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Eugene Oneguin

4.5 étoiles sur 5 2 commentaires client

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Détails sur le produit

  • Acteurs : Olga Savova, Elena Maximova, Mariss Jansons
  • Réalisateurs : Stefan Herheim
  • Format : Classique, Dolby, DVD-Vidéo, Son HiFi, NTSC, Surround, THX, Cinémascope
  • Audio : Russe (Dolby Digital 2.0), Russe (DTS 5.1), Anglais
  • Sous-titres : Anglais, Français, Allemand, Italien, Espagnol
  • Région : Toutes les régions
  • Rapport de forme : 1.78:1
  • Nombre de disques : 1
  • Studio : Opus Arte
  • Date de sortie du DVD : 7 mars 2012
  • Durée : 151 minutes
  • Moyenne des commentaires client : 4.5 étoiles sur 5 2 commentaires client
  • ASIN: B0073WXSBQ
  • Classement des meilleures ventes d'Amazon: 96.870 en DVD & Blu-ray (Voir les 100 premiers en DVD & Blu-ray)
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Descriptions du produit

Description du produit

"Described by Tchaikovsky as lyric scenes , Eugene Onegin receives a spectacular reinterpretation from the Norwegian director Stefan Herheim. His productions create controversy and excitement around Europe, and here he takes Pushkin's story of illusion, disaffection and frustrated love, and places the protagonists - world-weary Onegin and naïve, passionate Tatyana - in a triple temporal perspective, referencing the theatrical present, the period of the work's composition, and the pageant of Russia's history. Mariss Jansons, renowned for his mastery of Tchaikovsky's symphonies, conducts this performance from Amsterdam's Muziektheater.

<h3 class=""productDescriptionSource"">Press Reviews

"Put too much steam into Tchaikovsky's score and it wilts. Be too shy and retiring, on the other hand, and the tragic momentum evaporates. Jansons sets us on a simmer and gradually turns the heat to boiling. It is magisterially paced, stunningly played and, seemingly effortlessly, Jansons captures every aching nuance. [...] Herheim's innovations are often throbbingly acute (and sometimes wickedly funny)." (The Times)

"The Concertgebouw Orchestra, of which Mr. Jansons is music director, is here a dream of a pit orchestra. Mr. Jansons's musicality is stamped on every phrase, and he ensures ideal coordination between singers and orchestra." (The New York Times)

"Herheim directs so many keen moments of character interactions that there's no danger of the opera lapsing into simplistic cliches..." (Gramophone)

"Although I look forward to seeing many more traditional stage productions, even if I do not expect all to have the same musical values as are achieved here, this is a version which anyone who loves this most personal of operas needs to see and hear. " (Musicweb International)

"Star of the evening is the conductor Mariss Jansons. It's clear from the documentary that he loves the work.. and he plays it with a rhythmic vitality " (International Record Review)

Cast
Bo Skovhus (Eugene Onegin)
Krassimira Stoyanova (Tatjana)
Andrej Dunaev (Vladimir Ljenski)
Mikhail Petrenko (Vorst Gremin)

Royal Concertgebouw Orchestra; Mariss Jansons

Stage Director: Stefan Herheim

Catalogue Number: OA1067D
Date of Performance: 2011
Sound: 2.0LPCM + 5.1(5.0) DTS
Aspect Ratio: 16:9 Anamorphic
Subtitles: EN, FR, DE, IT, ES
Label: Opus Arte"

Description

Put too much steam into Tchaikovskys score and it wilts. Be too shy and retiring, on the other hand, and the tragic momentum evaporates. Jansons sets us on a simmer and gradually turns the heat to boiling. It is magisterially paced, stunningly played and, seemingly effortlessly, Jansons captures every aching nuance. [] Herheims innovations are often throbbingly acute (and sometimes wickedly funny). (The Times)

