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Tue. Nov. 26, 2019

Peter I. Tschaikowski

Eugen Onegin

Conductor: Michael Güttler, Director: Falk Richter
With Marina Rebeka, Boris Pinkhasovich, Pavol Breslik, Ferruccio Furlanetto

 

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

Marina Rebeka | Tatjana

Marina Rebeka was born in Riga/Latvia. In October 2007 she won the first prize in the renowned singing competition Neue Stimmen in Gütersloh. She sang Violetta in La traviata at the Royal Opera House Covent Garden in London, she performed in Moise et Pharaon at the Salzburger Festspiele, at the Deutsche Oper Berlin as Donna Anna in Don Giovanni, at the Rossini Opera Festival in Pesaro she interpreted the Contessa di Folleville and Madama Cortese in Il viaggio a Reims, also Anna in Maometto II., at the New York Metropolitan Opera she sang Donna Anna – a role which she also performed at the Zürcher Oper and the Lyric Opera Chicago. 

Marina Rebeka made her debut at La Scala in Milan as Contessa di Folleville and at the Latvian National Opera Riga as Adina in L’elisir d’amore. Furthermore, performances have led her to the Komische Oper Berlin and the Opera National de Lorraine in Nancy. Future engagements include appearances in La traviata in Munich, Chicago, Zurich and New York, in Lucia di Lammermoor in Amsterdam and Zurich as well as in Così fan tutte and L’elisir d’amore in Zurich.

Pavol Breslik | Lenski

The career of tenor Pavol Breslik began in 2005 when critics of the magazine "Opernwelt" elected him the “Newcomer of the Year”. The Slovakian artist, born in 1979, studied in Bratislava. In 2000 he won the first prize at the Antonín Dvorák competition. 2002/2003 he continued his education in the opera studio CNIPAL in Marseille and completed his studies in master classes of Yvonne Minton, Mady Mesplé, Mirella Freni and William Matteuzzi.
Between 2003 and 2006 he was a member of the Staatsoper Unter den Linden Berlin. He sang at the Théâtre de la Monnaie in Brussels, at the Vienna Festival, at the Festival in Aix-en-Provence, at the Théâtre du Châtelet, the Salzburg Festival, the New York Met, the London Royal Opera House Covent Garden, the Bayreuth State Opera. His repertoire includes Ferrando (Così fan tutte), Tamino (Zauberflöte), Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), Kudrjáš (Katjá Kabanová), Belmonte (Die Entführung aus dem Serail), Lenski (Eugen Onegin) und Gennaro (Lucrezia Borgia).
He made his debut at the Vienna State Opera in 2010 as Nemorino and also sang Lenski and Don Ottavio. 


 

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.