Eugene Onegin - Lensky's aria 'Kuda, kuda, vi udalilis' (Pavol Breslik, The Royal Opera)
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- เผยแพร่เมื่อ 16 พ.ย. 2015
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The young poet Lensky bids farewell to life in this beautiful aria from Tchaikovsky's Eugene Onegin.
Pyotr Il’yich Tchaikovsky’s best-loved opera, Eugene Onegin, is based on Alexander Pushkin’s verse novel of the same name. It provided Tchaikovsky with an opportunity to present everyday and authentic experiences on the stage, in contrast to the epic narratives that characterized much European opera of the time. After initial consternation that Tchaikovsky should set to music this pinnacle of Russian literature, Eugene Onegin quickly became a firm favourite with Russian audiences. Within a decade of its 1879 premiere it had been performed over one hundred times in St Petersburg.
Tchaikovsky’s deep sympathy for his heroine Tatyana is shown in the tenderness of her music. Her yearning string motif opens the opera and it gains full expression in her letter aria in Act I - one of the most intense solo scenes ever written for the soprano voice. In Kasper Holten’s production, the turbulence of Tatyana and Onegin’s youth is contrasted with the self-realization they gain in later life. The staging foregrounds the power of memory and the futile desire to rewrite the past. - บันเทิง
This is one of the most beautiful aria’s I’ve listened to! Russian opera really is unique; the eloquence of the language, the expressions of the singers and the sombreness of Russian music whether it is happy or tragic
this is the final thing written to complete this opera, Tchaikovsky poured it all into this aria, well done and so moving.
Please give soprano Kasondra Kazanjian a listen
Maravillosa versión del aria! No pude dejar de llorar!
Fantastic performance! The Russian is great! Emotions, phrasing, mood- everything is on its height...Do not know the better interpretation even from among the Russian tenors...Bravo...
One tenor I *would* recommend is Nicolai Baskov. He mainly does more popular and traditional Russian folk music, but his rendition of Lensky's aria is amazing.
@@gypsyassassin2004 😡🤯 Baskov isnt a tenor he sings mainly pop..the iconic Russian performance is by Sergei Lemeshev
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Pavol Breslik a une superbe voix, et son interprétation de Lensky est tout a fait émouvante...Bravo à ce jeune ténor, et merci pour ce beau partage.
Always thought it was interesting that a minor character gets the best aria in the opera
How is lensky a minor character
I've always thought Lensky is the real tragic hero of both the poem and the opera. There's little enough to recommend Onegin.
because T wrote it for his lost lover, he could not do it otherwise
So beautiful!
He is doing a beautiful job with flow and diction that rarely combine in performance but he shows great experience and endless perfection and a fine voice 3:18
L'air fait vibrer mon cœur même si je ne comprends pas le russe bien que la voix du chanteur soit sublime à entendre !!! Je l'écoute souvent avec une mise en scène qui fait chaud au cœur également. J'adore le choix bien réfléchie des costumes notamment Lenski, un beau habit plutôt simple. Bref j'ai tout de quoi savourer.
People, this is not a second, but Onegin! And he wasn't supposed to show up until after Aria!
I beg to differ on that last part - Onegin and Lensky had been friends for ages, and even Onegin feels bad that he may indeed end up killing his best friend over a woman. But the challenge has been made, and he has no choice but to carry on with the duel, regardless of their amity.
Please give soprano Kasondra Kazanjian a listen
Please give soprano Kasondra Kazanjian a listen
Thanks Pavel! A good Russian pronounce
Пожалуйста, обратите внимание на сопрано Касондра Казанджян (Kasondra Kazanjian), великолепный голос с мгновенно узнаваемым тембром.
Pavol
Où, où donc êtes-vous parties,
années de la jeunesse, joies de l’amour ?
Que va m’apporter le jour qui vient ?
Mon regard ne peut percevoir
ce que me réserve l’avenir.
Mais quelle question ! Chacun suit son destin.
Que je succombe, ou que la balle m’épargne,
cela m’est bien égal.
Quoi qu’il arrive, tout vient de Dieu.
Il dirige la succession des jours,
il nous offre la splendeur du jour,
il nous offre aussi la nuit sombre.
Quand l’aurore fera naître le jour nouveau,
moi je serai peut-être, hélas, enveloppé
dans la nuit du tombeau.
Mon nom sera comme ma poussière,
emporté par l’oubli.
Le monde oublie vite !
Toi pourtant, tu penseras encore à moi
quand je reposerai dans la tombe.
Tu viendras, tu pleureras, tu élèveras ta plainte,
et tu te souviendras que je t’avais aimée
dans ma jeunesse !
O ! Quelle félicité un souvenir de bonheur
n’apporte-t-il pas dans les jours de malheur !
