Eugene Onegin, opera, Op. 24: Act 3. Akh! Shchastye bilo tak vozmozhno
"This studio recording--a rare undertaking during this period in the Soviet era--represents one of the high points of the Eugene Onegin discography, not just for historical reasons but for the heat and conviction of its ar... more »tistry. Eight months pregnant at the time, Vishnevskaya brings out all the believable passion and richness of character that made her Tatyana such a celebrated portrayal. `To me she embodied everything that was most beautiful and valuable in Russian women: a deeply passionate nature, tenderness, boldness, and a willingness to sacrifice herself,' writes Vishnevskaya in her memoirs. She is joined by reigning fellow artists from the Bolshoi. Eugene Belov communicates the aloofness of Onegin, laced with a tinge even of self-hatred." -- Thomas May Includes a 56-page booklet with historic photos, a complete transliterated Russian libretto with a new original English translation and an essay from Thomas May.« less
"This studio recording--a rare undertaking during this period in the Soviet era--represents one of the high points of the Eugene Onegin discography, not just for historical reasons but for the heat and conviction of its artistry. Eight months pregnant at the time, Vishnevskaya brings out all the believable passion and richness of character that made her Tatyana such a celebrated portrayal. `To me she embodied everything that was most beautiful and valuable in Russian women: a deeply passionate nature, tenderness, boldness, and a willingness to sacrifice herself,' writes Vishnevskaya in her memoirs. She is joined by reigning fellow artists from the Bolshoi. Eugene Belov communicates the aloofness of Onegin, laced with a tinge even of self-hatred." -- Thomas May Includes a 56-page booklet with historic photos, a complete transliterated Russian libretto with a new original English translation and an essay from Thomas May.
CD Reviews
A reference recording to set a performance standard
Ralph Moore | Bishop's Stortford, UK | 07/14/2010
(5 out of 5 stars)
"It amuses me to read reviews kvetching about the recording quality of this Opera d'Oro issue, when you consider that if you buy it in its basic version rather than in the de luxe set with libretto, it costs less than a deli sandwich - for one of the seminal great recordings of this glorious opera by performers wholly immersed in a tradition which ensures that all kinds of details and subtleties emerge. To take an example at random, listen to the way Khaikin and the orchestra follow every accelerando, rubato and nuance of the peerless Lemeshev's first aria, "Ya lyublyu vas", his declaration of love to Olga; it's as if singer and instruments are breathing in concert. Anyone who is not swept along by this performance isn't listening to the music but to the technology. It's true that all Opera d'Oro have done is to transfer from LP's onto CD and there is a little light swish and crackle from time to time, but the 1955 mono sound is crystal clear, very forward and not at all "boxy" as one reviewer complains. This was good recording for its time and captures that peculiarly Russian atmosphere so essential to the piece.
It is noticeable how quickly Khaikin moves things along; no dopey, droopy mooning and lingering; depth of feeling is conveyed by the singer-actors inflecting the words with emotional colour and by the conductor's constant, minute attention to to phrasing; no tempo is constantly sustained for more than a few bars before something is marked or emphasised - but it never sounds contrived or artificial; this is singing as natural as speaking.
Vishnevskaya's bright, vibrant tones are perfect for the hysterical ingenue Tatyana in the first act and she matures wholly credibly into the grande dame of the last Act. Belov has been criticised as a dull stick of an Onegin but he, too, succeeds in convincing us of a transformation from aloofness to desperation, and he evinces that directness and clarity with the text which characterises every member of the Bolshoi cast. His very forward, hard-edged baritone is perfect for the cocksure, patronising brute which is Onegin in the first act to the imploring wreck of the opera's last few pages. Onegin has doubtless been sung by baritones more intrinsically beautiful of voice such as Yuri Mazurok, Thomas Allen and Pavel Lisitsian but Belov interacts sensitively with Vishnevskaya and certainly does not disappoint in the fervour of his appeal to Tatyana; the last scene builds to a thrilling and heart-rending climax. The supremacy of this cast and performance is confirmed by a beautiful account of his great aria by Ivan Petrov as Prince Gremin; he manages to sound dignified, noble, mature and lovestruck all at once - and what a treat to hear a true Russian basso profondo with the warmth, flexibility and top notes of a basso cantante. As I have already said, Lemeshev is without equal; his plangent, liquid tones and the ineffable sweetness of his tenor spoil you for all other interpreters of the super-sensitive and immature Lensky.
Mr Cantrell is right in his review: this recording belongs to that small, select bunch of timeless, near-perfect interpretations. Anyone still listening out for imperfections in the recording medium more than a few bars in has no soul."
Track Listings (16) - Disc #1