Your Guide to Eugene Onegin by Edmonton Opera

education

– Presents –

YOUR

GUIDE TO Eugene Onegin Special thanks to:

Special thanks to our education community partners:

Overture As CEO of Edmonton Opera I want to thank you for participating in this, our first opera education program.

First, I want to say what a great opera city we have here. We are a professional opera company backed by some of the greatest volunteers and corporate and civic leaders I have ever seen. I can’t tell you how fulfilling it is to be working with people, both staff and volunteers, who love opera and are willing to support it. Edmonton Opera is the oldest and largest professional, year-round opera company in the Prairie Provinces, one of 17 opera companies in Canada and the fourth largest in terms of budget and artistic output. It is also one of five flagship arts organizations in Edmonton.

I believe music — especially opera, can add a great richness to life. My first exposure to music came as a little girl sitting under the piano listening to my grandmother play and sing operatic arias. I remember loving music and taking piano lessons. I guess I persisted with those scales long enough because I have from time to time throughout my life taught piano and of course that served as good grounding for what was to become a career.

Next season, your Edmonton Opera will be celebrating a 50th birthday and that is a real statement about the kind of long term support Edmonton and area has for us and as well for many of the other arts and cultural organizations in this great city.

As for opera, it was love at first sight and sound. As a young person in former Yugoslavia, a student could attend opera for the equivalent of 25 cents. For me it was all magic, as I was instantly taken by this rich art form that actually brings together several other wonderful art forms such as… music, voice, sets, costumes, drama, love stories, lavish productions.

So welcome to the wonderful world of opera. Enjoy and learn.

Now you too will have a similar educational and experiential journey by being part of Edmonton Opera’s education program and Your Guide to Opera. We have created a thorough curriculum, practical and engaging teaching aids and yes, the opportunity for all to attend the dress rehearsal of an Edmonton Opera performance.

Sandra Gajic CEO | Edmonton Opera

This leads me naturally enough to tell you a bit about your hometown opera company.

Opera Live!

Nothing beats the excitement of live opera! For more information on how your class can attend a dress rehearsal at special student pricing, contact us by email at education@edmontonopera.com or visit us online at:

www.edmontonopera.com

New to opera? Be sure to check out our Educator's Guide, Your Guide to Opera, available for free download online. It is designed to supplement this guide and offers an overview of the history of opera, activities for your class, and useful information about attending our dress rehearsals. 3

Directorâ&#x20AC;&#x2122;s Message Tom Diamond Iâ&#x20AC;&#x2122;ve discovered an intriguing truth about the opera world: Everyone in this industry loves Eugene Onegin. Anyone who is seriously invested in opera seems to hold this work in great esteem. Since I took on this project a year ago, all my colleagues, without exception, swoon when I tell them I am working on it. Why, you might wonder? Music and love go hand in hand. The passion of love, in all its vicissitudes, is what this story is about. And no one articulates the dark ache of the unhappy soul better than the Russians! Considered one of the great classics of Russian literature, its young author, Alexander Pushkin, died an untimely death at age 37 (interestingly enough from a duel, the 29th he was involved in during his short life). That event was considered a catastrophe for Russian literature. In 1879 Maestro Tchaikovsky set it operatically with intoxicating magnificence. It is the dream of every singer (and conductor and director) to sink their teeth into it! I am delighted to be making my debut both with this company and with Onegin. I am blessed with a first-class cast, many of them native Russian speakers, and creative partners in conductor James Meena, choreographer Brian Webb and lighting designer Geoff George. The company supports a vision of this opera, as you will see, that strips away many standard operatic trappings to get straight to the heart of this trusted and beloved story. I am grateful for this ride and hope you feel gratified at the end of yours.

Eugene Onegin

Characters

Education Dress Rehearsal

Larina — a widow (mezzo-soprano)

Apr. 17 @ 11am

Tatiana — Larina’s daughter (soprano) Olga — Tatiana’s sister (contralto)

Jubilee Auditorium

Filippyevna — a nanny (mezzo-soprano) Lenski — Olga’s fiancé (tenor) Eugene Onegin — Lenski’s friend (baritone)

Eugene Onegin Opera 101

A Captain — one of the people attending the party (bass) Triquet — a French tutor (tenor) Zaretsky — Lenski’s second for the duel with Onegin (bass) Guillot — Onegin’s valet and Onegin’s second in the duel with Lenski (silent role)