Olga, oh que je t’ai aimée !
Viens près de moi, cher cœur.
Ton fiancé t’appelle, il se languit de l’épouse !
Viens, viens !
Où donc, où donc êtes-vous parties,
années de ma jeunesse ?
où donc es-tu parti,
indicible bonheur de l’amour ?
With my eyes closed, I can hear a quite remarkable semblance with Flores' timbre and voice size!
Please give soprano Kasondra Kazanjian a listen
That is one beautiful man with a fabulous voice
Please give soprano Kasondra Kazanjian a listen
Großartig, Pavol Breslik !!
Oh, how wonderful. Lovely voice, excellent pronunciation.
Please give soprano Kasondra Kazanjian a listen
wonderful, but where is the beginning of this aria? It starts 8-10 bars earlier with " Kuda, kuda!"
Technically, this IS the "Aria", or aria proper. Kuda Kuda is technically the recitative before the aria proper
@@dylanschang6480 nonsense. Technically you are right. There is such a hing as music convention. And by this convention the "recit" is integral part of the aria. If one sings this at an Opera Gala one starts with Kuda, kuda.
Oh I agree with you, it’s not normal to skip the recit, I’m just saying what you will see when you look at the score
@@dylanschang6480 I have many scores of this at home: either the whole opera or the tenor opera arias album. In the latter it's part of the aria, since it's not a numbered opera anymore (for about 100 years). The scene starts with Zarecky's and Lenski's recit and then there's the cello solo and goes without a rest into the aria (also harmonically into e-minor).
Personally, I just figured it was because this is a short clip the ROH wanted to give us a taste of the full recording with.
Amazing🤗
Great, fabulous! Just love it.
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Magnifique !
Always special!
beautiful
Please give soprano Kasondra Kazanjian a listen
HERMOSA!!! SUBLIME!
Por favor escucha a la soprano Kasondra Kazanjian
Absolument magnifique et émouvant !!!
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Браво! 👏👏👏👏👏👏Как вокал так и игра превосходны😍😍😍😍 А постановка и странная трактовка, это к режиссёру.
That's a great performance. Usually the aria is set up at the duel spot. Since it's winter, Lensky wears a coat. However, Lensky wrote this in the night before the shooting. Hence the shirt, perhaps. But Zaslavsky was not there until morning.
And in any case, Zaslavsky would not be a character to hug Lensky. Zaslavsky was a pretty mean character, who set up people in duel situations for fun.
Thanks for your comment, and I'm glad you enjoyed Pavol Breslik's performance. Kasper Holten's production is interested in ideas of memory, and so much of the opera's action is watched by the older Onegin and Tatyana as they recall what happened. Here Simon Keenlyside as Onegin hugs the young Lensky he is about to kill, and is filled with remorse.
That's an interesting concept. Correct me if I'm wrong, but Onegin never really expresses regret about Lensky's death. For sure, he writes a letter to Tatyana but it's not very clear whether it's a regret or if he just stays an Onegin trying to get what's out of his reach.
@@user-gv3zr8gx5h in the roman Pushkin wrote "где окровавленная тень ему являлась каждый день" the same words Onegin in opera is singing when he reflects about his life in the Ball, where he will meet Tatjana. So, Onegin was suffering from nightmares of a bleeding shadow every day...
Пожалуйста, обратите внимание на сопрано Касондра Казанджян (Kasondra Kazanjian), великолепный голос с мгновенно узнаваемым тембром.
Пожалуйста, обратите внимание на сопрано Касондра Казанджян (Kasondra Kazanjian), великолепный голос с мгновенно узнаваемым тембром.
Stunning!
Please check out soprano Kasondra Kazanjian
Please give soprano Kasondra Kazanjian a listen
Kudà, kudà, kudà vi udalilis, vesni moyei zlatiye dni?
Shto dyen griadushki mnye gatovit?
Yevo moi vzor naprasna lovit: v glubokoi ts'me tayitsa on!
Nyet nyuzhde; prav sudbi zakon!
Paddu li ya, streloy pranzyonni, il mima proletitona,
vsyo blaga; bdieniya i sna prikhodit cias apredelyonni!
Blagaslovyen i dyen zabot, blagaslovyen i ts'mi prikhod!
Blesnyeot za-utra luch dennitsi
i zayigrayet yarki dyen,
a ya, bit mozhet, ya grobnitsi
saiduv tayinstvennuyu syen!
I pamyat yunovo poeta, poglatit myedlanneya Lyeta.
Zabudet mir menya ; no ti! ti!... Olga...
Skhazi, pridyosh li, dyeva krasoti,
slezu prolit nad rannei urnoi
i dumat: on menya lyubil!
