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Colin Davis, Principal Guest Conductor
Joseph Silverstein, Assistant Conductor
Ninety-Sixth Season 1976-77 The Trustees of the Boston Symphony Orchestra Inc. Talcott M. Banks President
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SEIJI OZAWA, Music Director BOSTON Colin Davis, Principal Guest Conductor SYMPHONY Joseph Silverstein, Assistant Conductor ORCHESTRA Ninety-Sixth Season SEIJI OZAWA Music Director •^vJJ
Friday afternoon October 15 at 2 : 00 Saturday evening October 16 at 8:30
SEIJI OZAWA, Conductor
TCHAIKOVSKY 'Eugene Onegin' op. 24
Madame Larina, a widowed landowner PAMELA GORE Tatyana, daughter of Madame Larina GALINA VISHNEVSKAYA Olga, daughter of Madame Larina JOY DAVIDSON Filipyevna, an old nurse LILI CHOOKASIAN Eugene (Yevgeny) Onegin BENJAMIN LUXON Vladimir Lensky, a poet NICOLAI GEDDA Prince Gremin, a retired general PAUL PLISHKA A Captain GREGORY REINHART Zaretsky, a retired officer DAVID ARNOLD Monsieur Triquet, a Frenchman JEAN DUPOUY Chorus of peasants, guests of TANGLEWOOD FESTIVAL Madame Larina, guests at a ball in CHORUS St. Petersburg, officers John Oliver, conductor
Lyric scenes in three acts and seven scenes Libretto by Konstatin Shilovsky and Pyotr Tchaikovsky, based on Alexander Pushkin's novel in verse of the same name
The action takes place in Russia in the 1820s; Acts I and II in the country and Act III in St. Petersburg
The intermission will take place between Act I and Act II
Seiji Ozawa and the Boston Symphony Orchestra record exclusively for Deutsche Grammophon Baldwin Piano
The concert on Friday afternoon will end about 4:45, on Saturday evening at about 11:15. Who's who in the future.
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Member F.D.I.C. mances of the now traditional Pops Christ- The Season mas party with Arthur Fiedler and the Boston Pops Orchestra. Another of the by Thomas D. Perry, Jr., Executive Director of the Boston Orchestra's recent traditions, the New Symphony Orchestra Year's Eve Special, will be duly celebrated at the proper time and with proper The start of the 96th season of the Boston ceremony. Easter will bring us, again Symphony finds us embarking, in the with Colin Davis, the Symphony of humble opinion of the Executive Director, Psalms of Stravinsky (commissioned by on a year of uncommon musical interest. this orchestra for its 50th anniversary For one thing the Orchestra's musical in 1931) and the Beethoven Mass in C calibre is very high — I should judge that which has not been done by the Boston its sheer ability-to-perform-music has not Symphony for many years. been surpassed ever, anywhere — and the In the realm of new music, in addition artistic direction of Seiji Ozawa, be- to the John Cage work mentioned above, ginning his fourth season as Music will be Anarchia by Nikos Mamangakis, Director is, bringing us to new heights. Voices by Oily Wilson in February (a In short, the scene looks great from Berkshire Music Center commission), where I sit. Roger Sessions' cantata When Eilacs In this generally rosy picture there are Last in the Dooryard Bloom d
some points of special interest : A concert with the Tanglewood Festival Chorus, performance of Tchaikovsky's opera, Quatrain by Toru Takemitsu with Peter Eugene Onegin comes early in the season, Serkin and Tashi, and John Harbison's as does the first performance of a new Elegiac Songs at the end of the winter work by John Cage, Renga with Apart- season. ment House 1776, which was commis- The roster of guest conductors is sioned with funds from the National fascinating: Colin Davis as Principal Endowment for the Arts. With the Guest Conductor will be with us in two orchestras of Boston, Chicago, Cleveland, periods for several weeks, Klaus Los Angeles, New York and Philadelphia, Tennstedt will come again, Neville along with five other works by David Marriner will conduct the Orchestra del Tredici, Jacob Druckman, Morton for the first time in Boston, Boston's Subotnick, Elliott Carter and Leslie own Sarah Caldwell will appear as guest Bassett, all to be performed by each of conductor, and the Olympian musician the six orchestras in the near future as a Mstislav Rostropovich will appear as bicentennial project. At Christmastime conductor and later as solo cellist in the there is a special performance of Handel's Prokofiev Sinfonia Concertante. Messiah with Colin Davis conducting the The Orchestra will make its customary Orchestra, chorus (the Tanglewood five trips to New York's Carnegie Hall, Festival Chorus) and soloists Susan will play three times in Washington, Davenny Wyner, Florence Quivar, Neil and in the depths of February and March Rosenshein and John Shirley-Quirk. will give concerts for a week in Florida.
