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CHAN 3042M
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Opera In English Logo
CHAN 3042
(multiple CD Set)
Opera - Eugene Onegin

Tchaikovsky: Eugene Onegin

The Classical Shop
release date: March 2001

Originally recorded in 2000


Orchestra of Welsh National Opera

Sir Charles Mackerras

Thomas Hampson

baritone - Eugene Onegin

Richard van Allan

bass - A Captain/Zaretsky

John Connell

bass - Prince Gremin

Elizabeth Bainbridge

mezzo-soprano - Filippyevna

Linda Finnie

mezzo-soprano - Madame Larina

Patricia Bardon

mezzo-soprano - Olga

Kiri Te Kanawa

soprano - Tatyana

Neil Rosenshein

tenor - Lensky

Nicolai Gedda

tenor - Monsieur Triquet

Chorus of Welsh National Opera


Brangwyn Hall, Swansea


John Fraser


Mark Vigars

Mark Rogers


Record Label
Opera In English


Vocal & Song

Opera in English

Total Time - 141:57
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Opera - Eugene Onegin



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Eugene Onegin

  Opera in three acts  
  Text by the composer and Konstantin Shilovsky after Alexander Pushkin's verse novel Eugene Onegin  
  English translation by David Lloyd-Jones  
  Act I  
1 Introduction 2:39
  Scene 1  
  No. 1 Duet and Quartet  
2 'Oh, did you hear the lovesick shepherd boy' 5:08
  Tatyana, Olga, Madame Larina, Nurse  
  No 2 Chorus and Dance of the Peasants  
3 'My legs ache and can no longer run' 2:39
  Leader (John Hudson), Peasants, Madame Larina  
4 'In a cottage by the water' 2:05
  No. 3 Scene and Aria  
5 'Oh, how I love to hear the people singing' 0:58
  Tatyana, Olga  
6 'I'm not the sort to sit in silence' 2:35
  No. 4 Scene  
7 'Come here, my darling Olga!' 3:10
  Madame Larina, Nurse, Tatyana, Peasants, Olga  
  No. 5 Scene and Quartet  
8 'Mesdames, I hope that you'll excuse me' 1:48
  Lensky, Onegin, Madame Larina  
9 'Now tell me, which of them's Tatyana?' 1:42
  Onegin, Lensky, Tatyana, Olga  
  No. 6 Scene and Arioso  
10 'How perfect, how wonderful' 2:14
  Lensky, Olga, Onegin, Tatyana  
11 'How I love you, I adore you, Olga' 3:16
  Lensky, Olga  
  No. 7 Closing Scene  
12 'Ah, here you are!' 2:40
  Madame Larina, Nurse, Lensky, Onegin  
  Scene 2  
  No. 8 Introduction and Scene  
13 Introduction 1:38
14 'There! No more talk tonight' 1:19
15 'I can't sleep, Nanny' 0:49
16 'Well, let me think now' 4:55
  Nurse, Tatyana  
  No. 9 Letter Scene  
17 'To write is foolishness, I know it' 2:52
18 ' ''I had to write'' ' 3:03
19 'No, there could never be another' 1:52
20 'For you were always there beside me' 0:50
21 ' ''Are you an angel'' ' 2:20
22 ' ''No, come what may'' ' 2:14
  No. 10 Scene and Duet  
23 'Ah, night is over!' 2:30
24 'Oh, Nanny, may I ask a favour?' 0:25
25 'Then make your grandson go in secret' 3:08
  Tatyana, Nurse  
  Scene 3  
  No. 11 Chorus of Girls  
26 'Dear companions, come this way' 3:07
  No. 12 Scene and Aria  
27 'Onegin! Here! To see me!' 2:23
28 'You wrote a letter' 1:47
  Tatyana, Onegin  
29 'Were I the sort who had intended' 3:14
30 'But try to practise self-control' 1:02
  Onegin, Girls  
  Act II  
  Scene 1  
  No. 13 Entr'acte, Waltz and Chorus  
31 Entr'acte and Waltz 2:38
32 'This is superb!' 1:45
33 'Certainly! But why aren't you dancing?' 1:03
  Captain, Guests  
34 'So that's their verdict!' 2:19
  Onegin, Lensky, Guests  
  No. 14 Scene and Triquet's Couplets  
35 'How can I have deserved to be so taunted by you?' 2:22
  Lensky, Olga, Onegin  
36 'By chance I 'ave with me a song' 0:44
37 ' ''A cette fête conviée'' ' 2:39
  Triquet, Guests  
  No. 15 Mazurka and Scene  
38 'Messieurs! Mesdames!' 1:13
39 'Why aren't you dancing, Lensky?' 3:14
  Onegin, Lensky, Guests, Madame Larina  
  No. 16 Finale  
40 'Here in your house!' 2:50
  Lensky, Onegin, Tatyana, Olga, Madame Larina, Guests  
41 'Your challenge I accept' 1:52
  Onegin, Lensky, Guests, Olga  
  Scene 2  
  No. 17 Introduction, Scene and Aria  
42 Introduction 1:59
43 'What's happened? Where can your opponent be?' 1:14
  Zaretsky, Lensky  
44 'How far, how far away you seem now' 6:22
  No. 18 Duel Scene  
45 'Ah, here they are!' 1:55
46 'We fight to satisfy our honour' 4:02
  Zaretsky, Onegin, Lensky  
  Act III  
  Scene One  
47 No. 19 Polonaise 4:19
  No. 20 Scene and Aria  
48 'Here, too, I'm bored!' 2:25
49 Ecossaise 1:50
50 'The Princess Gremina!' 2:15
  Guests, Onegin, Tatyana, Gremin  
  No. 20a Aria  
51 'The gift of love is rightly treasured' 5:41
  No. 21 Scene and Arioso  
52 'And now, you must be introduced to her' 1:21
  Gremin, Tatyana, Onegin  
53 'Is this the very same Tatyana' 2:22
  Scene 2  
  No. 22 Final Scene  
54 Introduction 1:39
55 'Why, why did he return and write this letter?' 2:15
  Tatyana, Onegin  
56 'Onegin, I was then far younger' 2:15
57 'Ah, Tatyana!' 3:15
58 'Onegin, as a man of honour' 2:07
59 'Onegin! Leave me, I entreat you' 1:40
  Onegin, Tatyana  
 Thomas Hampson baritone - Eugene Onegin
 Kiri Te Kanawa soprano - Tatyana
 Neil Rosenshein tenor - Lensky
 John Connell bass - Prince Gremin
 Richard van Allan bass - A Captain/Zaretsky
 Nicolai Gedda tenor - Monsieur Triquet
 Linda Finnie mezzo-soprano - Madame Larina
 Elizabeth Bainbridge mezzo-soprano - Filippyevna
 Patricia Bardon mezzo-soprano - Olga
 Sir Charles Mackerras
  29 June-6 July 1992  
The highly successful Opera in English series continues with this new release featuring a world-class cast.

