English National Opera Guides are ideal companions to the opera. They provide stimulating introductory articles together with the complete text of each opera in English and the original. This tender, lyrical and passionate story of unrequited love holds a special place in Russian hearts. Tatyana's Letter Scene and the Polonaise are two much-loved glories of the score; each Act is in fact tightly constructed around an antithesis of public and private scenes, and the dances are integral to the drama. The essence of both opera and poem is yearning, whether the artist's quest for his muse, or the lover for the beloved. Both poet and composer are true, in their quite different ways, to this theme. The essays included in this guide explore the subtle and unexpected relationship between the words and music in Tchaikovsky's intimate Lyrical Scenes after Pushkin.
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Tchaikovsky wrote 'Eugene Onegin' in 1878, using a libretto by Konstantin Shilovsky based on the epic poem by Pushkin. Flirtatious Olga and shy, bookish Tatyana are sisters, Olga being happily engaged to Lenski. One day Lenski arrives with a friend, Eugene Onegin, and Tatyana is smitten. She writes him a letter, but he rudely rebuffs her and she is devastated. At the dance that night he dances with Olga, making Lenski jealous also. They fight a duel in which Lenski is killed. Six years later, Tatyana has become a beauty and married Prince Gremin, unbeknownst to Onegin who has become a wanderer. Onegin enters Gremins house for a party, sees Tatyana, falls in love and pleads with her to come with him but Tatyana, though confessing she still loves him, refuses him she is married. Eugene is left alone and heartbroken. This is the Schirmer edition of the Vocal Score, in an English translation by Henry Reese.
For anyone with a keen interest in opera, whatever their level of knowledge, this series remains a benchmark of quality and clarity. The content is serious, reliable and trustworthy, handsomely put together, full of variety and scholarship but always making the practical experience of going to the opera a priority. I return to these volumes again and again and find the updated and new issues absolutely invaluable. --Fiona Maddocks
These guides, so beautiful to have and to behold, mark a huge advance on their predecessors. I find them essential supplements, not only to ENO and Royal Opera programmes, but to recordings issued on CD which often come without scholarly documentation and a libretto. The performance histories ... are especially valuable, and not easily accessible elsewhere. --Hugh Canning
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