And of course there will be five perfor- All in all, it should be a good year.
finer furs
NEWBURY STREET EIGHTEEN BOSTON, MASS 536-1952 Fiduciary Trust Company 10 POST OFFICE SQUARE, BOSTON
BOARD of DIRECTORS
Robert H. Gardiner President
Edward H. Osgood Edmund H. Kendrick Vice President Vice President John W. Bryant John L Thorndike Vice President Vice President John Plimpton John W. Cobb Vice President & Treasurer Vice President
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Ralph B. Williams Trustee
We act as Trustee, Executor, Agent & Custodian and in December of that year he began Seiji Ozawa, Music Director his inaugural season as Conductor and Music Director of the San Francisco
Seiji Ozawa became Music Director of the Symphony Orchestra, titles he held con- Boston Symphony Orchestra in the fall currently with his position as Music of 1973 and is the thirteenth conductor Director of the Boston Symphony until to head the Orchestra since its founding he resigned them in the spring of 1976. in 1881. (He will be Honorary Conductor in San He was born in Hoten, Manchuria, in Francisco for the 1976-77 season). 1935, and graduated from the Toho Mr. Ozawa's recordings with the School of Music in Tokyo with first Orchestra on the Deutsche Grammophon prizes in composition and conducting. label include Berlioz's Symphonie fan- When he won first prize at the Inter- tastique and La damnation de Faust, national Competition of Conducting at Beethoven's Piano Concerto No. 5 with Besancon, France, shortly after his gradu- soloist Christoph Eschenbach, and the ation, one of the judges of the competition complete orchestra music of Ravel. This was the late Charles Munch, then Music fall DG has three new Ozawa/BSO Director of the Boston Symphony, who collaborations scheduled for release: invited him to study at Tanglewood Berlioz's Romeo et Juliette, Shostako- during the following summer. Mr. vich's Cello Concerto No. 2 with soloist Ozawa's association with the Orchestra Mstislav Rostropovich and Charles Ives's began during that session of the Berkshire Fourth Symphony. Music Center as a student of conducting in 1960. Beginning with the summer of 1964, Mr. Ozawa was for five seasons Music AND IN GENERAL Director of the Ravinia Festival, and at the beginning of the 1965-66 season he The BSO performs 12 months a year, in became Music Director of the Toronto Symphony Hall and at Tanglewood. For Symphony, a post he relinquished after more information about any of the Or- four seasons to devote his time to study chestra's activities, please call Symphony and guest conducting. Hall at 266-1492 or write Boston Sym- In 1970 Mr. Ozawa became Artistic phony Orchestra, Symphony Hall, Bos- Director of the Berkshire Music Festival, ton, Massachusetts 02115.
How do you follow a great performance?
With a late supper and a generous nightcap at
a most congenial rendezvous: The Cafe at The Ritz. It's an old
Boston friend with a new look . . . and delicious suppers are now served until half-past midnight. See you this evening?
