Tchaikovsky Eugene Onegin Libretto

Eugene Onegin, a "novel in verse, " as announced by its subtitle, and Russia's best-loved classic, was written by Alexander Pushkin, that country's unsurpassed literary idol. Yet the American reading public generally attributes its authorship to Tchaikovsky, who composed the score and co-authored the libretto of its operatic adaptation. Henry Hoyt, translator for this bilingual edition, suggests that this misunderstanding may stem from other translations' having been cast in a mold ill-fitted to capture both the spirit and meaning of the original. Most of the translations follow the complicated rhyme and meter scheme of the original, where the invention of new rhymes for the translated version forces the translator to abandon verbal fidelity to the original. The other translations are in prose, lacking the rhythm and hence much of the spirit of the original. Mr. Hoyt's translation is unrhymed, but retains the meter of Pushkin's verses, a procedure under which he believes verbal fidelity is attainable along with rhythm, affording the English-speaking reader an experience as close as possible to that of a Russian-speaking reader of the original. This publication includes an appendix describing the Cyrillic alphabet for readers unfamiliar with it but interested in examining the original text.

Release Date: August 12, 2008

Dmitri Hvorostovsky, as Alejandra Vernon has pointed out in her excellent review, is a wonderful Eugene Onegin. The darkness in his voice is essential to projecting his inner turmoil, but there is also sympathy there as well in his mellow timbre. Too many run-of-the-mill Onegins sound one-dimensional (ie angry all the time). Hvorostovsky makes him startlingly real, and our appreciation of his plight is all the more keenly felt because we understand his weaknesses. I share Ms Vernon's hope that we will one day be able to see a filmed performance of Hvorostovsky in this role. Nuccia Focile is an excellent Tatyana, despite a slight inclination to shrillness at the very top of her voice. Her Letter Scene is movingly sung, and her final duet with Hvorostovsky is thrilling in its intensity. Neil Shicoff is equally intense in his heartfelt Kuda, Kuda and the lead-up to his duel with Onegin is riveting and terrifying at the same time. The recording brings out a slight grittiness in his voice, but this is nevertheless an attractive performance. His wooing of Olga (Olga Borodina) in the gorgeous Ya Lyublyu Vas in Act 1 is suitably romantic and sweet. With a great supporting cast and chorus, and inspired conducting from Semyon Bychnov, this is a recording to treasure.

In this guide there is an article comparing Pushkin’s original with its treatment in the opera, a detailed musical analysis and an appreciation of Tchaikovsky’s particular skill as a word-setter. An essay on its performance history details the contributions of the most notable artists who have taken part in productions of the work. Illustrations, a thematic guide, the full libretto with English translation, and reference sections are also included.

Renee Fleming, Elena Zaremba, Ramon Vargas, Dmitri Hvorostovsky, and Sergei Aleksashkin star in this Metropolitan Opera HD performance of the Tchaikovsky opera conducted by Valery Gergiev.

Renee Fleming, Elena Zaremba, Ramon Vargas, Dmitri Hvorostovsky, and Sergei Aleksashkin star in this Metropolitan Opera HD performance of the Tchaikovsky opera conducted by Valery Gergiev.