April 10 @ 7 pm

Prince Gremin — Tatiana’s husband (bass baritone)

Art Gallery of Alberta Ledcor Theatre

Join us for a thought provoking discussion surrounding Eugene Onegin. With special guests from the fields of Russian literature and our upcoming production. Admission is complimentary, but please RSVP at education@edmontonopera.com

Synopsis

Scene 3: Later, elsewhere on the Larin estate Onegin has arrived to respond to Tatiana's letter and give her his answer. He is greatly moved by her feelings, yet despite his awakenings to a new, less cynical sensibility, he explains somewhat gently that he could not be the best type of husband to her, and so should not marry. He continues, almost lecturing Tatiana now, telling her that love does not come easily to him. Although Tatiana is overwhelmed and cannot respond it is clear her heart has been crushed at Onegin's seeming willfulness to continue his solitary life.

Written by Stephan Bonfield ACT I, Scene 1: The garden of the Larin country estate Eugene Onegin's uncle has died suddenly, willing his nephew a large country estate. Onegin's recent move to country life only underscores his boredom with cosmopolitan pleasures and general resentment of humanity. In spite of his disgruntlement, Onegin befriends the young poet Lenski, who introduces Onegin to Larina, a country-estate owner with two daughters, Olga and Tatiana. Larina, sitting outside with the family nurse, recalls her youth which she spent listening to her Moscow cousin regale her with tales of romantic novels by Richardson, nostalgically reflecting on male characters such as the virtuous Charles Grandison and the villainous Lovelace. So, when Larina observes Tatiana absorbed in a romantic novel of her own, she warns her daughter that real life is seldom like the stories they read. Lenski and Onegin arrive. Onegin is surprised that the serious and intense Lenski is Olga's fiancé, given her cheerfully outgoing yet superficial personality. Tatiana is immediately attracted to Onegin. Tatiana's character, the opposite of her sister, responds to Onegin as a fulfillment of her dreams, inspired by the romantic novels she has been reading.

ACT II Scene 1: The ballroom of the Larin house on Tatiana's name-day Onegin has been urged to come to the name-day celebration; however he is intensely irritated with the guests and their penchant for country gossip about him and Tatiana. He contemplates revenge on Lenski for persuading him to come to the event. He begins flirting with Olga, making Lenski extremely jealous and outraged. Olga welcomes Onegin's attention, apparently indifferent to her fiancé Lenski, who judges that she is attracted to Onegin. Tatiana's foppish French tutor Monsieur Triquet sings some verses in honour of her, after which the quarrel between Lenski and Onegin boils over and the company can no longer ignore it. As the quarrel escalates, Lenski renounces his friendship with Onegin, and finally challenges Onegin to a duel. Spurred on by Zaretski, a local landlord, Lenski decides that reconciliation is now impossible with his former friend. Although Onegin initially refuses the duel, thinking Lenski mad, he is finally socially obligated to accept it, against his better judgment. This scene comprises a remarkable social commentary in opera history against the foolhardiness of the duelling tradition.

Scene 2: Tatiana's bedroom Tatiana is distracted and confides in her nurse that she is in love. Later, alone, she writes a letter to Onegin. In this famous ‘letter scene,’ Tatiana realizes that she is fatally attracted to Onegin, and overcomes her doubts that he might reject her. She pours out her feelings, in effect asking if Onegin could ever be married to her. Tatiana requests her nurse send the letter to Onegin.

Scene 2: Early next morning near a river in the woods While Lenski waits for Onegin, he sings of Olga and how much he loves her. He is filled with uncertainty and dread about what is to come. Onegin arrives, and both men are reluctant to go ahead with the duel but feel they have come too far to stop it. Lenski is shot dead with one bullet through the chest.

ACT III Scene 1: St. Petersburg, three years later at a ball given by Prince Gremin After travelling extensively all around Europe, Onegin feels emptiness in life's pleasures and is remorseful over Lenski's death. Prince Gremin enters with his wife, Tatiana, who is now transformed by her new aristocratic position into a woman of great refinement and beauty. Gremin sings of his happiness with Tatiana, and re-introduces Onegin to her. Onegin is shocked to find Princess Gremina is really the Tatiana he knew from the country years ago. He is impressed and overcome by her sophistication and worldliness. Scene 2: A reception room at Gremin's house Now, Onegin realizes he is in love with Tatiana, and sends her a letter. Onegin enters and begs for her love and pity. Tatiana wonders why Onegin's attraction should be so strong now, but not when he first met her three years ago. But, Onegin defends his attraction as genuine. Tatiana weeps, thinking about how close they had been at one time, and that they could have been happy together. Even though she rejects Onegin's advances, stating that she is a married woman now, she eventually reveals her true feelings and tells Onegin that she loves him still. However, now she is obligated to her duty as a wife, even to a man she does not really love. Onegin is left alone, his heart crushed, in despair.