The Ritz-Carlton Hotel Jerome Lipson Robert Karol Bassoons Bernard Kadinoff Sherman Walt Vincent Mauricci Edward A. Taft chair Roland Small Earl Hedberg Joseph Pietropaolo Matthew Ruggiero Robert Barnes Michael Zaretsky Contra bassoon Richard Plaster
Cellos Jules Eskin Horns Philip R. Allen chair Charles Kavalovski gr=<^ Martin Hoherman Helen Sagoff Slosberg chair Mischa Nieland Charles Yancich Peter Gordon First violins Jerome Patterson David Ohanian Joseph Silverstein Robert Ripley Richard Mackey Concertmaster Luis Leguia Charles Munch chair Carol Procter Ralph Pottle Emanuel Borok Ronald Feldman Assistant Concertmaster Joel Moerschel Trumpets Helen Horner Mclntyre chair Jonathan Miller Armando Ghitalla Max Hobart Martha Babcock Andre Come Rolland Tapley Rolf Smedvig Roger Shermont Gerard Goguen Max Winder Basses William Rhein Harry Dickson Harold D. Hodgkinson chair Trombones Gottfried Wilfinger Joseph Hearne Ronald Barron Fredy Ostrovsky Bela Wurtzler Norman Bolter Leo Panasevich Leslie Martin Gordon Hallberg Sheldon Rotenberg John Salkowski William Gibson Alfred Schneider John Barwicki Gerald Gelbloom Robert Olson Tuba Raymond Sird Lawrence Wolfe Chester Schmitz Ikuko Mizuno Henry Portnoi Cecylia Arzewski Timpani Amnon Levy Flutes Everett Bo Youp Hwang Firth Doriot Anthony Dwyer Sylvia Shippen Wells chair Walter Piston chair Second violins James Pappoutsakis Percussion Victor Yampolsky Paul Fried Charles Smith Fahnestock chair Arthur Press Marylou Speaker Piccolo Assistant timpanist Michel Sasson Lois Schaefer Thomas Gauger Ronald Knudsen Frank Epstein Leonard Moss Oboes Vyacheslav Uritsky Ralph Gomberg Harps Laszlo Nagy Mildred B. Remis chair Bernard Zighera Michael Vitale Ann Hobson Darlene Gray Wayne Rapier Ronald Wilkison Personnel Managers Harvey Seigel English Horn William Moyer Jerome Rosen Laurence Thorstenber^ Harry Shapiro Sheila Fiekowsky Gerald Elias Clarinets Librarians Ronan. Lefkowitz Harold Wright Victor Alpert Ann 5.M. Banks chair William Shisler Violas Pasquale Cardillo Burton Fine Peter Hadcock Charles 5. Dana chair E-flat clarinet Stage Manager Reuben Green Alfred Robison Eugene Lehner Bass Clarinet George Humphrey Felix Viscuglia
8 Notes have been considered that, and leaving Onegin in complete despair at the close. The real-life events may have also affected Peter Ilyich Tchaikovsky (1840-1893) the wording of Gremin's aria, his happi- Eugene Onegin ness in Tatyana's presence, mirroring that found by Tchaikovsky in Madame von (The Boston Symphony Orchestra last Meck's letters. performed this work in a concert version Thus life and art came close together in during the 1974 Tanglewood season, the final shaping of the work, but it must Music Director Seiji Ozawa conducting.) not be forgotten that the composer had "I am in love with the image of Tatyana. been fired to write the opera before any I am under the spell of Pushkin's verses, thought of marriage came into his head and I am drawn to compose the music as or his heart, which had already been if by invisible attraction. I am lost in the given to Pushkin's work. At a party of the composition of the opera." So Tchaikov- singer Elizaveta Lavrovskaya, various sky wrote to his brother Modest, always ideas were tossed around by the com- a close advisor, in June 1877, and it ex- poser's friends as being suitable for him as presses, in typical fashion, the composer's a libretto. ("One must be a hero to refrain wholehearted commitment to the task in from writing operas ... I do not possess hand. The difference from some other, that heroism," he once said, and was earlier occasions, when he was engaged always on the lookout for suitable oper- on an operatic score at least, was that he atic subjects.) Finally his hostess sug- now had a subject entirely apt not only to gested Pushkin's Eugene Onegin. At first his compositional powers but also to his Tchaikovsky thought it no better than the own personal situation. For, in mid- others put forward. Later, lunching alone stream of writing the work, he became in a restaurant, he reconsidered the prop- involved with Antonina Ivanovna Mil- osition, began to change his mind about koyokova, a former student. In May, its possibilities, and rushed off in search 1877 he had received from her a letter that of Pushkin's works. closely mirrored that from Tatyana to After a sleepless night mulling over a Onegin. "I learnt from this letter that she projected scenario (one that he wrote loved me . . . When we met, I told her down and differed little from the com- that I could offer only gratitude and pleted work, he began to see how much it sympathy in exchange for love ... I de-
