Information

Ballet in three acts after Alexander Puschkin

Choreography John Cranko · Composer Peter I. Tschaikowsky / Kurt-Heinz Stolze

Monday, 06. December 2010
07:30 pm – 10:00 pm
Nationaltheater

Duration est. 2 hours 30 minutes · 1. Akt (est. 07:30 pm - 08:10 pm ) · 1. Pause (est. 08:10 pm - 08:35 pm ) · 2. Akt (est. 08:35 pm - 09:05 pm ) · 2. Pause (est. 09:05 pm - 09:30 pm ) · 3. Akt (est. 09:30 pm - 10:00 pm )

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Cast

Musikalische Leitung
Michael Schmidtsdorff
Choreographie
John Cranko
Bühne und Kostüme
Jürgen Rose

Tatjana
Roberta Fernandes
Onegin
Marlon Dino
Olga
Ivy Amista
Lenski, Onegins Freund
Javier Amo
Fürst Gremin
Norbert Graf
Madama Larina
Zuzana Zahradníková
Amme
Valentina Divina
  • Soloists and corps de ballet of the Bavarian State Ballet
  • Bayerisches Staatsorchester
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If any full-length ballet from the second half of the 20 th Century has a chance at becoming a classic à la Swan Lake then, according to audiences, critics and dancers, it is John Cranko's Onegin.

Created in 1965 and based on the poem by Alexander Pushkin, the story of the young Tatjana, who falls in love with the arrogant dandy Onegin and who is cruelly rejected by him moved audiences worldwide from Beijing to New York. Onegin has been performed in Munich for over 40 years, and many of the greatest dancers – from Eva Evdokimova to Konstanze Vernon, Evelyn Hart, Lucia Lacarra and Polina Semionova – have given the role their own unique, unmistakable personality. Hardly any other narrative ballet allows so many possibilities for character development than in the role of Tatjana: During the two and a half hour performance, Tatjana transforms from a dreamy, naive teenager to a mature woman, who must, in a final, dramatic confrontation, finally decide between passion and duty. 

 

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Act I, Scene 1Madame Larina’s Garden. Madame Larina, Olga, and the nurse are finishing off the party dresses and gossiping about Tatiana’s coming birthday festivities. Madame Larina speculates on the future and reminisces about her own lost beauty and youth. Girls from the neighbourhood arrive, their greetings and chatter are interrupted by gunshots.

Lensky, a young poet engaged to Olga, arrives and tells them there is no cause for alarm, he was hunting with a friend from St. Petersburg. He introduces Onegin, who, bored with the city, has come to see if the country can offer him any distraction. Tatiana, full of youthful and romantic fantasies, falls in love with the elegant stranger, so different from the country people she knows. Onegin, on the other hand, sees only a coltish country girl who reads too many romantic novels.

Scene 2Tatiana’s Bedroom Tatiana, her imagination aflame with impetuous first – love dreams of Onegin, writes him a passionate love – letter which she gives the nurse to deliver.

Act II, Scene 1Tatiana’s Birthday The provincial gentry have come to celebrate Tatiana’s birthday. They gossip about Lensky’s infatuation with Olga, and whisper prophecies of a dawning romance between Tatiana and the newcomer. Onegin finds the company boring. Stifling his yawns, he finds it difficult to be civil to them; furthermore he is irritated by Tatiana’s letter which he regards merely as an outburst of adolescent love. In a quiet moment, he tears up her letter. Tatiana’s distress, instead of awaking pity merely increases his irritation.

Prince Gremin, a distant relation, appears. He is in love with Tatiana, and Madame Larina hopes for a brilliant match; But Tatiana troubled with her own heart, hardly notices her kindly and elderly relation.
Onegin, in his boredom, decides to provoke Lensky by flirting with Olga who lightheadedly joins in the teasing. But Lensky takes the matter with passionate seriousness. He challenges Onegin to a duel.

Scene 2The Duel Tatiana and Olga try to reason with Lensky, but his high romantic ideals are shattered by the betrayal of his friend and fickleness of his fried beloved; he insists that the duel take place. Onegin kills his fried and for the first time his cold heart is moved by the horror of his deed. Tatiana realized that her love was an illusion, and that Onegin is self – centered and empty.

Act III, Scene 1St. Petersburg. Years later, Onegin having travelled the world in an attempt to escape from his own futility returns to St. Petersburg where he is received at a ball in the place of Prince Gremin. Gremin has recently married, and Onegin is astonished to recognize in the stately and elegant young princess, Tatiana, the uninteresting little country girl whom he once turned away. The enormity of his mistake and loss engulfs him. His life now seems even more aimless and empty.

Scene 2Tatiana’s Boudoir.Tatiana reads a letter from Onegin which reveals his love. Suddenly he stands before her impatient to know her answer. Tatiana sorrowfully tells him that although she still feels her passionate girlhood love for him, she is now a woman, and she could never find happiness or respect with him. She orders him to leave her forever.

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Biographies

Michael Schmidtsdorff was born in Hamburg. He studied conducting in his hometown and in Vienna. After being an assistance conductor at the Hamburgische Staatsoper and the Deutsches Nationaltheater Weimar he became leading conductor and assistant musical director at the Theater Lüneburg.

In 1998, he conducted at the Hamburg Ballett John Neumeier for the first time and traveled around the world with the company over the years. Since 2002, he worked with the Berliner Staatsballett, the Ballet de l'Opéra Paris, the Ballett der Sächsischen Staatsoper Dresden, the Royal Danish Ballet in Copenhagen and the ballet of the Teatro Massimo in Palermo (together with the Martha Graham Dance Company New York in 2015). Further guest performances led him to St. Petersburg, Japan, San Francisco, Muscat (Oman) and to Cagliari.

Since 2005, Michael Schmidtsdorff regularly conducts performances with the Bayerisches Staatsballett. In February 2017 he accompanied the guest performance of the Bayerisches Staatsballett to Hong Kong.

Repertoire with the Bayerischen Staatsballett

The Lady of the Camellias (F. Chopin/J. Neumeier)
Swan Lake (P. Tschaikowsky /P. Bart/M. Petipa)
Brahms-Schönberg Quartett (G. Balanchine)
Große Fuge (L. van Beethoven / H. van Manen)
Le Corsaire (L. Minkus / M. Petipa / I. Liška)
Raymonda (A. Glasunow / M. Petipa / R. Barra)
Onegin (P. Tschaikowsky / J. Cranko)
Illusions – like Swan Lake (P. Tschaikowsky/J. Neumeier)
Giselle (A. Adam/M. Ek)
A Midsummer Night's Dream (F. Mendelssohn Bartholdy/J. Neumeier)
Sinfonie in C / in the Night / Adam is (G. Bizet/F. Chopin/G. Balanchine/ J. Robbins/ A. Barton)
La Bayadère (L. Minkus/M. Petipa/P. Bart)
Paquita (A. Ratmansky/ M. Petipa)
Terpsichore Gala IX & X (The World of the Ballets Russes, 20th anniversary season of the Staatsballetts)

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