The Story Behind the Story

The Duel

n 1877 a friend mentioned to Tchaikovsky the idea of creating an opera based on the poem of renowned Russian writer Alexander Pushkin. While he was at first hesitant, he soon became overwhelmed with the potential of such a piece. Pushkin’s work was highly admired, and Tchaikovsky knew that he would need to compose a piece of equally high caliber so as not to disgrace the original poem, considered a masterpiece of Russian literature.

ffended by Onegin’s actions towards his fiancé Olga, Lenski challenges Onegin to a duel in Act II, Scene I of the opera. Compelled by social convention, Onegin accepts and is filled with remorse after killing his best friend. This scene comprises a remarkable social commentary in opera history against the foolhardiness of the duelling tradition. While dueling was banned by Peter the First in 1715, it became a common military tradition in the Russian Empire and among Russian poets, writers, and politicians. While forbidden, dueling was a large part of social conventions of the time in order to restore one’s honour. Pushkin himself fought 29 duels during his lifetime, dying in his final duel at the hands of military officer Georges d’Anthès.

Tchaikovsky was taken by the strength of the characters in Pushkin’s poem, and the story’s social commentary on Russian life. With the help of Konstantin Shilovsky, they chose scenes and verses highlighting specific episodes or ‘lyrical scenes’ throughout Onegin’s life. Later that year, Tchaikovsky received passionate letters from former student Antonina Miliukova. Taken by the “Letter Scene” in Eugene Onegin, Tchaikovsky was determined not to dismiss her feelings. Despite his same-sex orientation, the two married and soon realized their disastrous incompatibility; after only six weeks the couple separated. At this time in 19th century Russia, same-sex relationships were not officially accepted by society, and often resulted in prejudice. Tchaikovsky’s family and close friends however, were open-minded and supportive of him regardless of his sexual orientation. The marriage caused severe mental stress and anguish to Tchaikovsky, and he took leave with his brother Anatoly to tour Western Europe where he continued writing Eugene Onegin. By January 1878, Tchaikovsky had finished the opera and the next year entrusted the first production to be presented by the students of the Moscow Convervatory. March 29, 1879 Eugene Onegin premiered at the Maly Theatre in Moscow conducted by Tchaikovsky’s colleague, Nikolai Rubinstein. Later performances included the Bolshoi Theatre in Moscow in 1881, in Prague in 1888, in Hamburg in 1892, and at the met in New York City in 1920. It continues to be regularly performed today, and is ranked among the twenty most performed operas worldwide (according to Opera Base Statistics). 8

As Tchaikovsky became more established, he met with a circle of Russian composers in Saint Petersburg called “The Five”. This group included Mily Balakirov, César Cui, Modest Mussorgsky, Alexander Borodin, and Nikolai Rimsky-Korsakov. “The Five” aimed to create a distinctly Russian musical style, with elements of folk song and exotic melodies and harmonies from eastern Russia. While Tchaikovsky incorporated folk song in some of his pieces, he also followed classical Western practices in his composition, which was not enthusiastically embraced by “The Five”.

Composer Piotr Ilych Tchaikovsky (1840–1893)

In 1876, the wealthy widow Nadejda von Meck offered Tchaikovsky a generous yearly stipend to allow him the ability to compose. She became an ongoing sponsor and confidante of Tchaikovsky for over a decade, exchanging in personal correspondence by letter, but never meeting in person. This afforded Tchaikovsky the ability to focus on composing, resign from teaching, and become an established composer. Not only did Madame von Meck provide him with the financial means to compose, but she also provided him with emotional support and encouragement through his periods of depression. He often struggled with societal perceptions and conventions, in large part due to his sexual orientation. While same-sex relationships were not generally accepted in 19th century Russia, Tchaikovsky’s close friends (including Madame von Meck) and his family were supportive and open-minded. During this time, Tchaikovsky wrote some of his greatest works including the ballet Swan Lake, the opera Eugene Onegin, the orchestral piece Francesca da Rimini, the Fourth Symphony, the Fifth Symphony, and the opera The Queen of Spades (also based on Pushkin’s writing), among others. In 1890 as a result of financial difficulties, Madame von Meck ended her subsidy to Tchaikovsky. The end of their correspondence, the reasons for which remain unclear, left both Madame von Meck and Tchaikovsky deeply saddened by the loss of friendship.