had to offer him : "How delightful to get scribed to her in detail my character, my away from all the commonplace phar- irritability, my misanthropy." From there aohs, Ethiopian princesses, poisoned life and art took a different course, Tchai- chalices, and all the stories about puppet kovsky decided to marry his Antonina creatures. What poetry is to be found in with disastrous results, although he Onegin! I am not blind to its faults. I thought, having told her as closely as he quite see that it doesn't give scope to full could what his nature was like, the affair operatic treatment; but the richness of might turn out for the best. It did not. The the poetry, the simple, human subject, to marriage lasted barely three weeks, and be found in Pushkin's inspired verse, will was dissolved a few months later. He compensate for whatever it lacks in other went to Switzerland and Italy to recover ways." — and to finish Onegin. The other woman in his life, Nedeshda von Meek, whom he In essence the libretto is Tchaikovsky's never met, supported him through his own, but the text of M. Triquet's couplets crisis, both psychologically and finan- are by Shilovsky, who also helped expand cially. The whole episode probably had a the original scenario. Where possible profound influence on the completing of Tchaikovsky kept to Pushkin's own the opera, dismissing from Tchaikovsky's verses and elsewhere limited the poet's mind any thought of a happy end, if the style to the best of his ability. The preser- elopement of Tatyana and Onegin could vation of Tcahikovsky's own annotated '
copy of the poem allows us to trace his very core of the work. Tchaikovsky changes and underlinings, such as a com- began by setting the section starting: "I ment "unpleasant" beside a stanza de- write to you," or rather with the orches- scribing Onegin's fashionable room and tral passage leading to it. The orchestral his more singable alternatives for certain ideas are masterly: the elegiac oboe line lines. Lensky's poem, written the night intertwined with the falling fourths of before the duel, was used in its entirety flute, clarinet and horn and the touches for his aria, although there is an expan- from the harp precisely convey Tatyana's sion at the end, and Tchaikovsky indicates naive character, even suggest the act of beside it the form of the musical setting. writing, and the whole scene is a marvel- There is some suggestion that the lous example of Tchaikovsky's melan- changes in the original, or rather the choly lyricism, his gift for expressing composer's interpolations, may have unrequited longing in broad, impassioned been the cause of the opera's comparative phrases. No wonder Tchaikovsky noted lack of success at the start of its life. Tatyana had aroused that "love and pity, Nobody likes to see a classic altered, and as for a real person" which he always Turgenev is known to have written to Leo needed if he was to be genuinely inspired. Tolstoy in 1878 as follows; "Undoubtedly Once that central portrait of her lan- notable music. The lyrical, melodic pas- guishing by her bedside and pouring out sages are particularly good. But what a her heart through her pen had been libretto!" painted, he was able to create around it, Although Pushkin's poetry undoubt- the innocent, ingenuous, sensitive girl of edly loses much in translation, and its the first scene, reading her English novels peculiarly Russian ethos is something the of sensibility. As she talks to her Nurse non-Russian may not be able to fully before writing the letter, she reveals her comprehend, its appeal to the composer impulsive charm. The Tatyana of the is easily understood, particularly as re- scene where Onegin rejects her is a forlorn gards the Letter Scene, which became the creature, made to seem foolish in her