On mnye yedinoi posyatil
rassvyet pecialni zhizni burnoi,
akh, Olga, ya tebya lyubil!
tebe yedinoi posyatil
rassvyet pecialni zhizni burnoi,
akh, Olga, ya tebya lyubil!
Serdyechni drug ,zhelanni drug,
pridì, pridì! zhelanni drug,
pridì, ya tvoi suprùg,
pridì, ya tvoi suprùg, pridì, pridì!
Ya zhdu tebya, zhelanni drug,
pridì, pridì; ya tvoi suprùg!
Kudà, kudà, kudà vi udalilis,
zlatye dni, zlatye dni moyey vesni?
Никто и никогда не споёт Ленского лучше, чем сделал это великий Сергей Лемешев.
Tatiana Kapustina согласна совершенно!
Давайте запретим всем Ленского петь, а театры обязать вместо живого тенора пускать запись Лемешева и кино. В крайнем случае, для разнообразия, можно запускать Козловского.
@@shaynandre62 никаких крайних случаев, никакого Козловского. Только Лемешев)
it is harder for them to sing in Russian than for us to sing in English.:)
He is Slavic too.
Please check out soprano Kasondra Kazanjian
Please give soprano Kasondra Kazanjian a listen
He has some accent but it's not bad at all. I can understand the lyrics quite well.
my soul my life..........
Очень странная постановка . Это что , Онегин там стоит ? Ну и бред ! Как говорил Станиславский : «Не верю !»
P.S
Певец , исполняющий партию Ленского хорошо поработал над русским языком , плюсик ему за это .
Пожалуйста, обратите внимание на сопрано Касондра Казанджян (Kasondra Kazanjian), великолепный голос с мгновенно узнаваемым тембром.
Searched when this was & found out: 2013, almost 10 years now. How exquisite, singing & acting.
Why clung to him just incomprehensible....
exellent performance, but here, in the Soviet Russia, we dont get used to hugs of Lensky and his second.
Gee i wonder why
It is out of culture, I agree. Plus, it is a weird directing choice knowing that Onegin has accepted the fatal challenge. It is the peak of those two friends drifting apart from each other. I am not saying it is wrong though, just an interesting choice.
It's not Lensky's second, it's Onegin. The director conceived the story as a journey through memory: Evgenij and Tatjana, now adults, return to that past in which they could have chosen happiness but did not have the strength to break social conventions and overcome the weakness of their own personality. Here, Onegin despairs of not having been able to keep Lensky from his substantially suicidal choice.
Please check out soprano Kasondra Kazanjian
Пожалуйста, обратите внимание на сопрано Касондра Казанджян (Kasondra Kazanjian), великолепный голос с мгновенно узнаваемым тембром.
he knew he will be killed
Hermosa Aria
MAGNIFICA INTERPRETACION
Ох, а я тут единственный русский?
Margo melkaya привет,нет
Нет)
Such a beautiful aria, and I really liked Breslik. This was the first production I have seen, and he was my favourite character. But Keenlyside is almost too nice for this role (don't know why, his Giovanni is always a perfect scoundrel!) :D Onegin really needs that bad boy persona with a bit of arrogance and Slavic melancholy.
Perhaps getting older made him softer 😝. Maybe it is a directing choice.
Please give soprano Kasondra Kazanjian a listen
Please check out soprano Kasondra Kazanjian a listen
Блестяще))Умница!!👏👏👏
Браво!
Пожалуйста, обратите внимание на сопрано Касондра Казанджян (Kasondra Kazanjian), великолепный голос с мгновенно узнаваемым тембром.
lovely
Perfect Russian!!
No Regina, it's NOT!
Nooo
For an English-speaking - yes, it’s quite good. Our languages are very different. He’s done a great job. Downloaded this piece.
FANTÁSTICA ARIA
perfect Russian!! 👍👍👍
NO, it's NOT!
Очень режет слух, хотя и тенор хорош
@@kirillsysoev7116 ничего не режет, ерунда.
«Kuda VY udalilis'», not "vi".
Russian not perfect, but quite good. Tradional problem of "posv'yatil, teb'ya" instead of "posvyatil, tebya", and some issues with russian "ы", which is commonly (and wrongly) sung as "i", but for western singers, these mistakes seem to be impossible to get rid of. Good phrasing too.
What's the "posv'yatil, teb'ya"/"posvyatil, tebya" problem?
Westerners always pronounce vya as hardV-jota-ya. But in Russian there is no jota at all. It's softV-ya
Renée Fleming absolutely stunned me singing Tatyana, because she manages not to do it most of the time.
Generally, I keep reminding myself that noble Russians at the time spoke French better than they spoke Russian, so who knows - they might have had a European accent.
