Tchaikovsky - Eugene Onegin Fleming Vargas Hvorostovsky Gergiev Carsen Metropolitan Opera 2007

Product Description This staging, by Robert Carsen, of Tchaikovsky's popular romantic opera was broadcast live to cinemas worldwide from the Metropolitan Opera to great critical acclaim in February 2007. Renee Fleming and Dmitri Hvorostovsky star as the doomed lovers in Pushkin's tragic tale of unrequited love and their onstage chemistry made for some rave reviews. Valery Gergiev, widely considered to be Russia's greatest living conductor, leads the Metropolitan Opera Orchestra and Chorus. Amazon.com This set, filmed at the Metropolitan Opera's February 2007 performances of Tchaikovsky's most popular opera, has just about everything going for it: an all-star cast in peak form, a great orchestra led by today's leading Russian conductor, and a striking stage production whose minimalist, often stark, sets manage to superbly suit this most Romantic of operas. Drawn from Pushkin's classic, the opera tightly focuses on the story of Tatiana, a naive young girl who declares her love for a dashing rake (Onegin) who rejects her overtures. His arrogance surfaces leads to flirting with his best friend's fiancée and then to killing him in a duel. Plagued by remorse, a superficially reformed but still impossibly self-centered Onegin meets Tatiana at a ball, but now the childish country bumpkin is the glamorous wife of a Prince. He declares his love but she rejects him and leaves him alone, a solitary, tragic figure. Renée Fleming's Tatiana is a triumph, her gorgeous soprano voice, intense acting and precise characterization make the complex young woman come alive. Her "Letter Scene," in which the singer must reveal the innermost thoughts of a confused soul, is as good as it gets, as Fleming fully reveals the young woman's joyous hopes of requited love and also her fears of rejection. In the final act, she's still attracted to the dashing Onegin but resolved to preserve her marriage. In the title role, Dmitri Hvorostovsky is her equal; his firm baritone fits the music like a velvet glove and his acting matches Fleming's in its intensity. He's especially fine in his last-act monologue, bursting with despair and passion. Tchaikovsky gave the work's most beautiful arias to Lenski, Onegin's friend. Ramon Vargas' mellifluous tenor is well-suited to the lyricism of Lenski's Act One love aria and to the poignant aria before his duel with Onegin. Lenski's anger at his frie