Ted Huffman's new production of Tchaikovsky’s 'Eugene Onegin' at the Royal Opera House is criticized for its misguided directorial choices. The review highlights the director's failure to understand the opera's music and themes, his unnecessary plot alterations, and his questionable staging decisions.
Kristina Mkhitaryan , Gordon Bintner , Liparit Avetisyan in Tchaikovsky ’s Eugene Onegin at the Royal Opera House is the opera everyone loves. The American director Ted Huffman has heralded his new production with the warning that it will spring surprises for those in the audience who cleave to the familiar operatic take on Pushkin’s story, from which Tchaikovsky drew his libretto.Coming from a director whose job should be to serve the music, these are peculiar words.
It’s all dashed hopes and broken hearts, but Huffman can’t resist the temptation to tamper with the plot. I won’t reveal his cheekiest change: suffice it to say that it pointlessly muddies the water. And it’s far from being the evening’s only misjudgement.
The opera’s most poignant scene should come when, alone in her bedroom, the youthful Tatyana pours out her heart by writing a love letter to Onegin. Why on earth does Huffman sabotage it by having Tatyana’s sister take it all down in dictation, as if she was Tatyana’s secretary?whose passionate warmth as Lensky twice stopped the show on first night.
Gordon Bintner as Onegin was a dry and charmless presence, but Brindley Sherratt’s aria as Tatyana’s husband Prince Gremin is a reminder of the potential beauty of
Opera Eugene Onegin Tchaikovsky Royal Opera House Ted Huffman
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