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10 cT/rree n/c^ f/nVn/i a& • The Boston Symphony • Savings Bank Life Insurance • Free Checking Plus 5% Interest DORCHESTER SAVINGS BANK / TIM£\ Comer of Franklin and Arch Streets 510 Boylston Street at Copley Square JOSAVf Member F.D.I.C infatuation. At her "nameday" dance she her to be more careful in future, for others is negative and apprehensive. When we might take advantage of her ingenuous- next meet her at the St. Petersburg Ball, ness. At the ball, we see his darker side, she is the grande dame, yet not quite so. the flash of anger when he realizes that Onegin, now beside himself with love, Lensky has been goaded beyond reason manages quickly to penetrate the facade and will not relent, but after shooting his and reach Tatyana's heart — but it is too friend in the next scene he is naturally all late. She must, and does, poignantly remorse, and in the end is even further reject him, even though he still admits broken by Tatyana's rejection of him. her passion. Too late he has realized his own emotions. Onegin may give his name to the work, Lensky, too, has a good deal of but it is Tatyana who takes the centre of Tchaikovsky in him, a 19th century the stage because Tchaikovsky could romantic, ardent, idealistic and tempera- identify himself with her nature and pre- mental. His ruminating soul can be heard dicament. To portray her he had only to in his first-act arioso, his sad leading of write in his most natural and lyrical vein. the big ensemble after his row with Tchaikovsky deemed Onegin "cold Onegin at the Larin's ball, and most and heartless", and thus he has portrayed poignantly, wistfully in his final solo him at least until the final scene. He is which (in the hands of a great singer) blase in the Byronic mould; indeed we can lay claim to being the most moving are told by Pushkin that his illness was tenor aria in 19th century opera. Whether, "simply the British spleen transported to had he lived, such an inward person as Russia". He has inherited money and an Lensky would have been the ideal partner estate from an uncle. He lives there, seek- for the light-headed, charming, flirtatious ing interest in country pursuits but finding Olga is open to question. She is neatly, little, even less in the company of his economically depicted by Tchaikovsky. provincial neighbours. Tchaikovsky So is the rest of the Larin household: makes him appear supercilious and a Mme Larina and the old nurse-retainer, trifle patronising. But he is no mere empty Filipyevna. Their reminiscences at the soul. He is at first rightly reserved, even beginning of the opera set the milieu for condescending to Tatyana; after all, to the work, its feeling of rural reality, fur- him she is a little girl who has let her ther supported by the chorus of peasants emotions get momentarily out of control. a little later, come to greet their mistress, With his worldly knowledge, he advises or the Glinka-like chorus of girls gather- 11 ing berries (taken from Pushkin) that so ironically frames the Tatyana-Onegin Remember the scene. The hustle and bustle of Tatyana's first time you heard birthday, marvellously enacted in Julia Trevelyan Oman's authentic scenery Debussy's La Mer? in the Covent Garden production, is perfectly suggested through the invigo- It was at that little rating waltz, the gossip of the old folk Cafe in Montmartre. and M. Triquet's "ancient" couplets. That is in marked contrast to the stiff, formal Polonaise and Ecossaise at the St. Petersburg ball with their sense of a bored and boring metropolitan ritual. Here, Prince Gremlin's character is given exact expression in his aria, which has no equivalent in Pushkin. The honourable, warm veteran gives an airing to his heart- felt feelings for Tatyana, and we almost know that she cannot possibly forsake him, however much she is still in love with Onegin. It is a sober, slow-moving piece precisely right for an old man's psychology. Pre- symphony, apres symphony or whenever you're feeling Tchaikovsky's wonderful use of the particularly nostalgic. orchestra hardly needs adumbrating. It is there at once in the haunting string theme that begins the Prelude, the theme that is to be Tatyana's plaintive motif afe throughout the work. It is beautifully played on by various instruments until ENADE it leads into the daughters' duet when the at the Colonnade Hotel curtain goes up. Then there is the shep- 120 Huntington Avenue, Boston. herd piping as dawn rises after Tatyana's Complimentary parking. troubled night, suggesting the peaceful morning outside in contrast to the girl's turmoil of emotion. Or, the wistful wind phrases that precede Lensky's aria, dip- ping down into the low strings to repre- sent his state of foreboding. Again at the beginning of the last scene, in a kind of minor version of Gremin's aria, Tchaikovsky