Canadian director Robert Carsen’s staging of Tchaikovsky’s Eugene Onegin was originally created for the Metropolitan Opera in 1997 and has achieved iconic status in the intervening years. The Canadian Opera Company eventually acquired the production which it first presented in 2018. A model of perfectly-judged austerity, it once again lives up to its vaunted status in its latest revival (seen May 2). What takes this iteration to the next level is the casting. The COC has conjured up the magic that can result when superb singers are ideally matched to their roles.
As Carsen states in his program notes, “When we first began to work on our production, we noticed that sometimes Tatyana tends to dominate the narrative. But ultimately it is Eugene Onegin’s story, so we thought it would be interesting to tell it as much as possible from his point of view.”
Lauren Fagan (Tatyana) & Andrii Kymach in the title role of Canadian Opera Company’s Eugene Onegin. Photo: Michael Cooper
Baritone Andrii Kymach embodies the self-centred, snobbish Onegin. Tall, elegant and casting a condescending glance on all he encounters, we know exactly who this man is from his first entrance. Kymach convincingly traces the character’s downward spiral, starting with his dismissive rejection of the young Tatyana’s confession of love through to desperately pleading for her affection years later in the final scene. Above all though, he conveyed character through vocal means, unleashing some of the most glorious, impassioned sounds heard at the Four Seasons Centre this season.
The other outstanding vocal performance came from tenor Evan LeRoy Johnson as Lensky, the hapless poet engaged to Tatyana’s sister, Olga. He ultimately meets a tragic fate at the hand of his friend Onegin in a duel that could easily have been avoided. Like Kymach, it is Johnson’s vocal artistry that compels. In the famous aria, “Kuda kuda vi udalilis?” (“Where have you gone?”), the tenor conveys regret and resignation that he will lose Olga, caring little whether he lives or dies in the imminent duel. Johnson uses subtle dynamic shadings in compelling storytelling, not afraid to embrace virtuosity with sustained, glowing top notes that thrill.
Megan Marino (Olga) and Evan LeRoy Johnson (Lensky) in Canadian Opera Company’s Eugene Onegin. Photo: Michael Cooper
Olga exists as a more carefree, fun-loving contrast to her bookworm sister, Tatyana. Mezzo-soprano Megan Marino embodied all of her impetuosity as she bounced and twirled about the stage until confronted with the tragic consequence of her mild flirtation with Onegin. Again, it was the artist’s vocal quality that crowned her portrayal. The role lies low in the mezzo range, yet Marino was always able to effectively project her gorgeous tone, even in ensemble, so that words and dramatic intent were absolutely clear. She, along with Kymach and Johnson, were all making their COC debuts and we can only hope they will be back in Toronto soon.
Soprano Lauren Fagan beautifully limned Tatyana’s transformation from youthful idealism to a mature woman, resigned to her role as wife of an elderly prince. She offered a rich, lyric sound that efficiently met the role’s demands. Her famous letter scene, in which she pours out her feelings for Onegin in an all-night writing session, perhaps lacked the ultimate note of desperation and misplaced hope. This long scene optimally requires a degree of vocal abandonment that wasn’t quite there. Fagan was better able to deliver on this level in her final duet with Onegin when she dismisses him forever, despite admitting to still loving him.
Emily Treigle (Filipyevna) and Krisztina Szabó (Madame Larina) in Canadian Opera Company’s Eugene Onegin. Photo: Michael Cooper
The production was well-served in the casting of its smaller, but still important, supporting roles. Mezzo-soprano Emily Treigle was a delight as Tatyana’s faithful nurse, Filipyevna, offering sage advice on love, delivered with rich, velvety tone. Bass Dimitry Ivashchenko sang Prince Gremin’s touching tribute to his young wife, Tatyana, with a sincerity and richness that prompted a prolonged ovation after this aria. Mezzo-soprano Krisztina Szabó sounded out-of-sorts as Madame Larina, Tatyana and Olga’s mother, a role perhaps not so well-suited to her vocal gifts.
Tenor Michael Colvin took full-advantage of the opportunities given to Monsieur Triquet to steal the spotlight with the French couplets he uses to serenade Tatyana at her name day party. COC Ensemble bass Duncan Stenhouse pricked up ears with his trenchant vocal characterization of the small role of Zaretsky, Lensky’s second in the fateful duel. Stepping in for an ailing colleague, baritone Gene Wu also commanded attention as the Captain.
Gene Wu (Captain) in Canadian Opera Company’s Eugene Onegin. Photo: Michael Cooper
As to the production itself, much has already been written. It is often referred to as austere and for that, was perhaps discarded prematurely by the MET in 2013 in favour of Deborah Warner’s more conventionally-designed English National Opera production. Indeed, much of the stage is often bare except for a few well-placed chairs and a thick carpet of autumnal leaves. Yet, the placement of soloists and chorus is so considered, and dramatic, there is no need for elaborate set elements.
Having said that, the eye is delighted by the Winterhalter-eque gowns designed by Michael Levine, worn by the women at the name day celebrations. A coup de théâtre is achieved in the duel scene, strikingly staged entirely in silhouette. Jean Kalman’s original lighting design (revived here by Christine Binder) stunningly creates the sunrise after Tatyana’s long night of letter-writing. Revival director Peter McClintock has worked carefully with the principals to elicit fully-rounded characterizations.
(l-r) Duncan Stenhouse (Zaretsky), Andrii Kymach (Eugene Onegin), and Evan LeRoy Johnson (Lensky) in Canadian Opera Company’s Eugene Onegin. Photo: Michael Cooper
The glory of an opera by Tchaikovsky is largely a result of its orchestral score. Conductor Speranza Scappucci was a fully-energized presence leading the COC Orchestra. She drummed up intensity and rhythmic excitement in the many dance-based movements. There were moments when she perhaps pressed tempi a little too forcefully, resulting in a rather rushed opening duet for Larina and Filipyevna. Overall, the orchestra played gloriously in what must be a very satisfying spring run for them along with Wozzeck. The COC Chorus sang with full-throated vigour in this very chorus-heavy opera and provided polished visual impact in the myriad of striking formations and dances thrown their way.
So, what on paper might have appeared as an efficient revival of a known staging, with a roster of mostly new-to-Toronto singers, emerges as what is probably the highlight of the COC’s 2024-25 season. This makes one hopeful for the company’s revival-heavy 2025-26 playbill.
Canadian Opera Company’s production of Eugene Onegin continues its run at Toronto’s Four Seasons Centre for the Performing Arts until May 24. www.coc.ca
