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| | | | | “I have pondered over Kolobov’s version one more time. True, he made some reductions. He changed something. And he even added a small epilogue. But he did it all to underline the sense of Tchaikovsky’s opera. ” Golos Publiki
22 August 2015 “In this production the orchestra is slightly elevated, whichmakes it possible to watch with one’s own eyes the birth of overlapping motifs and cross-talk of instruments which abound in this opera. The fact that the orchestra is not in the pit gives soft sounding with large piano. In general, making the orchestra part of the stage design is the unique merit of the production which I appreciate every time”. Golos Publiki
21 August 2014 “Kolobov’s Onegin is a revelation. It is a breakthrough towards the main point, towards the core of the composition which hasfor so long deceived the world with its lyrical simplicity”. ObschayaGazeta
24–30 October 1996 “The most remarkable thing is that it is not an ordinary opera with its bulky routine pomp, but exactly what Tchaikovsky wanted: lyrical scenes, only with very deep tragic undertonesand a large-scale music background.
“Kultura”newspaper
16 November 1996 ” “Kultura”newspaper
16 November 1996 “It would seem that there is nothing new to be heard in all too familiarEugene Onegin. And then you suddenly realize that you hear for the first time this well-known and so unrecognizable music, which shrills you through, making youfeelpinching sadness, delight, pleasure and purification”. “Vek” Newspaper
22–28 November 1996 “One should observe and listen to this productionvery carefully, looking not for any particulars, but for the artist’s state of mind”. “Muzykalnaya Zhizn” Magazine
Number 2, 1997 |
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