The most universally beloved opera by the gifted composer of THE NUTCRACKER returns to McCaw Hall in January 2020. EUGENE ONEGIN tells the story of a young woman’s infatuation with a dashing but restless nobleman whose lack of empathy leads to remorse, loneliness, and love unfulfilled.

EUGENE ONEGIN

In Act 2 of Gian Carlo Menotti’s “The Consul,” the magician Nika Magadoff (Alex Mansoori) hypnotizes everyone in the consulate and makes them dance: 
Oh, what a lovely ballroom this is...
the floor shines with precious marble.
Look how the light falls bright and clear 
from twenty crystal chandeliers.
Look at the crimson walls, hung with golden mirrors. 
Ah, listen:  the music has begun.
Ah! How you'd love to dance with your loved one...
But where is he? But where is she?
There, there he is!  He's bowing to you.
Look, there she is...bow to her.
What are you waiting for?
The floor is empty, the music sweet...
the dance is on.
Carlo Montanaro conducts the orchestra of Seattle Opera. Elise Bakketun, photo
Seattle Opera, The Consul, Menotti, Carlo Montanaro, Alex Mansoori


THE CONSUL: ALEX MANSOORI as Nika Magadoff

In Act Two of Gilbert & Sullivan’s THE PIRATES OF PENZANCE the pirates plan to storm Major-General Stanley’s house in the middle of the night, unaware that a crowd of policemen, relentlessly imitating trumpets to embolden themselves, are waiting to ambush and arrest them. After failing to be as quiet as they claim, the pirates sing one of Sullivan’s most beloved tunes—actually, Sullivan’s copyright piracy of Verdi’s “Anvil Chorus” from IL TROVATORE. Francesco Milioto conducted the chorus & orchestra of The Atlanta Opera in Atlanta in 2021. Music provided by The Atlanta Opera Film Studio.

PIRATES: With cat-like tread,
Upon our prey we steal; 
In silence dread,
Our cautious way we feel.
No sound at all,
We never speak a word, 
A fly’s foot-fall
Would be distinctly heard.
POLICE: (Tarantara, tarantara!)
PIRATES: So stealthily the pirate creeps,
While all the household soundly sleeps. 
Come, friends, who plough the sea,
Truce to navigation; 
Take another station;
Let’s vary piracee 
With a little burglaree!

PIRATES: “With cat-like tread”

Join me as I sit down with Emily Cabiness, librarian and archivist for the Seattle Opera. We discuss the art of opera, through both process and product. How does it stay relevant in contemporary life? What kind of collaborative work does it take to put on a production? What does a librarian do for an opera company? How does music help us express the otherwise ineffable? 

A funny, engaging, and emotional chat with a good friend of the show.

(Disclaimer: Emily participated in this discussion outside of her official duties with the Seattle Opera. As such, all of her opinions are her own, and do not necessarily reflect the views of the Seattle Opera or any affiliated staff or artists!)

For more information about the Seattle Opera, including upcoming shows and events, visit https://www.seattleopera.org/ 

For those interested in listening to Emily’s scene selections further, please see the recorded versions below:

Mozart’s The Marriage of Figaro - “Pace Pace Mio Dolce Tesoro” - https://open.spotify.com/track/3EQrqvdRO7VMWSPKSlCdSe

Wager’s The Valkyrie - “War Es So Schmählich”
https://open.spotify.com/track/68CZHU1J4F89quxGwQOQGn

All clips and music used under Creative Commons and Fair Use policies.

Ping: Opera With Emily

American baritone Michael Adams returns to Seattle Opera as Eugene Onegin. This attractive but stony-hearted city slicker breaks the innocent village girl Tatyana’s heart with his first act aria, in which he returns the letter into which she has poured her soul and discourages her affections. The words of the aria come from Pushkin’s EUGENE ONEGIN, Chapter 4 verses 13-14:
“Had I in any way desired
To bind with family ties my life;
Or had a happy fate required
That I turn father, take a wife;
Had pictures of domestication
For but one moment held temptation--
Then, surely, none but you alone
Would be the bride I’d make my own. ...
But I’m not made for exaltation:
My soul’s a stranger to its call;
Your virtues are a vain temptation,
For I’m not worthy of them all.
Believe me (conscience be your token):
In wedlock we would both be broken.
However much I loved you, dear,
Once used to you...I’d cease, I fear. ...
So judge yourself what we’d be buying,
What roses Hymen means to send--
Quite possibly for years on end!”
(Translation by James E. Falen) Aleksandar Marković conducts the orchestra of Seattle Opera. Photo by Philip Newton.

MICHAEL ADAMS as Eugene Onegin

John Moore returns to Seattle Opera as the title role in EUGENE ONEGIN. In Act 3 he meets little Tatyana, now all grown up and dazzling as a society hostess in St. Petersburg; he promptly explodes with love music (stolen from her Act 1 “Letter Scene”) as his frozen heart finally thaws, melts, and resolves itself into a dew. Aleksandar Marković conducts the orchestra of Seattle Opera. Photo by Sunny Martini.

JOHN MOORE as Eugene Onegin

Marjukka Tepponen returns to Seattle Opera as the heroine of EUGENE ONEGIN. As she begins her famous “Letter Scene” she borrows words addressed to her by the narrator of Pushkin’s poem (Chapter 3 Verse 15): 
                 “You are doomed to perish;
But first in dazzling hope you nourish
And summon forth a somber bliss,
You learn life’s sweetness...feel its kiss,
And drink the draught of love’s temptations,
As phantom daydreams haunt your mind:
On every side you seem to find
Retreats for happy assignations;
While everywhere before your eyes
Your fateful tempter’s figure lies.”
(Translation by James E. Falen) Aleksandar Marković conducts the orchestra of Seattle Opera. Photo by Sunny Martini.

MARJUKKA TEPPONEN as Tatyana

Marina Costa-Jackson returns to Seattle Opera as the heroine of EUGENE ONEGIN. In a moment of beautiful stillness in her “Letter Scene,” Tatyana wonders who Eugene Onegin really is: 
“Are you my angel of salvagion
Or hell’s own demon of temptation?
Be kind and send my doubts away;
For this may all be mere illusion,
The things a simple girl would say,
While Fate intends no grand conclusion...”
(Translation of Pushkin's original poem by James E. Falen) Aleksandar Marković conducts the chorus and orchestra of Seattle Opera. Photo by Sunny Martini.

MARINA COSTA-JACKSON as Tatyana

A lively Tchaikovsky waltz and a houseful of revellers bring some midwinter joy to Tatyana’s remote Russian village at the name-day party in Act 2 of EUGENE ONEGIN. Aleksandar Marković conducts the chorus and orchestra of Seattle Opera. Photo by Philip Newton.

EUGENE ONEGIN: Waltz at the Party

Founded in 1963, Seattle Opera is a leading American opera company. The company presents the classics of the European repertoire as well as new works of American opera. Frequent productions of Wagner's RING, beginning in 1975, established the company's worldwide reputation. Seattle Opera usually presents five opera productions each year.

MICHAEL ADAMS as Eugene Onegin

Seattle Opera

Related tracks