaro, Japan, at the Scala, Tonio (La Fille du régiment) in Ham­burg, Lenski and Don Ramiro in Valencia, Ferrando in Tokyo, Fernand (La Favorite) in Dresden, Don Ottavio in Valencia and Osiride (Mosè in Egitto) in Pesaro. Current performances are leading him among others as Duca (Rigoletto) to Cologne or as Nadir (Les pêcheurs de perles) to Paris and Naples. He gave his debut at the Wiener Staatsoper in 2008 as Nemorino and has since also sung Don Ottavio, Conte d’Almaviva, Ramiro and Lenski. 

Ferruccio Furlanetto | Fürst Gremin

KS Ferruccio Furlanetto comes from near Treviso, studied agriculture and decided at the age of 22 to take up vocal training. In 1974 he gave his debut in Triest as COlline (La Bohème), in 1979 at the Scala in Macbeth, and a year later as the Großinquisitor (Don Carlo) at the Met. Since then, he has worked together with the most important conductors. Performances have led him to all the important stages, like the Scala, the ROH Covent Garden, the Met, in Rome, Paris, San Diego, Florence, Los Angeles, Buenos Aires, Tokyo, St. Petersburg, Moskow, and to the Salzburger Festspielen. In 1985 he gave his debut at the Wiener Staatsoper as Figaro (Le nozze di Figa­ro) and has since also sung among others Basilio (Barbiere di Siviglia), Alfonso (Così fan tutte), Giovanni, Sidney (Il viaggio a Reims), Padre Guardiano (Forza del destino), Phanuel (Hérodiade), Mus­tafà (L’italiana in Algeri), Sparafucile (Rigoletto), Philipp II., Boris Godunow, Colline, Procida (Vespri siciliani), Silva (Ernani), Zaccaria and Fiesco (Simon Boccanegra). In 2001, he became an Austrian chamber singer.. in 2007,  he was made an honorary ensemble member of the Wiener Staatsoper. In 2005, he took part in the celebration concert of the 50 years since the re-opening of the Wiener Staatsoper.

Act 1 It is harvest season on the country estate of Madame Larina in the Russian countryside. As they bottle berries, the widowed landowner and the old nurse chat about the past, about their disappointments in life, and accepting routine as a substitute for lost happiness. Of the two daughters of the house, the lively, happy-go-lucky Olga is full of joie-de-vivre, while the quiet, withdrawn Tatyana immerses herself in books and drifts off in daydreams. One day visitors arrive: Olga's fiancé, the starry-eyed young poet Lensky, introduces his friend and neighbouring landowner Eugene Onegin, a sanguine city dweller and libertine. Whist Lensky beleaguers the fun-loving Olga with declarations of love, Onegin's elegance and superiority make a deep impression on the shy Tatyana. The hero of her novels, the projection of her dreams and imagination seems to be standing before her. That night in her room, Tatyana can find no rest, and even the nurse cannot distract her. Tatyana therefore decides to write a letter to the man who has so unexpectedly entered her life. Anxiously to begin with, then increasingly recklessly, she bares her soul, revealing her emotions to Onegin. When the two meet in person, Tatyana is disappointed, and even humiliated, by Onegin's condescending reply. Although he admits that he is very fond of her, he mistrusts his feelings in the long term and tells her that marriage is not for him. Deeply hurt, Tatyana withdraws, as the girls picking berries in the garden sing mischievously of love's happiness. Act 2 Months later; it is now winter. A country ball to celebrate Tatyana's name day brings the invited neighbours welcome relief from the monotony of their everyday lives. Onegin has allowed his friend Lensky to persuade him to attend the ball as well. However, he soon becomes so annoyed by the other guests' gossip about his extravagant lifestyle that he resolves to play a trick on his friend. He repeatedly dances with Olga, flirting very ostentatiously with her, and she coquettishly responds to his advances. In a fit of jealousy, Lensky flies in to a rage. Before the assembled company, he indignantly demands that Onegin account for his behaviour, finally challenging his pretended rival to a duel. On a cold morning, Lensky is waiting for his opponent. Filled with premonitions of death, in his thoughts he bids farewell to his life and his beloved Olga. When Onegin arrives, both of them know the futility of their undertaking, and realize how precious their friendship is. However, neither of them manages to call off the duel. It is only when Lensky is mortally wounded that Onegin realizes the terrible thing he has done. Act 3 Several years have passed, and Onegin has moved away from his country estate. However, though he has travelled far and wide, he has not yet come to terms with the death of his friend. Neither has he been able to shake off his feelings of remorse, nor found anything to give his life meaning again. Hardly has the restless Onegin returned home than Prince Gremin invites him to a celebration in St. Petersburg, where he once again feels completely alone. Suddenly he realizes that his hostess is Tatyana, whom he had almost forgotten about. She has since become the wife of the distinguished general and a highly admired princess. When Prince Gremin tells the bewildered Onegin of his happiness with Tatyana, Onegin realizes what a terrible mistake he has made. The contemptuous dandy is overcome by a turmoil of unfamiliar emotions. In an impassioned letter, Onegin begs Tatyana to hear him out. His unexpected appearance at the ball has also disrupted Tatyana's painstakingly won peace of mind. Now they both lament the happiness they allowed to slip away. When Onegin increasingly vehemently urges her to give up her marriage and abscond with him, she admits her unbroken love - but at the same time affirms her commitment to Prince Gremin. Left alone, Onegin despairs at ever finding a meaning to his unfulfilled life.