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Tchaikovsky: Eugene Onegin


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Product Details

  • Actors: Ryland Davies, Ferruccio Furlanetto, Joseph Kaiser, Peter Mattei, Rene Morloc
  • Directors: Thomas Lang
  • Format: Multiple Formats, AC-3, Classical, Color, Dolby, DTS Surround Sound, NTSC, Subtitled, Widescreen
  • Language: Russian (DTS 5.0), Russian (PCM Stereo)
  • Subtitles: Chinese, English, French, German, Spanish
  • Dubbed: English
  • Region: All Regions
  • Aspect Ratio: 1.33:1
  • Number of discs: 2
  • Rated: NR (Not Rated)
  • Studio: Deutsche Grammophon
  • DVD Release Date: August 12, 2008
  • Run Time: 157 minutes
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (11 customer reviews)
  • ASIN: B0018B7RT2
  • Amazon Best Sellers Rank: #96,852 in Movies & TV (See Top 100 in Movies & TV)

Special Features

None.

Editorial Reviews

Recorded at the 2007 Salzburg Festival, this production of Tchaikovsky's Eugene Onegin features an excellent, young cast and the Vienna Philharmonic conducted by maestro Daniel Barenboim. Director Andrea Breth has created an intimate production that mines the depths of expression and charisma of her singer-actors and integrates silent secondary episodes and miniature dramas to heighten the intensity of the story. The title role--a tour de force for any baritone--is taken by Peter Mattei, who starred as Figaro in the Metropolitan Opera's HD Live Broadcast of Il Barbiere di Siviglia. He is joined by dazzling young Russian soprano Anna Samuil, a protégée of Daniel Barenboim who has been acclaimed as a vibrant new presence on the opera stage. The opera includes a wonderful performance from the young tenor, Joseph Kaiser, recently acclaimed for perfomances at The Met opposite Anna Netrebko in Roméo et Juliette, as well as a solid contribution from bass Ferruccio Furlanetto. The DVD has been filmed in HD, with 5.1 DTS surround sound and PCM stereo.

Customer Reviews

Lend their characters good performance arts.
Ali Hassan AYACHE
Breth has already made us aware this Tatyana is no shrinking violet - is, in fact, a strong willed (and slightly spoiled), young woman.
G P Padillo
By the way, a minor problem is the audience, which is quite noisy.
Stefan Westerhoff

Most Helpful Customer Reviews

9 of 9 people found the following review helpful By Y. J. Lee on February 28, 2009
Format: DVD
Most reviewers don't like this performance. But I love it. True, it may look dry, queer, even malicious, but seemed to conceal its own logic and virtues. In my opinion Onegin is the most cynical opera, so I am more generous to this kind of experiment.
Whenever I see Onegin, I feel bored by Larina & Filipyevna. Breth gave sub-characters their own theatrical traits, Olga's amoral indifference, Larina's comic snobbery, Filipyevna's aged curiosity, Gremlin's subdued violence. Breth also gives many metaphors. Onegin just slipped away cold-heartedly after Lensky's death but came back broken down, which tells much story and offers ground for his sudden foolish passion for Tatyana.
Even I don't love every part of the direction. I can't understand the beginnings of each acts-Onegin watching TV and not quite impressed.
Breth also touched some sociology or politics. I thought it went a little too further, but political sense matched quite well for the atmosphere.
Mattei was great. His Mozartian soft voice made the character more complicated. All of other casts were fantastic singers & actors(tresses).
For new Onegin lovers, I frankly recommend Graham Vick's production. It has irresistable grace and wit, but after that, this performance might add another savour for this masterpiece.
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7 of 7 people found the following review helpful By AL on March 11, 2013
Format: DVD Verified Purchase
I'm originally from Russia, so you can imagine that I've seen quite a few productions of Eugene Onegin. None of the Onegins, I've ever seen, come even close to the astonishing portrait Peter Mattei gives in this performance, both dramatically and vocally. His Onegin comes across as alive and very sympathetic. I can't disagree more with some reviewers who called him unappealing and cold-hearted. This is the most hot-blooded and passionate Onegin in ages! He undergoes a physical transformation from a playboy, bored, self-absorbed and self-assured, almost obsessed with physical appearance (and looking extremely handsome, indeed!), `disillusioned in everything' at 23 and looking down to everyone, to a completely sincere man, deeply remorseful and suffering, passionately in love, not caring about his looks at all (and still looking sexy as hell!). In the end Onegin's complete defeat, as well as full realization that he himself caused it, is heartbreaking. There are no words to adequately describe beauty and power of Mattei's voice throughout the whole journey. It's lush and luminous, even in all the registers, effortless and infinitely musical. His phrasing is exquisite, his breath control is impeccable.
Anna Samuil as Tatyana and Joseph Kaiser as Lensky give solid performances, but you can't help but notice that they are simply not in the same league as Peter Mattei, not yet at least. I sincerely wish them both successful careers. Ferruccio Furlanetto is a luxury as Gremin.
I can't say that I like the sets very much. There is wheat growing inside(?) Larin's house, then there are puddles on the floor everywhere during the ball at Tatyana's birthday (why?). Women's chorus ("Devizy, krasavizy...") sewing some bandages as in Chinese sweatshop (why?
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25 of 32 people found the following review helpful By G P Padillo VINE VOICE on August 19, 2008
Format: DVD Verified Purchase
Last year it seemed absolutely everyone at Salzburg clamored about director Andrea Breth's monumental updated production of "Eugene Onegin" and indeed, it was one of the most reviewed performances I've ever seen - I read over 30 reviews of the opening night - and nearly every single one seemed to be outdoing the other in heaping superlatives. I saw clips of it and found it moving, and now have watched the entire thing on DVD, twice. Musically, I find it thrilling and eye opening, but dramatically it runs both red hot (like a fire poker in the eye) and unmoving.

