Tchaikovsky:Eugene Onegin
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On Melodiya / BMG; 2 CD\'s; Conductor Boris Khaikin ensures that all kinds of subtleties emerge. For example, he and the orchestra follow every accelerando, rubato and nuance of the peerless Lemeshev\'s first aria, "Ya lyublyu vas.” It\'s as if singer and orchestra are breathing together. Khaikin moves things along without lingering. Depth of feeling is conveyed by the singers’ inflecting the words with emotional color and by the conductor\'s constant attention to phrasing. Nothing sounds contrived or artificial; this is singing as natural as speaking. The way Khaikin differentiates, through orchestral style, the boisterous, provincial party hosted by the Larin family for Tatyana\'s name-day and the grand, elegant St Petersburg ball where Onegin re-encounters the mature Tatyana is splendid. Vishnevskaya\'s bright, vibrant tones are perfect for the hysterical ingénue Tatyana in the first act. She matures wholly and credibly by the last act. Belov succeeds in convincing us of a transformation from aloofness to desperation, evincing the directness and clarity with the text which characterizes every member of the cast. His hard-edged voice is perfect for the change from patronizing brute in the first act to the imploring wreck of the opera\'s last few pages. Belov interacts sensitively with Vishnevskaya; he is intensely heart-wrenching in the fervor of his appeal to Tatyana at the end, building to a thrilling and heart-rending climax. The supremacy of this cast and performance is confirmed by a beautiful account of Gremin’s aria by the great Ivan Petrov. Also, Lemeshev is without equal. His liquid tones and the sweetness of his tenor spoil you for all other interpreters of Lensky. His voice is so beautiful, capable of such melting diminuendos and thrilling top notes, that the listener is mesmerized. This “Onegin” is surely one of the definitive recordings by performers wholly immersed in Russian tradition.
On Melodiya / BMG; 2 CD\'s; Conductor Boris Khaikin ensures that all kinds of subtleties emerge. For example, he and the orchestra follow every accelerando, rubato and nuance of the peerless Lemeshev\'s first aria, "Ya lyublyu vas.” It\'s as if singer and orchestra are breathing together. Khaikin moves things along without lingering. Depth of feeling is conveyed by the singers’ inflecting the words with emotional color and by the conductor\'s constant attention to phrasing. Nothing sounds contrived or artificial; this is singing as natural as speaking. The way Khaikin differentiates, through orchestral style, the boisterous, provincial party hosted by the Larin family for Tatyana\'s name-day and the grand, elegant St Petersburg ball where Onegin re-encounters the mature Tatyana is splendid. Vishnevskaya\'s bright, vibrant tones are perfect for the hysterical ingénue Tatyana in the first act. She matures wholly and credibly by the last act. Belov succeeds in convincing us of a transformation from aloofness to desperation, evincing the directness and clarity with the text which characterizes every member of the cast. His hard-edged voice is perfect for the change from patronizing brute in the first act to the imploring wreck of the opera\'s last few pages. Belov interacts sensitively with Vishnevskaya; he is intensely heart-wrenching in the fervor of his appeal to Tatyana at the end, building to a thrilling and heart-rending climax. The supremacy of this cast and performance is confirmed by a beautiful account of Gremin’s aria by the great Ivan Petrov. Also, Lemeshev is without equal. His liquid tones and the sweetness of his tenor spoil you for all other interpreters of Lensky. His voice is so beautiful, capable of such melting diminuendos and thrilling top notes, that the listener is mesmerized. This “Onegin” is surely one of the definitive recordings by performers wholly immersed in Russian tradition.
2022-03-05 20:55:56