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| Act III of Eugene Onegin. Photo by Philip Newton. |
“Esteemed for its gorgeous score, potent emotion and compelling arias, the work receives a sumptuous, expertly performed Seattle Opera production.” —Crosscut
“The production looked spectacular. The scenic, lighting, and costume designers had everything on the stage looking as perfect as can be. The country setting to start the first act was immediately evident with the three dimensional trees, extended background, and building decorations.” —Eclectic Arts
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| John Moore (Onegin) and Marjukka Tepponen (Tatyana). Photo by Sunny Martini. |
“Soprano Marjukka Tepponen and baritone John Moore shone as the lovestruck young Tatanya and the aloof, decadent Onegin, whose reunion, years after their initial meeting, is fraught with passion (and, of course, is doomed). Also excellent are tenor Colin Ainsworth, as Onegin’s unfortunate poet friend Lensky, and David Leigh, whose river-deep bass is perfectly matched to the princely war hero that Tatanya marries.” —Crosscut
“Tepponen shaped her pivotal first-act Letter Scene with sensitivity and moments of ravishing revelation.” —Bachtrack
“As the Tatyana and Eugene in opening night’s cast, soprano Marjukka Tepponen and baritone John Moore provide a well-matched pair of solid, handsome voices.” —The Seattle Times
“Marjukka Tepponen (Tatyana) sang with such emotion as a young naive country girl to start before marrying and becoming a noblewoman, she absolutely drew the audience into her character. John Moore (Eugene Onegin) also brought his character to life in crisp and decisive ways. Having seen him last year in The (R)evolution Of Steve Jobs, I knew he would be outstanding and he did not disappoint.” —Eclectic Arts
“Clearly stands the test of time. New patrons will find a great introduction to the Seattle Opera and long time attendees will be satisfied with the quality of the performances.” —Eclectic Arts
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| Colin Ainsworth as Lensky. Photo by Philip Newton. |
“With his tender high tenor, Colin Ainsworth made a memorable impact in his leave-taking scene before the duel, and Meredith Arwady, singing with a rich, plummy alto, brought a welcome blend of comforting wisdom and humor to the role of the nurse Filippyevna.” —Bachtrack
“Colin Ainsworth (Lensky) was equally captivating in his role. His love of Olga only to be betrayed by the flirtatious Eugene Onegin was carried out in dramatic but realistic ways. His solo performance was breathtaking and a high point of the show.” —Eclectic Arts
“Martin Bakari added delightful comic grace notes to his cameo as a foppish Monsieur Triquet.” —Bachtrack
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| Martin Bakari (Monsieur Triquet) and the Seattle Opera Chorus. Photo by Philip Newton. |
“Supported by a five-company consortium of companies from Atlanta (which is helmed by Zvulun) to Hawaii, this staging benefits from a strong creative design team. Sumptuous period costumes (Isabella Bywater) and evocative lighting (Robert Wierzel) blend beautifully with Erhard Rom’s elegiac painted backdrops and Chekhovian birch trees.” —Bachtrack
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| Marina Costa-Jackson (Tatyana) and Michael Adams (Onegin). Photo by Philip Newton. |
“Conductor Aleksandar Marković skillfully molded the corresponding shifts, from the melancholy to the delirious – the dance numbers came to life with palpable excitement.” —Bachtrack
“The orchestra, as conducted by Aleksandar Marković, absolutely stood out throughout the production. I was impressed beyond measure.” —Eclectic Arts
“Isabella Bywater’s costumes, all 150 of them, provide pretty spectacle, and Seattle Opera’s rear-wall projection system, underused in general, is put to fine use depicting the sweeping, melancholy Russian steppes.” —The Seattle Times
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| Marina Costa-Jackson as Tatyana. Photo by Sunny Martini. |
Eugene Onegin plays through January 25 at McCaw Hall.
Tickets and information: seattleopera.org/onegin
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