eter Ilyich Tchaikovsky was born May 7, 1840 in the small town of Votkinsk, Russia. His father, Ilya Petrovich Tchaikovsky, worked as a mine inspector and he and his wife, Alexandra, were musically trained. The family had six children: five sons and one daughter.

At a young age Tchaikovsky began taking French and German lessons from the family’s French governess, Fanny Dürbach. He learnt quickly and became fluent in both languages by the age of six. At this early age he also began taking piano lessons. By the age of ten his parents enrolled him in the Imperial School of Jurisprudence in Saint Petersburg to begin school for a career in the civil service. In spite of his fine ear for music, a career in music at this time in Russia was very limited and considered one of the lowest ranks on the social ladder. Being separated from his mother deeply affected Tchaikovsky and her death from cholera in 1854 devastated him. The loss of his mother motivated Tchaikovsky to begin composing seriously, and he wrote a waltz in her honour. He graduated from civil service training in 1859 and worked for three years in the Ministry of Justice. In 1859 the Russian Musical Society was born to cultivate local talent, and in 1861 Tchaikovsky turned to study music seriously at RMS under Nikolai Zaremba. In 1862, the Saint Petersburg Conservatory opened where Tchaikovsky began studies under pianist and composer Anton Rubinstein until 1865. Impressed with Tchaikovsky’s talents, Rubinstein became his mentor.

Tchaikovsky became recognized as a talented composer and conductor throughout Europe and the world. In his latter years he toured internationally and conducted his own works at the opening of Carnegie Hall in New York City in 1891. He also composed the ballets Sleeping Beauty and The Nutcracker, and his last piece, the Sixth Symphony. Only nine days after the premiere of the Sixth Symphony, Tchaikovsky died. It was originally believed that he contracted cholera, but some recent theories suggest that he committed suicide. In any case, Tchaikovsky composed some of the most beautiful music ever written and his pieces, from ballets to opera, have become renowned works frequently performed throughout the world today.

After graduating in 1866 Tchaikovsky moved to Moscow to accept a teaching position at the new Moscow Conservatory, which was developed by Anton’s brother Nikolai. During this time, Tchaikovsky composed his First Symphony, the opera The Voyevode and other orchestral works.

Libretto

Poet Alexander Pushkin (1799–1837)

he libretto was written by Tchaikovsky with help from his friend and poet Konstantin Shilovsky. They aimed to maintain the integrity of Pushkin’s poem, Eugene Onegin, by closely following many of the original verses.

lexander Pushkin is considered to be one of the greatest Russian poets and a founding author of modern Russian literature. His expression of feeling through poetry, short stories, novels, plays and fairy tales established Pushkin as the most renowned writer of the Romanticism movement in Russia.

Pushkin was born June 6, 1799 in Moscow, Russia. His father was descended from Russian nobility, while his mother’s side from German and Scandinavian nobility. From a young age Pushkin showed great talent and at the age of fifteen he published his first poem. By the time of his graduation from the Imperial Lyceum near Saint Petersburg, he was extensively recognized for his writing skills. In 1820, Pushkin wrote the poem Ruslan and Lyudmila, which was based on Russian folk-tales and later the basis of an opera composed by Mikhail Glinka. Pushkin’s outspoken views regarding social reform and politics irritated the government and often led to clashes with authorities. At times this led to his exile, the censorship of his writing, and limits to the publication of his works. Even under close surveillance of the government, Pushkin continued writing and many of his pieces became the inspiration behind celebrated Russian operas. His famous drama Boris Godunov was the basis of Modest Mussorgsky’s opera by the same name. Among other operas based on Pushkin’s work include Nikolai Rimsky-Korsakov’s The Golden Cockerel, Alexander Dargomyzhsky’s Rusalka, Tchaikovsky’s The Queen of Spades and Eugene Onegin. Facing scandalous rumors of his wife’s love affair with a French military officer in 1837, Pushkin challenged the alleged lover to a duel. Pushkin was fatally wounded, and his early death has since been regarded as a tragedy for Russian literature.

