Pique Dame

If I had a personal favourite of Tchaikovsky's operas, it would be Eugene Onegin. For his best though I'd give it to The Queen of Spades, the music may not quite be as beautiful as Eugene Onegin but it's still magnificently crafted and the opera has such a great story and characters. The 1961 Tikhomirov film is still the best production of the opera I've seen, though all are worth watching, the 2007 Vladimir Galouzine one is puzzling but has its qualities. This- providing it's kept up the whole thing can be seen on Youtube- is a very nicely done production this said. The costumes are distinguished and aristocratic, while the sets are well designed and mostly sumptuously coloured. Some of the settings are on the drab side in terms of colour and the same could be said for the lighting in the first act. But the grainy picture quality could make things seem that way. The stage direction is intelligently done, it has direction and intensity(the final scene especially) and gives the principals the freedom to do as they please within their roles. The orchestral playing is stylish and incisive, playing with a beautiful sound throughout, while the conducting- apart from the odd moments where it felt plodding- compliments that and is accommodating generally to the principals. Rene Kollo's reedy voice is not for all tastes and there is not a lot of dynamic range to be heard, however he has the right sort of heft and for such a big and lengthy sing the voice is preserved well. With the interpretation too, Kollo connects to, understands and feels Hermann and what he's feeling and singing about, he is aristocratic, intense and moving and while the descent into madness isn't quite embodied it is still convincing and progresses appropriately gradually. Uta Maria-Flake's Lisa is beautifully sung and dignified, with her scene in Act 3 very deeply felt, while Kathleen Kuhlmann's Polina consists of a healthy, well-projected voice and a warm stage presence. Victor Braun is a witty and sympathetic Tomsky, singing with a lot of character and incisiveness, while Claudio Nicolai sings resonantly(if perhaps a little too much of a bass quality) and makes for an eloquent Yeletsky. Martha Modl is crotchety and terrifying as the Countess. All in all, very nicely done. 8/10 Bethany Cox