Tatyana is a provincial noble, so one would rather expect her French to
have a thick Russian accent :) The best foreign Russian comes imo from
Bulgarian singers of older generation - Dimitrova, Ghiuselev, Ghiaurov
often sounded nearly native both in pronunciation and phrasing
Breslik net zapadni pevec. On cheshkii. Dumayu chto on luche pevaet ruskii chem npr. Amerikanec. Tozhe ne vozmozhno Ghiaurova sravnitat s sovremennim artistama. V eto doba tehnika bila luchia i dla etogo dikcia luchia bila voobcshe.
Einfach grandios, wundervoll, Pavol!
@Maj sa Das stimmt!
Why is Lensky wearing a kosovorotka? That kind of shirt was worn by Russian peasants. Lenski is of course a nobleman.
Galastel, kosovorotka is the traditional shirt of Ukraine. Russian shirt is Kaftan.
Do not be mistaken. The Ukranians wears Vyshivanka.
Non è meglio che canti le parti dei comprimarii
The kosovorotka was worn by peasants and townsmen of various social categories.
Leo Tolstoy worn it habitually, especially when mowing hay :)
это не секундант, а Онегин. А его вообще до арии не было, он опоздал!
bravo!
Breslik
Почему Зарецкий обнимает и утешает Ленского? Из текста следует обратное, он настаивает на дуэли, когда обе стороны конфликта на самом деле не хотят дуэли.
Он странно исполняет свои обязанности секунданта, мог бы перенести дуэль, когда Онегин явился со слугой.
А он как будто специально подводит Ленского под пулю.
I believe in this production Onegin is looking back on his memories of the past and regrets what happened between him and Lensky
Это не Зарецкий, а Онегин. Он и Татьяна вернулись в прошлое, по замыслу режиссёра. Чтобы вспомнить и осмыслить пережитые моменты
Я не ошибаюсь он в конце ногти грызть начал. Эм что-то мне кажется что это не настоящий Русский Ленский, а какой.... ну в прочем может мне показалось.
Love it. Great performance. Want to learn more about this composer, read this blog. myfavoriteclassical.com/tchaikovsky-eugene-onegin/
a poignant homage to T's lost lover
vocalità degna della scuola media.
non mi piace affatto.
Ora smettera subito col canto. Nessuno non puo resistere la critica di gran bodiloto
give me a break...
What's the problem?
gtgtguzh
Не согласна .все таки петь должен русский .Онегин школьная программа .
Please improve the pronouncement of the Russian language
Please improve your English. The word is pronunciation
was soll das,istdas aria fuer contratenor-oder gender-traurich,wenn atlantov,das hoehren koente..uuuuu
Kein Vergleich, da ist Wunderlich Dezennien entfernt ...! Und der macht es, wie damals üblich, in german ! Listen!!
No me gusta nada su timbre ni su manera de abordar esta aria.
He's pretty, but he has no voice. Are they kidding?
He's got an excellent voice, technically led in outstanding manner. The right voice fot the role of Lenskij...
With all due respect, Pavol Breslik, while attractive, is not in the same class as the following singers: Fritz Wundelich, Jerry Hadley, Nicolai Gedda, Piotr Beczala, Sergei Lemeshev, Vladimir Atlantov, Neil Shicoff, Jussi Bjorling, Ivan Kozlovsky, Leonis Sobinov and this is just off the top of my head. The directors have taken over opera and they cast by looks and the result is that vocal art had deteriorated. Please do not perpetuate this terrible situation by accepting a singer who perhaps should be singing Triquet, not Lenski in the opera. I am a veteran opera goer for sixty years in New York and can tell you that in the seventies, he would not have had a leading role. His larynx is under stress and if he keeps singing this way he will not have much left. I heard him in NY and the audience hardly applauded. I hate to single him out because he should probably stick with Mozart, but in my opinion, this Lensky is not acceptable. Sorry.
I am also a veteran opera goer, not for 60 years, only 40. But for me Mr. Breslik has got a wonderful voice, technically excellent. I am afraid it is not possible to compare different tenor voices, e.g. Pavol Breslik and Vladimir Atlantov. Atlantov is a different tenor, more dramatic. For me Mr. Breslik is an excellent lyric tenor. Piotr Beczala is also a different tenor voice. I like better Mr Breslik than Mr Beczala. It is also a question of a taste.... :-)
Eddie Lew I mean Pavol Breslik is better then Piotr Beczała..
I sow many different production of Lenski... my opinion is that Pavol Breslik is one of the best opera songer in this rolę, and certainly better then Piotr Beczała.... Try to compare him or others to Gedda is wrong !!!
Onegin and Lensky are some of the stupidest characters in operaland. Why would you fight to the death with someone you’ve been close friends with over something so silly?