There's not a thing wrong with strong willed directors, but when the will of the director ignores what is happening in the music and imposes his or her will OVER what the director intends - then I have a problem. And I had a lot of problems here.

As terrific as Anna Samuil is in the Letter Scene, dramatically there was something lacking - something in need of tightening up - not on the heroine's part, but on the director's. The decision to not have her in pajamas or a nightgown proved, for me at least, a seemingly inconsequential, but ultimately glaring mistake. Breth has already made us aware this Tatyana is no shrinking violet - is, in fact, a strong willed (and slightly spoiled), young woman. But she's still a girl and we need SOME vulnerability and there was next to none found here. Despite Samuil's lovely shaded singing, magnificent lighting (car lights shining through the woods and windows) . . . despite incredible stage machinery rotating the sets showing Tatyana tearing through the house and out into the woods with what can only be described as "love fever," we do not quite get (or at least I did not get) the sense that her epistle to Mr. O was particularly difficult, much less an all night vigil.
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9 of 12 people found the following review helpful By P. Sutherland on November 13, 2008
Format: DVD
The singing here is really wonderful. Peter Mattei as Onegin, Joseph Kaiser as Lensky, Anna Samuil as Tatyana, and Ferrucio Furlanetto as Prince Gremin, each deserve five stars. But everything else is just wrong, wrong, wrong!!!

Andrea Breth's idea of this opera warped into the current era must have Tchaikovsky and Pushkin rolling in their graves. From the first scene to the last, Breth has transformed dignified, lovable people like Larina, Filipyevna, Olga and Tatyana into bored, disillusioned and unlikeable characters. Only Lensky survived relatively unscathed, but that Lensky would not even have a friend like the hard-assed Onegin portrayed here. And Tatyana was about as innocent and loveable as Britney Spears! So, when Onegin disappoints her, who cares??? And vice versa!

Breth must have had Harry Potter's dementors for inspiration because all the beauty and joy were sucked out of this production! It's really too bad. The set was dark and dreary and generally ugly. All the joy was removed from the initial chorus number--no dancing; only one couple waltzed (slowly and incompetently) during the gorgeous waltz scene at the Larin's ball, etc.

If it weren't for the beautiful music and world class singing (and my curiosity--OMG! What next?), I would not have been able to sit through it.

Salzburg audiences must expect and demand the outrageous because they certainly get a lot of it.
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Tchaikovsky: Eugene Onegin
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