Commentaires en ligne

4.5 étoiles sur 5
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Par NMN le discophage TOP 500 COMMENTATEURS le 5 août 2012
Format: DVD
Il y a beaucoup de morceaux connus dans Eugène Onéguine : la Valse, la Polonaise, l'air de la lettre de Tatiana, l'Air des Adieux à la vie de Lenski, l'Air de présentation de Tatiana à Onéguine par Grémine et la grande scène finale. Toute cette production du Nederlandse Opera ne mérite qu'éloges. Les voix, la scène et l'orchestre sont merveilleux. Bo Skovhus accapare la scène, parfaitement crédible, jamais en force, d'un grand naturel.. Krassimira Stoyanova, même si elle n'a plus l'âge du rôle, exprime très bien la jeune fille amoureuse, écartée et pleine de regrets désespérés. Andrej Dunaev campe un Lenski sans outrances, bie ntimbré en voix, investi sans outrances. L'air le plus touchant de l'oeuvre, celui de Gremin, malgré son peu d'importance en durée musicale au regard de ses collègues, est imposé sans difficulté par Mikhail Petrenko, basse d'une grande amplitude et d'une puissance contenue dans ce chant à mi-voix tout à fait extraordinaire. Les seconds rôles ne laissent rien à redire, et l'on regrettera de n'entendre et de ne voir que trop peu la superbe Elena Maximova, alto exceptionnelle. Guy de Mey apporte la touche comique qu'il sied dans le seul air de Triquet, mais en français ! Maris Jansons est chez lui dans ce répertoire, et avec le Concertgebouw d'Amsterdam il ne met pas "du sucre sur du miel", comme il le dit si bien.
Reste la mise en scène.
Eugène Onéguine est un opéra sans action dont l'existence même s'appuie sur la psychologie des personnages, leurs relations sociales et le poids du temps.
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Remarque sur ce commentaire 4 sur 5 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par LD COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 17 novembre 2012
Format: Blu-ray
Comme Nicolas Mesnier-Nature a déjà fort bien décrit les principes qui président à la conception et à la réalisation de cette version d'Eugène Onéguine captée à Amsterdam en 2011, je vais me contenter d'ajouter quelques petits points, et d'exposer mes divergences (relatives).

Pour ce qui est de la mise en scène, ce n'est pas seulement qu'elle soit troublante, c'est que comme il est devenu assez fréquent, elle tente de dépasser le stade de la représentation traditionnelle en essayant autant de se démarquer de mises en scène du passé que de solliciter le livret pour trouver des idées fraîches et non convenues. Avec Stefan Herheim, on n'est pas du côté de ces metteurs en scène qui cherchent le contrepied quoi qu'il arrive, mais il reste que le brouillage des cartes spatio-temporelles auquel il se livre pourra laisser plus d'un spectateur qui ne connaît pas bien le livret sur le carreau. Sans demander à tout prix des repères évidents, on pourra trouver par exemple que tout ce qui précède l'ouverture est une coquetterie qui n'apporte pas grand-chose à la compréhension que l'on peut avoir de l'oeuvre. Placer Onéguine au centre dès le départ n'est pas une mauvaise idée, mais outre que l'espèce de flashback que cela entraine n'est qu'en partie probant, lui trouver des choses à faire sur le plateau jusqu'à l'entrée effectivement assignée par Tchaikovsky et son librettiste Chilovsky est une question résolue avec une pertinence toute relative.
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Remarque sur ce commentaire 3 sur 5 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0xa1442840) étoiles sur 5 5 commentaires
12 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0xa147a198) étoiles sur 5 Beautifully played and sung but a very odd approach to the opera 18 avril 2012
Par John Chandler - Publié sur Amazon.com
Format: Blu-ray
As one would expect this is technically very fine. Jansons and the orchestra play beautifully and generally the singing is very good too. The camera work and costumes are wonderful and if only the Director had paid more attention to Tchaikovsky it could have been a wonderful production. Unfortunately the Norwegian director managed to persuade De Nederlandse Opera to do it his way. Jansons was clearly sceptical in the doco but finally came round to accepting the numerous oddities in this wierd production. Where to start? Spreading the action across different times with a mixture of old Russia, the USSR and a modern opera house just did not work for me. Getting Onegin to write Tatyana's letter was even odder, especially when he was asleep in a double bed in her room! The stage effects with sliding doors and odd characters wandering about, (including a bear, some cosmonauts, ballet dancers, - one of whom appears to make a homosexual assault on Onegin, some time-shift doubles and soviet athletes), I found colourful but with no relevance to the story. The vicious attack on the well-meaning Triquet at the ball is unexplained and again pointless.

Both the ladies sing well but are really too mature in appearance for their roles on Blu-ray although this would be overlooked in the opera house for a one-off performance. Onegin is directed to act as if he is a bit half-witted and although a fine singer I did not care for his portrait of Onegin.