Glossary Arias: Meaning â&#x20AC;&#x153;airâ&#x20AC;? in Italian. Arias are solos that accompany the orchestra, which allow a character to express their feelings and demonstrate their vocal talents. Baritone: A type of male voice that is lower than the tenor, but higher than the bass. Usually played by father figures or middle-aged children. Bass: A type of male voice that is the lowest pitched. It is often played by wise and older characters. Cholera: a disease cause by bacteria transmitted by contaminated drinking water or food. Chorus: A large group of singers, often 40 or more, who appear on stage in a crowd scene. Sometimes the chorus comments on action or contrasts solos.

Duel: an arranged combat between two individuals based on a code of honour. Ensemble: A musical number sung by two or more people of different ranges. For example, duets, trios, quartets, quintets and sextets. Librettist: Chooses a story, writes or adapts the words. Mezzo Soprano: a type of female voice that is lower than the soprano and higher than the contralto. Often played by the character of the young boy, a complex or evil character. Novel in verse: a type of poetry whereby a novel-length narrative is told through poetry. Playwright: Someone who writes plays.

Composer: Writes the music.

Soprano: Highest pitched female voice. Usually the female lead singer is written as this type of voice. There are 3 types: coloratura, dramatic, and lyric.

Contralto: A type of female voice that is the lowest pitched. Their voice is deep and well-rounded. Usually played by the maid, mother or grandmother.

Tenor: A type of male voice that is the highest pitched. It is often the leading role and they typically fall in love with Sopranos.

Civil servant: someone employed by the government.

Activity 1:

Act i, Scene 1 : The garden of the Larin country estate Questions Discuss how it is possible to be bored with cosmopolitan city life. Onegin seems to suffer from more than one problem. He despises the empty pleasures of the city but is contemptuous of what he percieves to be narrow-minded rural gentry as well. What does this tell you about him, and what does this tell you about the problems he is likely going to face in this story?

Questions for Discussion Written by Stephan Bonfield Curriculum Connections ELA Grades 5-9 ELA

Grades 10-12

2.2 Respond to Texts 2.3 Understand Forms, Elements, and Techniques 1.2 Extend Awareness

In spite of his disgruntlement, Onegin befriends the young poet Lenski. Lenski introduces Onegin to Larina, a country-estate owner with two daughters, Olga and Tatiana. Larina, sitting outside with the family nurse, recalls her youth which she spent listening to her Moscow cousin regale her with tales of romantic novels by Richardson, nostalgically reflecting on male characters such as the virtuous Charles Grandison and the villainous Lovelace. And now, when Larina observes Tatiana absorbed in a romantic novel of ber own, she warns her daughter that real life is seldom like the stories they read.

2.2 Understand and Appreciate Textual Forms, Elements and Techniques

Student Objectives Students will explore their understanding of the characters, plot and themes and share their perspectives and interpretations. Answer the questions following excerpts from the Eugene Onegin synopsis and compare ideas with those of others in the class or within small groups. Please refer to the appropriate part of pg. 6â&#x20AC;&#x201C;7 to assist in answering the questions.

Questions What do you think of Larinaâ&#x20AC;&#x2122;s comments? Is she projecting her disappointment in life onto her daughter? What do you think of this? If real life is seldom like the stories we read, why do we bother reading stories? Activity Do a quick search on the novels of Richardson. Briefly describe what they are like. Do they seem to bear any resemblance to modern-day romantic fiction?

Lenski and Onegin arrive. Onegin is surprised that the serious and intense Lenski is Olga’s fiancé, given her cheerfully outgoing yet superficial personality. Tatiana is immediately attracted to Onegin. Tatiana’s character, the opposite of her sister, responds to Onegin as a fulfillment of her dreams, inspired by the romantic novels she has been reading.

Act ii, Scene 1: The ballroom of the Larin house on Tatiana’s name-day.

Questions This is often what is called nowadays a ‘red flag’ moment. Tatiana could be falling in love with an illusion, i.e., a character in one of the novels she is reading, and not a reallife man. Discuss the dangers of doing this. Discuss the possible benefits too. In some ways, can love begin because of literature and its strong appeal to fantasy?

