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16 mar. 2014


foto: Edith

Muchas gracias a Edith, Eleonore y Anne por las crónicas y fotos.

Surrounded by heavy snow flurries...
...where longing loses itself in hopelessness and fear of loneliness ... blazes passion and fiery love (... on a spring-like evening at nearly 20 degrees in Vienna).
The symbolic staging and barren stage supported downright the cold, the fateful love of the two couples that is doomed to failure but due to unrealizable expectations and errors …

The terms "blazing passion, violent feelings, jealousy to self-abandonment and desperation" carry only a single name: "Rolando Villazón"! His mutability: from an intellectual, dreamy and shy poet Lenski, who becomes half crazy with his jealousy nearly a confused man. As he - with his helplessness watches the loss of his great love Olga, who flirts with his friend Onegin, and how Rolando represent his hopelessness as Lenski, as his world collapses. Rolando's truthful representation, his total body use, his stage presence and his brilliant vocal expressiveness, as always sensational and determined the main focus of the evening. The, from fate of devoted and from premonition of death embossed Aria "Kuda, Kuda" was an absolute experience! (Note: This opera should be called with the name "Lenski" - Too bad that the end of this opera role is already, at the end of Act 2!) Rolando's “stage death” squeezed my throat too - almost I forgot to breathe! A perfect representation, hit deep into my heart!

Eugene Onegin, who heart bindings with flirts and superficiality confused, found in Mariusz Kviecien a vocally sumptuous and ideal interpreter. How his initial poverty of feeling turned into a maturing man, who recognizes as recently as by the duel with his friend Lensky that he went the wrong way of destiny and thereby he lost not only his friend, but also the love Tatianas.

Dinara Alieva (Tatjana), for me, she is an expressive personality with vocal power, who embodied ideal the ripeness of the young enamored girl Tatjana to a respected wife of Prince Gremin.

Nadia Krasteva acted very convincingly as life-fun-loving Olga and was also with a beautiful voice leading an ideal choice. Ain Anger, a vocally powerful and impressive Gremin, also belonged to this outstanding ensemble of singers. Just as Norbert Ernst, who gave the role of Monsieur Triquet one especially, personal and humorous note.

Patrick Lange led very convincing the Philharmonic Orchestra and for the singing soloists he was a superbly soulful companion.

Much cheering and standing ovations!

And also here - as always: the friendly, comradely interaction between Rolando and the singing colleagues - especially Mariusz Kviecien - and of course to the music conductor Patrick Lange.

A magnificent and memorable opera experience! Gracias Rolando! Gracias a todos!


Una potentísima escena de Onegin

Desde mi primer Onegin, estoy profundamente seducida y conquistada por la Escena 1, Acto 2 (Disputa fatal entre Onegin y Lenski), por su inmensa energía y intensidad. Me invadió la presencia escénica impactante, poder interpretativo, entrega apasionada, fuerza y sincera actitud de Rolando/Lenski, el peso del personaje con que Rolando se identificaba completamente, se disolvía en él.

Todos son aspectos que dan a su interpretación una dimensión que va más allá de lo musical o teatral.

En esta escena, todo ocurre en un tiempo relativamente breve, los eventos son imprevisibles, las palabras apasionadas de Lenski y Onegin conducen con excesiva rapidez a la tragedia.

Y en este breve tiempo, tenemos una gama extremadamente amplia de matices de la voz de Rolando – decepción y celos (Vi obeshali mne teper - Me prometiste ahora), dolor (Glazam ne veryu, Olga, Boze shto so mnoy - No puedo creer! Olga! Dios, lo que me pasó), tristeza (Аh, Оlga, kak zestoki vi so mnoy - Oh, Olga, lo cruel que eres para mí), cólera (Оnegin! Vi bolshe mne ne drug! - Onegin! Ya no eres mi amigo!), rabia (Ya vami oskorblen,.Y satisfakcii ya trebuyu - Te he ofendido. Y exijo satisfacción!), profundo sufrimiento (Аh, Оlga, Olga! Proshay navek - Oh, Olga. Olga! Adiós para siempre!)

Pero para mi, la voz de Rolando alcanzó su maximísimo esplendor, puntos de extrema sensibilidad en la parte siguiente:
“V vasem dome! V vasem dome!
V vasem dome, kak sni zolotie moy detskie godi tekli
(En su casa, como los sueños de oro, Mi infancia fluyó ...)”

Una belleza atemporal.

Para el tercero Onegin, en “Kuda, kuda” y en la muerte de Lenski, tuvimos, otra vez más, pequeños cambios en los gestos de Lenski que nos llevaban a sentir emociones aun más fuertes, intensas.

¡Gracias, Rolando!


foto: Edith
foto: Anne
foto: Anne
foto: Edith
foto: Edith
foto: Edith
foto: Anne
foto: Anne
foto: Anne
foto: Edith
foto: Edith

4 comentarios:

  1. Thanks to all of you who captured these three triumphant performances with your lovely accounts and photos: Edith, Eleonore, Anne, Catherine, Daniele, Conny, Marion, and Kyoko. (I hope I haven't omitted anyone.) It's a pleasure to see Rolando "be" Lenski in front of an audience that adores him and that he adores. I especially enjoyed seeing the warm comeraderie between Mariusz and Rolando--you can see what a joy it must have been for them to perform this special opera.

  2. Merci à toutes Anne, Edith, Eleonore, pour vos photos et chroniques.

    C'est un ravissement que de vous lire et voir toute vos merveilleuses photos de Rolando, Mariusz, et toute la production.

    Cette série d' Oneguin est une vraie réussite grace à ses interprètes très impliqués dans leur rôle.

    Rolando est exceptionnel en Lenski, il nous l'a prouvé une fois de plus.

    Merci à Rolando pour tout le bonheur qu'il nous donne.

  3. Another detail, which not mentioned never. The duet of Lensky and Onegin before the duel. They talk about friendship; that have shared everything, and now they’re here as enemy. Harrowing, poignant, wonderful melodies and words. Breathtaking presentation.

    Thanks for everybody (Anne, Edith, Eléonore, and Teresa of course) for this post.

    Thank you, ROLANDO for all three Lensky!

  4. Wow! Thank you Edith and Eleonore for adding more colour and vibrancy to the wonderful comments we've already read about the Vienna performances of "Eugene Onegin". When we were able to download the Met Opera radio broadcast last year, I remember how affected I was by the wonderful performances of the whole cast.

    It is amazing how Rolando is able to "inhabit" the character of Lenski so completely, that he is elevated from a secondary role - to become the thread that binds together the fabric of this timeless tragedy. What a privilege to be in the audience for these unforgettable occasions - thank you so much for sharing ... and best wishes from Australia!