Ballet in three acts after Alexander Puschkin
Choreography John Cranko · Composer Peter I. Tschaikowsky / Kurt-Heinz Stolze
Munich Opera Festival
Wednesday, 01. July 2015
07:30 pm – 10:00 pm
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 )
Prices G , € - /- /- /40 /29 /17 /10 /7
#BSBOneginDownload Cast List (PDF) To List of Performances
- Lucia Lacarra
- Marlon Dino
- Ivy Amista
- Lenski, Onegins Freund
- Javier Amo
- Fürst Gremin
- Maxim Chashchegorov
- Madama Larina
- Séverine Ferrolier
- Elaine Underwood
- Soloists and corps de ballet of the Bavarian State Ballet
- Bayerisches Staatsorchester
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.
Act I, Scene 1 – Madame 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 2 – Tatiana’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 1 – Tatiana’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 2 – The 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 1 – St. 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 2 – Tatiana’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.
Myron Romanul was born in Baltimore and studied in Boston. Debut as piano Soloist with the Boston Symphony Orcherstra at age of 11.
Performed as a Soloist and member of Boston Symphony Orchestra and Boston Pops Orchestra with Seiji Ozawa, Kurt Mazur, Arthur Fiedler, John Williams and others. Won Grammy Award with New England Conservatory Ragtime Ensemble in 1973 for Best Classical Chamber Music.
Assistant Music Director, Boston Lyric Opera
Principal Conductor Boston Ballet
Conductor & Solo Pianist, Stuttgart Ballet, 1985-1990
2. Kapellmeister & Assistant GMD, Badische Staatstheater Karlsruhe, 1990-1994
1. Kapellmeister & Stellvertreter GMD, Staatstheater Mainz, 1994-1997
1. Kapellmeister, Aalto Theater Essen
Music Director, Fairbanks Summer Arts Festival, since 1985
Principal Guest Conductor, Central Massachusetts Symphony Orchestra, since 1985
Guest Conductor, Ankara State Theater, since 1999
Also plays Cimbalom (Hungarian dulcimer), performed with Pierre Boulez & Speculum Musicae, and recorded film score to Gorky Park
Guest Conductor at the Opéra national du Rhin and in Metz, both in France and at the His Majesty's Theater in Perth, Australia.
Myron Romanul has been conducting performances at both the Bayerische Staatsoper and the Bayerisches Staatsballett since 1987. At the Bayerisches Staatsballett Romanul conducted, amongst others, The Taming of the Shrew, Onegin, Don Quijote, Balanchines Brahms-Schönberg Quartett, Jacopo Godanis After Dark, The Nutcracker, Romeo and Juliet and La Bayadère. He also took over the musical direction of numerous premieres such as Die Silberne Rose, Bombana/Simon/Godani and Le Corsaire, Helden, Der gelbe Klang and Le Sacre du printemps.
Learn more here
(Information as of April 2018)