ideally sets the mood of the South Boston moment, the interior unhappiness of Savings Bank Tatyana as she weeps at the thought of her predicament. But the whole of this "ALWAYS THE LEADER" encounter, the whole of the opera, is clear evidence not only of the composer's mastery of his means but also of his close identification with the subject. Tchaikovsky was pessimistic about the Alfred W. Archibald opera's chances of success. He felt so near President to the characters that he almost could not bear to imagine them in other hands than those of the composer. He wrote to 12 . Madame von Meek: "Where shall I find 1879. The work had a lukewarm reception the Tatyana of Pushkin's imagination? . . and such applause as there was, the Where's the artist who can come near the composer felt, was a tribute to him rather ideal Onegin, this cold dandy penetrated than the opera. Only one critic foretold to the core with wordly bon ton? Where the work's future pre-eminence among on earth is there a Lensky, an 18-year Tchaikovsky's operas. He himself was old youth with the curls, the impetuous delighted with the chorus and orchestra. and singular manner of a young poet a Nikolay Rubinstein, who conducted, and la Schiller? How Pushkin's captivating Taneyev admired the work. It took some picture will be vulgarised when it is trans- years for Onegin to become what it is ." ferred to the stage . . today, one of the more popular works In fact, Eugene Onegin was only a in the repertory. None so much deserves moderate success when it was first per- its place there. formed — by students of the Moscow Conservatory of Music on 29 March Alan Blyth reading. Her mother gently warns her EUGENE ONEGIN that romantic fiction is far from fact. Synopsis Gentlemen visitors are announced amid the flutter of excitement. Olga's be- The action of the opera takes place in trothed, Lensky, an 18 year old poet, Russia in the 1820's. has brought his new friend, Onegin, a ACT I blase young St. Petersburg dandy who has recently inherited his rich uncle's All three scenes of this Act take place country estate. confides to within a few days of each other on the Onegin Lensky his surprise at his preference for for estate of Larina, a gentlewoman and Olga, him the less interesting of the sisters. widow in somewhat reduced circum- two Lensky observes that, while close friends, stances. It is late summer. Onegin and he are diametrically opposed SCENE 1 : The garden outside the house. in outlook. Larina with the help of the old nurse, Meanwhile, Tatyana has realized that Onegin is the long-awaited Filipyevna, is making jam in the open air. hereo of her re- From inside the house Larina's daughters dreams. However she ceives small encouragement from him: can be heard singing an old duet (the text while Lensky sings ecstatically to Olga is taken from an early lyric of Pushkin's) of his love for her, Onegin, aloof which sets Larina thinking of her own and coldly civil, condescends to share with youth. Together with the Nurse she re- Tatyana his life. calls her own girlish infatuation and the boredom with country The Nurse senses that their neigh- arranged marriage she was forced to new bour has a accept. A peasant chorus heralds the made powerful impression on the shy and withdrawn Tatyana. entrance of reapers come to celebrate the completion of the harvest and to present SCENE 2: Tatyana's bedroom. their mistress with a decorated sheaf. Filipyevna is preparing Tatyana for the Tatyana and Olga emerge from the house night. Tatyana is restless and asks the old to watch the singing and dancing; their woman to entertain her with stories of respective reactions reveal the enormous her youth. Noticing that the girl's atten- difference in their characters. Tatyana is tion is wandering, Filipyevna asks if lost in far-away reveries, while the she is ill. Tatyana reveals that she is in matter-of-fact Olga is simply ready to love and dismisses the Nurse. Alone, she sing and dance and confesses that ro- spends the entire night pouring out her mantic sighs and dreams are not for her. soul in a long, passionate love-letter After the peasants have left, Tatyana to Onegin. At sunrise the nurse returns admits that she has been much affected to rouse Tatyana and is astonished to by the sentimental novel she has been find her up. With some diffidence 13 Tatyana persuades the bewildered In the uproar Lensky bids Olga an ever- Filipyevna to