Opera Scotland

Eugene Onegin 2019Edinburgh Studio Opera

Read more about the opera Eugene Onegin

This year's Edinburgh Studio Opera production was as usual in the Assembly Roxy.  All three performances were sold out, giving an indication of the quality of performance expected by the young audience.  The seating capacity is only 180 - surely next year ESO can consider using a larger venue?

The acoustics of the Roxy can be difficult, but singing in the English translation by Christopher Cowell, the young cast managed to project their words to a generally high standard, Clearly much depends on the location of a seat - furthermore, the absence of a rake to the floor can impair sightlines.

The principals achieved an admirable standard. Niall Kennedy as Onegin, Connor James-Smith as Lensky, Alexandra Dinwiddie as Olga and Annie Loveday-Hill as Tatyana all sang and acted well, though there were reservations about the staging of the last scene when Tatyana and Onegin arguably became too hysterical, emoting in a contemporary fashion.  Surely the music expresses almost all the necessary feeling.

Of the other characters, Daniel Safford as a tipsy Triquet created a fine impression, and Tambet Kikas as Gremin proved an impressive yung bass.

A large chorus moved well on a cramped stage, conveying the party atmosphere and quaffing vodka at the appropriate points. The production as a whole was highy effective, good use being made of the central aisle, particularly useful in the duel scene.

It was good to be surrounded by such a young and enthusiastic audience - many were clearly seeing this classic of the operatic repertoire for the first time.

Make no mistake about it, this was a fine production and a satisfying ensemble performance. Under William Conway's experienced guidance, it was given to a high musical standard right from the opening, with a highly accomplished band of 33 and chorus of 23. 

£15; £12; £6.50