The rush of modernised productions has a place in the opera house and some, such as the extraordinary Spanish Ring, have a well deserved place on Blu-ray, but media companies do need to ask themselves what will sell for repeat viewing and I submit too many recent Blu-ray releases are unlikely to make much money. This is not as bad as the recent Flying Dutchman and will get a lot of mileage from the colourful costumes and orchestral playing but with just a little moderation it could have been so much better.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0xa148bdf8) étoiles sur 5 Most satisfying 4 mai 2012
Par Archie (Ottawa Canada) - Publié sur Amazon.com
Format: DVD Achat vérifié
If one understands -- and accepts -- that Stefan Herheim's interpretation is centred on flashbacks wherein a much older and wiser Tatiana and Onegin look back, then it leads to a richer perspective. In many ways he took the opera's libretto and interpreted it more in keeping with Pushkin's poetic novel. Onegin is on stage for almost all of the opera, and seemingly tries to mitigate his actions and at times is quite distressed at what he has done. The scene of Tatiana reacting to Onegin turning off a younger version of herself is much more touching than as it is usually played realistically. The same could be said about the letter scene where Onegin is writing the letter while Tatiana dictates, as it were. After all, the music is the same in the final scene when Onegin goes through what Tatiana went through.'

I have some reservations about the Balls in the second and third acts. Herheim tries to do too much, apparently tying in Russian history, culture and science with the costuming of the chorus. It doesn't really work and distracts somewhat from the main drama. It is however entertaining and is not enough to take away a star from my assessment.

Bo Skovhus and Krassimira Stoyanova look too old for their ages mentioned in the libretto, but they bring a wealth of experience to their musical interpretation and acting. Their ages can easily be rationalised by postulating that Onegin has been away for considerably more than two years.

Of all the productions of Eugene Onegin I have seen, I would rank this one as the best from the musical and acting dimensions. I gather from the documentary that conductor Maris Jansons had reservations about the directorial interpretation. That certainly did not prevent him from conducting the Royal Concertgebouw Orchestra to a very satisfying performance.

The whole thing is very emotionally involving. Also, because of the unique interpretation by Herheim one is left with questions, which I think is always a plus. I think that anyone who is at all interested in Eugene Onegin, by Pushkin as well as Tchaikovsky, should experience this production.
3 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0xa14a12f4) étoiles sur 5 Tchaikovsky Eugene Onegin Jansons DVD 6 mai 2012
Par E. S. Wilks - Publié sur Amazon.com
Format: DVD
The story of Tchaikovsky's most popular opera, "Eugene Onegin," illustrates a popular contemporary idiom: timing is everything. Tatiana, the heroine, who is presumably in her late teens or early 20s, falls in love with an older man, the vain and egocentric Eugene Onegin, to whom she writes a passionate letter. He rejects her. Several years later, Onegin meets Tatiana again; she is now a grown woman with poise, grace, and charm. Bowled over, he declares his love for her; this time, she rejects him - she already has a rich and noble husband, whereas a relationship with him would bring only shame. When Onegin's pleas become more ardent, Tatiana rushes out and leaves him.
This new video version by Opus Arte of "Eugene Onegin" was filmed in 2011 at the Netherlands Opera. It has many good things in its favor. The cast is excellent, the music is sensitively conducted by Mariss Jansons and beautifully played by the Royal Concertgebouw Orchestra, the costumes are lavish, and the sets are splendid.
However, what spoils this production for me is that the director introduces strange time-line effects. This is especially disturbing in Tatiana's letter scene, during which, as a young woman, she declares her love to Onegin. First we see Onegin in a second bed in her bedroom; then we see him sitting at Tatiana's writing desk, as if he were a scribe and Tatiana were dictating her thoughts to him. To me, this is simply bizarre, and it is surely not what Tchaikovsky intended.
Furthermore, there is stiff competition from two other DVD versions - those conducted by Yuri Temirkanov and Valery Gergiev; the latter, starring Dmitri Hvorostovsky and Renee Fleming, deservedly received rave reviews despite its stark decor, and would be my first choice.
Ted Wilks
2 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0xa1497fcc) étoiles sur 5 Eccentric but brilliant production 28 avril 2012
Par Keris Nine - Publié sur Amazon.com
Format: Blu-ray
What's most impressive about Eugene Onegin - both from Tchaikovsky's viewpoint as well as its original author Pushkin's - is how it manages to compact all those diverse, contradictory, deeply romantic and sometimes self-destructive features of the Russian character into what on the surface seems a simple romantic story of love and rejection. It's full of passion and character so it's surprising then how coldly and calculatingly the opera can often be put across. That will often depend on the interpretation of the conductor and stage director and on how much emphasis to give to Tchaikovsky's score, but as far as this De Nederlandse production goes, with Mariss Jansons conducting and Stefan Herheim directing, it's a passionate and expansive account of the opera, though one that many will inevitably feel takes too many liberties with the libretto.

