What is the secret
behind a good Tchaikovsky interpreter? To me it is the ability
to catch the elegiac quality of the music without over-sentimentalizing,
to pull home the dramatic highpoints without crudity, to breathe
the music in long waves without becoming over-affected and
balance the orchestra so that the wind-writing, especially
the woodwind, gets it due without being too prominent. In
other words it is to find the balance between the extremes
without becoming bland. It takes some musician to fulfil
all of these requirements but I feel that Semyon Bychkov is
very close to the mark. I know that many listeners like their
Tchaikovsky more heart-on-the-sleeve, but Bychkov shows Tchaikovsky’s
heart without carrying it in the open.
His choice of
tempos seems ideal and the somewhat stale atmosphere that
permeates some of this music, apparent in the orchestral introduction,
gets it fair share of fresh air through the lightness of Bychkov’s
conducting. When the curtain rises to the first scene quartet
for the four women, the rural wind that draws through the
garden wipes away any staleness. This is in fact Tchaikovsky
at his most extrovert. The St Petersburg Chamber Choir, fresh-voiced
and homogenous, are probably superior to most opera choruses,
but they seem to be a larger body than the Chamber Choir soubriquet
implies. The Orchestre de Paris is of course regarded as one
of the great orchestras of the world and with their then chief
conductor at the helm they here show why, with silken string
tone, rasping brass when needed and the woodwind blended to
perfection. The great set-pieces for the orchestra, the waltz
at the beginning of act 2 and the polonaise in act 3, display
their capacity: the waltz light and airy, the polonaise swift
and with the right bounce – one can see the guests at Gremin’s
party promenading with a spring in the step. And listen to
how Bychkov builds up the climax at the end of act 1 scene
2 (CD1 track 12)! What is a bit of an irritant is the presence
of long pauses between the separate numbers. Whether this
is the choice of the conductor or the producer I don’t know,
but I would ideally have liked them to be more integrated.
In a live performance one expects of course applause in several
of these pauses but in a studio recording I prefer a more
seamless layout.
Apart from this
it is difficult to imagine a better conducted performance
of this opera, or “lyrical scenes” as was the composer’s own
designation, and he is definitely not let down by his singers.
On the contrary, whoever was responsible for the casting could
hardly have done a better job. For instance there is Francis
Egerton’s delectable Triquet, elegant and intimate and extremely
well sung and not a trace of caricature. Alexander Anisimov
is a warm and noble Gremin, singing his beautiful aria (CD2
track 12) not as a showpiece but with restraint and a youthful
timbre that is more baritone than bass – but he has the low
notes as well. This is a sympathetic portrait that reminds
me a little of Kim Borg on his old DG recording, which was
my introduction to this aria.
The women are
an unusually strong quartet with Sarah Walker an expressive
Larina and veteran Irina Arkhipova turning in an amazingly
well sung portrait of old Filipyevna. According to the reference
books she must have been around 68 when this recording was
made but there are few signs of old age in her voice. Olga
Borodina, singing her namesake Olga, is classy casting and
one wishes that she had more to sing – her aria (CD1 track
4) is as good as any version I have heard. But of course it
is Tatyana that carries the heaviest burden of the ladies
and Nuccia Focile is just cut out for the part, singing with
an intensity and feeling that go straight to the heart. Her
voice is so fresh and youthful and with power in rich supply
for the emotional highpoints. The Letter scene (CD1 track
11), notoriously difficult to interpret through all the conflicting
and contrasting emotions, is so convincingly done. Just listen
to Who are you? My guardian angel or a wily tempter?,
sung with the utmost simplicity and sensitivity. And the long
final duet, where she rejects Onegin’s declaration of love,
is heart-rending.
As Lensky, Neil
Shicoff is that rare thing: a singer/actor with a great lirico-spinto
voice which can ring out gloriously at the climaxes, pared
with a willingness to sing softly, almost whispering in the
most beautiful half-voice. His second act aria (CD2 track
7) is expertly sung. There are very few recordings of it in
the same league, and the end is magical, emotional without
becoming lachrymose, which he sometimes has been in other
roles. Elsewhere in the opera he is also very convincing,
both lyrically and dramatically, not least in the venomous
exchanges with Onegin during the ball at the Larin’s house.
And Onegin has in the young Dmitri Hvorostovsky found the
ideal interpreter: manly, haughty, caring and singing with
that glowing tone, easily recognisable through the very personal
light vibrato. Mazurok, in either of his two recordings, was
for many years the benchmark, but Hvorostovsky is even more
expressive and flexible. Just listen to him at his outbreak
after the encounter with Tatiana at Gremin’s party (CD2 track
16) when he realises that he is in love with her: his voice
is literally seething with passion.
Among the versions
I have heard of this opera none can challenge this Philips
recording and now that it reappears at mid-price it should
be snapped up by anyone who missed it the first time around.
The sound is everything one can wish for with a believable
balance between orchestra and singers. There are practically
no stage effects, apart from Zaretsky clapping his hands three
times, urging the adversaries to start the duel, and of course
the ensuing pistol shot, almost larger than life. The booklet
has a transliteration of the Russian text and an English translation,
something one can’t take for granted with reissues nowadays.
A winner in every respect.
Göran Forsling
see also Review
by Robert Hugill