Questions What do you think of Onegin’s attitudes? What do you think of Onegin’s ‘revenge’? Would you do such a thing? Describe Lenski’s reactions to Onegin. Do you agree with Lenski’s decision to ‘unfriend’ Onegin? It seems innocent at the time, but Onegin’s prankish actions carry dire consequences. Discuss how such pranks and innocent fun has led to tragedy in real life situations.

Act i, Scene 2 : Tatiana’s bedroom

How does Onegin react to the duel? Does he regret his actions now? What are the reasons Onegin gives for his acceptance of the duel? To what extent can we accept those reasons at face value?

Onegin has been urged to come to the name-day celebration however he is intensely irritated with the guests and their predilection for country gossip about him and Tatiana. Petulantly, he contemplates revenge on Lenski for persuading him to come to the event. He begins flirting with Olga, making Lenski extremely jealous and outraged.

Questions The letter scene is very famous in the history of opera. How does Tchaikovsky reveal more of Tatiana's character in this scene? What do you think of her?

Act ii, Scene 2 : Early next morning near a river in the woods

Study the translation of the libretto in this scene. What seem to be the problems and risks of her falling in love with Onegin?

Questions Describe Lenski's thoughts about life, friendship and his relationship with Olga. Do you agree with him? How does this scene make you feel about Lenski? Did he bring all this about on himself, or did Onegin’s behavior set this tragic scene in motion? What do you think of Lenski's attitude toward the duel's potential outcomes? Would you call him a fatalist? A stoic? Or is he regretful? Study Lenski's words in his final aria, and use evidence from the music to support your answers. Discussion Describe the words Onegin and Lenski sing about friendship. Discuss the realism to the story line and possibility for two friends to become so quickly estranged that they are willing to kill one another. Social codes often prevail in situations we may find absurd. Discuss how both men might conceive their situation to be impossible and why they cannot back out of it.

Activity Do a search on Pushkin. What kind of novels did he write? Describe his views on human nature. How are they important in this opera? Is there a particularly ‘Russian’ literary view of life that can be detected in this work?

Act i, Scene 3 : Later, elsewhere on the Larin estate Questions How can someone believe that they would not make a good partner for another? Is it due to a lack of self confidence? Or, is Onegin simply being realistic? Does his past tell him that a match between him and Tatiana would be poor?

Activity Research the history of duelling, and discuss its traditions. The duel is said to be Pushkin and Tchaikosky’s commentary on the foolishness of this tradition. Explain. 13

Act iii, scene 1 : St. Petersburg, three years later at a ball given by Prince Gremin

Listening Check out this helpful link to Onegin recordings, which comes with many useful comments: http://operalively.com/forums/content.php/310-Eugene-Onegin-Discography

Questions Does Onegin have any goals or accomplishments at this point in his life? What seem to be the costs of Onegin’s life of pleasure and travels? How do his feelings about himself translate in his feelings toward Tatiana? How have their roles reversed since Act i?

Also: Bo Svokhuis and Krassimera Stoyanova in a Concertgebouw Orchestra recording in a controversial production directed by Stefan Herheim. Read an excellent review of the production in the New York Times, by George Loomis. This production is now available on Blu Ray: http://www.nytimes.com/2011/06/29/arts/29iht-Loomis29.html

How would you describe Tatiana’s reactions when she sees Onegin again for the first time in many years? Place yourself in a similar situation. How do you imagine your reaction would be to someone you once deeply loved whom you had not seen for a long time?

And finally, one last DVD of Eugene Onegin with Mariusz Kwiecien http://mostlyopera.blogspot.ca/2009/11/dvd-eugene-onegin-with-outstanding. html?m=1

What do you think of Gremin’s description of how he and Tatiana met and his impressions of society? How do Tatiana’s country roots play a role here? Discussion Describe Onegin’s reactions after Tatiana apparently snubs him and walks out. Discuss his reactions in light of his personality, and what he seems to be realizing now about himself.

Act iii, Scene 2 : A reception room at Gremin's house Questions How does Tatiana react to Onegin’s letter? Why is Onegin’s reaction to Tatiana so strong? What is he left feeling at the end of the opera? Discussion Lenski's death would normally be the climax of most operas. What is the point of the third act? What lessons in Act iii do Tchaikovsky and Pushkin wish to convey about regret and the decisions we can make at certain points in our lives?