With Kiri Te Kanawa, Nicolai Gedda and Thomas Hampson, this all-star Onegin is one of the best ever recorded, regardless of language.

This is the only recording of Eugene Onegin sung in English and is available at mid-price.

The Chandos 24-bit digital remastering brings superb sound quality to this recording.

It was the singer Elizaveta Lavronskaya who suggested to Tchaikovsky at a party that he should consider Pushkin’s ‘novel in verse’ as the basis for an opera. Tchaikovsky’s initial reaction was not favourable, and he was tempted to reject the idea of Eugene Onegin out of hand and concentrate on two alternative and more promising suggestions, Shakespeare’s Othello and De Vigny’s Cinq-mars. Surely Pushkin’s work was far too subtle and much too highly regarded in literary circles for him to dare subject it to an operatic treatment, with all the adherence to artificial convention which that would involve? Moreover, at first sight is did not appear to contain anything like enough action to sustain a full-length stage work, for the basic story around which Pushkin had woven his elegant verse was extremely slight.

However, over the course of a few days the composer was quick to change his mind and recognise that ultimately the poem’s dramatic defects could be overcome by the ‘richness of its poetry’ and its ‘humanity and simplicity’. Above all, he was confident that he could produce an operatic version of Eugene Onegin which would genuinely complement the work on which is was based, rather than destroy its essential character and thus attract the opprobrium of Pushkin’s many admirers

Though he was not entirely successful in this regard, it is generally acknowledged today that with Eugene Onegin Tchaikovsky produced both his own operatic masterpiece as well as one of the most enduring contributions to the nineteenth-century Russian repertoire.

This very fine Wagner recording returns to the catalogue – a highly persuasive account in its considered approach. The singing, in an effective English translation, is excellent.’
Gramophone on CHAN 3038(4) (The Valkyrie)

‘Chandos’ outsanding sound allows listeners to hear every note of this recording… Anyone who wants a Rigoletto in English will be happy with this worthy effort.’
American Record Guide on CHAN 3030(2) (Rigoletto)

‘The recording is sung in English, which is preferable to the Russian-on-autopilot approach that has marred many versions of the work’.
The Guardian

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