Listen to Simon Keenlyside on BBC3 in Eugene Onegin
Simon Keenlyside and Krassimira Stoyanova in Eugene Onegin
Make sure to tune in to BBC Radio 3 all week to hear Simon Keenlyside in the title role of Tchaikovsky's Eugene Onegin. The performance was recorded earlier this year at the Royal Opera House and was Kasper Holten's first production for the company after taking over as
Director of Opera. The cast includes Krassimira Stoyanova as Tatyana, Diana Montague as Madame Larina and Pavol Breslik as Lensky.
Simon Keenlyside and Krassimira Stoyanova in Eugene Onegin:
Keenlyside can currently be seen in Wozzeck at the Teatro Real in Madrid with Nadja Michael as Marie. Performances run from June 3-20 and tickets are available online.
Wonderful, I wish I could have been in London to see the complete performance. Simon Keenlyside has become a favorite of mine. Tchaikovsky's operas, in my opinion, are some of his most thrilling music.
Thank you; I enjoyed this clip. Keenlyside's voice has dried and lost some resonance but thank goodness he can still pull off a good all-round performance. He's always acted well and his experience compensates for the years. The mixing of past and present visually works very well here; it doesn't always, but here it's very affecting. But to have the Prince enter (which isn't in the libretto) and watch this scene with only a pained expression? An aristocrat of the period who doesn't offer a challenge? That won't do all all. Oh the whole, I really wish directors wouldn't try to be so clever. (mutter mutter) But I really did enjoy Keenlyside and Stoyanova. Thank you again.
Wonderful, I wish I could have been in London to see the complete performance. Simon Keenlyside has become a favorite of mine. Tchaikovsky's operas, in my opinion, are some of his most thrilling music.
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ReplyDeleteThank you; I enjoyed this clip. Keenlyside's voice has dried and lost some resonance but thank goodness he can still pull off a good all-round performance. He's always acted well and his experience compensates for the years. The mixing of past and present visually works very well here; it doesn't always, but here it's very affecting. But to have the Prince enter (which isn't in the libretto) and watch this scene with only a pained expression? An aristocrat of the period who doesn't offer a challenge? That won't do all all. Oh the whole, I really wish directors wouldn't try to be so clever. (mutter mutter) But I really did enjoy Keenlyside and Stoyanova. Thank you again.