A New Look at Tchaikovsky’s “Eugene Onegin”

This article is written in Russian. You can read it here.

References

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DOI 10.34690/456

Author Antonina V. Lebedeva-Emelina

Affiliation State Institute for Art Studies, Moscow, Russia

Email lebedeva-emelina@list.ru

ORCID

0000-0003-0803-6879

Abstract

The article is a response to Anna Vinogradova’s monograph “Eugene Onegin by P. I. Tchaikovsky: The Premiere Five Years (1879–1884) in the Mirror of the Press” (Moscow: State Institute for Art Studies, 2024). This is a new publication, where Tchaikovsky’s famous work is presented in various interpretations by contemporary critics. Vinogradova clarifies the information on the work’s first performance at Moscow Conservatory, and also for the first time introduces information about the first performer of the part of Olga, who was not A. N. Amfiteatrova-Levitskaya, as was previously believed, but T. S. Lyubatovitch. A large layer of criticism by contemporaries is devoted to the libretto of the opera, which belongs to P. I. Tchaikovsky. Thanks to the publication of Eugene Onegin, a powerful body of primary sources was introduced into musicological science—articles, reviews, notes by critics and publicists of the 1880s, including in French and German, as well as information about premieres in private enterprises in large provincial cities of the Russian Empire—Tiflis, Kharkiv, Odesa, Kyiv. The chapter about the St. Petersburg premiere is supplemented by materials from the diaries of the chief director of the Imperial Theaters, G. P. Kondratiev.

For citation

Лебедева-Емелина А. В., 2025Lebedeva-Emelina A. V. “A new look at Tchaikovsky’s ‘Eugene Onegin’.” Muzykal’naya akademiya [Music Academy], no. 1, 2025, pp. 194–201, doi:10.34690/456. (In Russ.)

Published 15.10.2024

Approved 10.11.2024

Submitted 24.03.2025