As far as the staging goes, the young Norwegian director does place the figures into somewhat irregular configurations. You'll see that from the outset as Onegin walks onto the stage a scene before he should be formally introduced, looking thoroughly confused and walking moreover into what looks like a hotel lobby, with an elevator and a revolving door, where Tanya and her family are together. Similarly, there are few of the usual separations of characters in scenes that one would be accustomed to. Even when Tanya should be writing her famous love letter to the young man she has just been introduced to, it's staged here with Onegin actually writing the letter, while her husband, Prince Gremin, lies in bed behind them. This could be thoroughly confusing for anyone who is unfamiliar with the opera, but it will not make a lot of sense to anyone who is familiar with the work and who would be quite happy to see it played out in the traditional linear manner.

The concept applied here, of course (although it might not be that obvious), is that the figures are reflecting back on the events from an older perspective, and the setting picks up on the mirroring of the situations. That's most evident when Onegin directs his rejection of Tatyana to a silent younger girl in a white dress, while Krassimira Stoyanova, who actually sings the role of Tatyana, wearing a red dress (there may be some colour coding to reflect the differing perspectives) looks on as a spectator on her own past. Whether you consider that this distorts the intentions of Eugene Onegin or whether you feel that it opens it up underlying themes within the work will obviously depend on your taste, but the motivations of the director, inspired or misguided though they may be judged to be, are at least derived from close attention paid to the work itself.

It does however add another level of complication to a work that is already enriched in emotions and in their peculiar Russian expression and result in some the bizarre touches that might be considered pushing an already quite eccentric production - such as Onegin's second at the duel actually being a bottle of wine - a little too far. Act III's Polonaise attempts to bring in an historical 'tableau vivant' of all walks of Russian life, with a dancing bear, Cosmonauts, Russian gymnasts, Swan Lake dancers, royalty and religious leaders, Red Army troops and sailors, folk dancers, serfs and Prince Gremin heading up a Russian mafia outfit, and if all that sounds like it has nothing to do with Eugene Onegin, you'd be entitled to think so and decide that this is not a production for you, but at the same time it can be seen as historically being a part of everything Russian that is enshrined within the essence of Pushkin and Tchaikovsky's work.

What I think is beyond question however is that Jansons and Herheim bring out the full latent potential of Eugene Onegin here, without restraint, but also without over-emphasis. Regardless of whether the concept makes rational sense or appeals to personal taste, this is a passionate and moving account of the work on a musical and a dramatic level. The singing is also exceptionally good here. You might like a younger person singing Tatyana, but a younger singer couldn't sing this role half as well. It needs a mature voice, and Krassimira Stoyanova's is wonderfully toned, controlled with impeccable technique and emotionally expressive. Bo Skovhus brings a great intensity also to this Onegin who is tortured by his nature of being Russian. He's not the strongest voice in the role, but he sings it well. Mikhail Petrenko's Prince Gremin and Andrej Dunaev's Lensky are also worthy of the production. The very fine team of the Chorus of the De Nederlandse opera provide their usual sterling work.

Blu-ray specifications are all in order. The video quality is good, the picture clear, even though it is often dark on the stage and there are some slight fluctuations in brightness adjustment. The PCM Stereo and DTS HD-Master Audio 5.1 audio tracks are strong and impressive, with a wonderful tone. Extras on the disc include a Cast Gallery and a 30 minute documentary feature where the director explains - not always convincingly and certainly not always clearly to conductor Jansons - his thought-process for the work, with backstage interviews, rehearsals and a look at the costume designs. The booklet contains an essay examining the work and the production and includes a synopsis. The disc is BD50, 16:9, 1080i full HD. Subtitles are in English, French, German, Spanish, Italian and Dutch.
HASH(0xa14a1660) étoiles sur 5 this is a fine opera but is a production that I 27 mars 2015
Par charles smothermon - Publié sur Amazon.com
Format: Blu-ray Achat vérifié
this is a fine opera but is a production that I, myself dislike. The performances were done quite well but
I found it difficult to follow the story and I didn,t like the glass walls. The Blue Ray copy is as
expected,quite good.
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