EUGENE ONEGIN.
Lyric Scenes in three acts by P. J. TSCHAIKOWSKY.
Text after Puschkin's poem of the same name.
Tschaikowsky's opera, long known and so intensely popular throughout Russia, that many of its melodies have become household-properties, has taken a long time to penetrate into other countries. But wherever it has been represented, its success was great and its impression upon the public deep and lasting.
At the Dresden Opera House it was first given October 20th, 1908, though the composer wrote it fully 29 years ago. It was the most brilliant success of the season.
Tschaikowsky is the classic amongst the Russian composers; his concert music is well known and greatly esteemed in Germany.
Of the eleven operas, which he wrote, Eugene Onegin is the best.
The libretto lacks dramatic force, although it is taken from Puschkin's masterpiece, a poem, which in Russia is equalled to Goethe's Faust, but the music is strikingly original and full of exquisite music and harmony. The hearer's attention may be drawn especially to the fine duet between Olga and Tatiana, and to the latter's love letter, a supreme hymn of love in the first act.
In the second act there are some charming dances, a quaint old-fashioned waltz, an original Mazurka and in the third act a brilliant polonaise [a] and a delightful waltz, interwoven with the passionate love duet between Onegin and Tatiana.
The text is adapted for the stage by Tschaikowsky's brother Modeste.
The scene is laid in Russia. The first and second acts take place in the country-house of Madame Larina, the third act in the house of Prince Gremin at St. Petersburg.
In the first scene Madame Larina is sitting in the garden with the nurse Philipyewna, talking of old times and listening to the pretty songs of her two daughters. Olga, a light-hearted merry girl, is engaged to Lenski, a somewhat jealous youth. Tatiana, the younger sister, is thoughtful and sensitive and possesses all the sentimentality of sweet eighteen.
While they are talking the peasants of the village enter, bringing presents of fruit and corn to their landlady. After having performed their pretty dances, they are treated to wine and food by the nurse.—
When they have left Lenski, Olga's betrothed is announced. He introduces his friend Eugene Onegin to the family, and Tatiana promptly falls in love with the interesting stranger, who seems also attracted by the charming girl. Lenski has only eyes for his bride Olga, who soon grows somewhat tired of her passionate and exacting lover.—
In the evening, when Tatiana has retired to her bedroom, she writes a long letter to Onegin, telling him, that she has seen his face in her dreams, and believes him to be her good genius and her guardian angel. She declares in the most touching terms, that she loves him, but being ashamed of herself and hardly knowing, what she is doing in her newly awakened love-fever, she writes again and again, destroying each letter. Towards morning she begins to write once more and at last seals the letter just when her nurse enters to waken her. To this faithful servant she entrusts the precious document, imploring her to deliver it to Onegin.
In the third scene Tatiana is waiting for him. He cruelly undeceives her about his own feelings, telling her, that although touched by her confidence he cannot return her affection. He warns her to restrain her feelings in future, leaving her in an agony of shame.
The second act opens with a dance given in honour of Tatiana's birthday. Onegin feels bored and out of sheer ennui he begins to flirt with Olga. The thoughtless girl willingly yields to the young man's attentions and promises to dance the cotillion with him, in order to punish her lover for his jealousy.—This tactless behaviour enrages Lenski to such a degree, that he challenges Onegin to a duel. The whole assembly is terrified, Tatiana is most indignant and mortified, while Olga vainly tries to pacify her lover. Onegin recognizes at last, that he has gone too far, having not only given pain to a sweet and innocent maiden, but having also deeply wounded his dearest friend. In vain he tries to remonstrate with Lenski. The duel is arranged, and Lenski, feeling that he may not see the following morning, takes a last farewell of his weeping bride.
In the next scene Lenski, finding himself the first on the spot and being left discreetly alone by his second, takes a touching farewell from life, after which Onegin comes up and the duel follows. Lenski is shot and Onegin leaves the place, horror-struck at his own deed.
The third act takes place some years later at a ball in St. Petersburg, in the house of Prince Gremin. Here we find Onegin, who is a friend and relative of the Prince. After long and aimless wanderings about the world he has come back to Russia utterly weary of life. The memory of his friend Lenski, whose premature death he caused, haunts him. In this melancholy state of mind he sees Tatiana again. The Prince enters the ballroom, leading a lady, whom Onegin recognizes as Tatiana. Then the Prince introduces her as his wife. She has grown far lovelier, then when he saw her last on the eve of Lenski's death. Onegin's passionate heart suddenly awakes to life again.—Tatiana bows coldly, concealing her emotion. Onegin explains to the Prince, that he has just returned from his travels.—He tries to talk with Tatiana; she however turns to her husband, pleading fatigue, and leaves the ball-room with him.
Onegin, torn by jealousy and love, decides, to recover her affection at any cost.
In the final scene he implores Tatiana, to be his own. The young wife resists, reminding him of the past, when he spurned the simple country maiden's blind love. At last she grows weak and confesses, that her love for him is not dead. His wooing growing more passionate, Tatiana declares, that she means to remain true to her husband, and refuses to elope with him, but feeling that she cannot resist him much longer, she flees, while Onegin rushes away, cursing himself and his whole life.