Review: Eugene Onegin at Opera in the Heights at Lambert Hall. operaheights
Soprano Katy Lindhart and baritone Thaddaeus Bourne in the Ruby cast of Opera in the Heights’I knew trouble lay ahead in Opera in the Heights' physical production of Tchaikovsky's when I saw the large portrait on the upstage wall. It resembles a propaganda recruiting poster from the early Stalinist era, a sort of Rosie the Communist Riveter. Against a red background, the unsmiling comrade, her hair wrapped in babushka, holds a rifle. It's quite commanding and forceful.
Years later, Onegin, guilt-ridden but still bored with life, returns to Russia and meets Tatiana at a grand ball. No longer the young innocent dreamer, she is a grand lady, rich and sophisticated, married to an older honored soldier. Now, Onegin is smitten. He is in love for the first time in his dissolute life. He writes her an ardent letter declaring his undying love. But she, full of honor that Onegin can't fathom, rebuffs him.
But fortunately, the singing dissolves any objections we have in the wayward visuals. Thorne, though seeming a bit ill at ease on stage, has a clear and strong voice, and he pulled off Onegin's soaring love declaration with abandon and ardor. Katy Lindhart, as Tatiana, though limited in her expressions and directed to prowl back and forth across the stage in her love throes, was a vocal revelation.
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