Activity 2: Reader’s Theatre Curriculum Connections Drama Grades 4–9

Develop role-playing skills and specific storytelling skills

Grades 10–12 Develop the ability to play a character from the character’s point of view ELA

Grades 4–9

4.3 Present and Share

Grades 10–12

5.2 Work within a group

Student Objectives Students will demonstrate their understanding of the plot through performing a Reader’s Theatre of Eugene Onegin. Allow students to read the Eugene Onegin synopsis. As a class discuss the plot, characters, dilemmas, and resolution in the opera. Activity Divide the class into small groups and assign each group a part of the synopsis. Within each group designate characters and one narrator. Allow students time to practice their scene. Students will need to create their character's dialogue based on the assigned synopsis. After they have prepared, the narrator for the group will read their section as the other students act out the story. Groups will perform their part following the sequential order of Eugene Onegin. If you have props or costumes incorporate them too!

Activity 3:

E D M O N TO N O P E RA PR E S E N TS

Poster Creation Curriculum Connections

TCHAIKOVSKY

Eugene Onegin SEASON SPONSORS LIQUOR DEPOT

Irv & Dianne Kipnes

PRODUCTION SPONSORS Francis Price & Marguerite Trussler

2.00

7.30

Component 7: Composition, Component 10: Expression

Grades 7-9

Drawing and Composition

Grades 10-12

Drawing and Composition

When creating an image to represent an opera you must consider the time period, setting, themes, characters, and plot. Our designer must also keep in mind our audience that we are trying to appeal to and what types of medium’s we will use to reach them. After researching, it is important to sketch and brainstorm your ideas. It can be helpful to make a collage or mood board of different visuals and ideas that you would like to incorporate into the final image. Other important factors include the hierarchy of information (what is the most important information and how will you show that importance – size of type, colour, location, etc), typography, colour (contrast, significance of colour), composition (placement, size and shape), and form among others.

7.30

How would you illustrate Eguene Onegin? Is your image a literal or symbolic portrayal? Using the Synopsis, Message from the Director, and The Story Behind the Story create a poster using what you feel represents Eugene Onegin the strongest.

NORTHERN ALBERTA JUBILEE AUDITORIUM

TICKETS from $40 || 780.429.1000 ||

Grades 5-6

Activity When creating a poster for an opera there are many things to consider. It is important to keep in mind the Director’s vision for the production and allow ample time for research through different resources such as online, literature, listening to the music, and watching other productions.

APRIL 2013 19 • 21 • 23 • 25 8.00

Art

Edmonton Opera loves hearing from students! Send student posters to education@edmontonopera.com and they may be posted on our website!

edmontonopera.com

Activity 4:

Activity 5

Facebook Character Development

Opera Notes

Curriculum Connections

ELA

Grade 4–6

2.2 Respond to Texts

Music Grades 1-9

Listening

Grade 7–9

1.2 Clarify and Extend

Music Grades 10-12

Theoretical/Practical and Interpretation and Synthesis

Grade 10–12

2.1.2 Understand and Interpret Content

ELA

Grades 4-9

2.2 Respond to Texts, 3.4 Share and Review

Grades 10-12

1.1 Discover possibilities, 2.3 Respond to a Variety

Activity Students will explore and develop different characters in Eugene Onegin by creating a Facebook profile. Discuss the characters as a class, talking about their importance and roles. Group students into small groups and assign one of the following characters: Tatiana, Onegin, Lenski, Olga, Larina, and Prince Gremin.

of Print and Nonprint Texts

Activity Students are encouraged to record their opinions during intermission and postshow using Opera Notes. This publication includes a synopsis, and cast information for students to take home!

Encourage students to develop a profile for their assigned character including: interests, education, work, philosophy, arts, sports, likes, and other activities.

Edmonton Opera will have complementary printed copies available for students attending the dress rehearsal.

Write three status updates that your character would write based on the storyline and events in Eugene Onegin. Allow students to share their character insight amongst small groups followed by a classroom discussion. Questions for Discussion What groups is your character involved in? What types of friends do they have?

See you at

What types of goals does your character have? Do they face any obstacles in achieving these goals?

Onegin!

Were you able to relate to your character? Can you understand why your character made the decisions that they did? Tchaikovsky’s Eugene Onegin first premiered in Moscow, Russia in 1879; do you think the characters are still relevant today?

✐