have her grandson take the lasting farewell. letter to Onegin. SCENE 2 : By a water-mill, the following SCENE 3 : Another part of the garden. morning at sunrise. As they pick berries servant girls sing a Lensky and his second, Zaretsky, await chorus, the express intention of which is the arrival of Onegin. Zaretsky is im- to prevent them eating the fruit. patient. In a soliloquy Lensky muses on Tatyana runs in in great agitation: the passing of time and the inevitability Onegin has just arrived. She is full of of Fate; he is resigned to and seems to foreboding and regrets her foolhardiness. sense his coming end; his thoughts fly to Her fears are justified when Onegin his beloved Olga and he pictures her appears and addresses her with the ut- weeping at his grave. Onegin arrives with most correctness and complete moral his French valet, Guillot, whom he pre- rectitude; he is grateful for her frankness sents as his second, much to Zaretsky 's but, alas, marriage is not for him and his disgust. While the seconds discuss the regard for her must remain a brotherly terms of the duel, the thoughts of the one; he would, however, urge her to two antagonists are identical: a simple exercise more caution and self-control reconciliation should put an end to this in the future! . . . stupid quarrel. But injured pride and the ACT II force of convention prevail. Inexorably The Following Winter the duel proceeds and it is Lensky who, to Onegin's horror, falls dead. SCENE 1: Larina's house. Tatyana's name-day (12th January) is ACT III being feted and the unexpected appear- Four years have elapsed, during which ance of a regimental band transforms the Onegin, haunted by Lensky's death, has occasion into a ball much to the surprise travelled far and wide seeking distraction. and glee of the guests. The sight of Onegin Meanwhile, on a family visit to Moscow, waltzing with Tatyana causes feminine Tatyana has been persuaded to accept tongues to wag. Onegin happens to over- the suit of an elderly and renowned hear some particularly uncomplimentary general, Prince Gremin. remarks from a group of matrons and SCENE 1: St. Petersburg. A ball in a bitterly regrets his presence at the party. fashionable house. It was Lensky who had so insisted on his Onegin, who has only just returned to coming and Onegin decides to revenge the capital, stands apart from the rest of himself on the youth by bestowing his the company. In the midst of the social attentions on Olga. Lensky is aghast whirl he finds his existence more than when he sees his best friend waltzing and ever pointless and empty. His attention apparently flirting with his beloved. An is arrested by the entry of an aloof and old Frenchman, Triquet, arrives to sing in majestic lady; he cannot bring himself Tatyana's honour some couplets, after to believe that it is Tatyana, although the which the Company Commander, the resemblance is striking. Prince Gremin officer responsible for the surprise confirms that it is indeed she and that appearance of the band, announces the they have been married for some two cotillion. Again Onegin dances with years, during which she has brought Olga. When he has done, he addresses affection, radiance and vitality to him in Lensky with a note of sarcasm and a his old age. Tatyana has also caught heated discussion follows which soon sight of Onegin, but manages to betray attracts general attention. Working him- nothing of the agitation that seizes her. self up into a fury, Lensky challenges On the Gremins' departure, Onegin Onegin to a duel and publicly insults realizes that he has fallen desperately in Olga. Onegin secretly regrets his actions love with Tatyana. but is obliged to accept the challenge. SCENE 2: A room in Gremin's house, Lensky however, continues to revile him some time later. and the antagonists have to be separated. Onegin has been bombarding Tatyana 14 . with passionate letters. Alone, Tatyana Ladies Free admits to herself that his pleas have Invited Parking moved and distressed her. When Onegin enters, she reminds him of the past, of his callous rejection of her love. She wonders if his present interest in her might not be inspired by her now exalted social position. However, his fervent protestations convince her of his sincerity and finally she admits that she loves him First still. Both muse plaintively on the happi- ness that might have been. Impetuously Onegin presses her to elope with him, but Tatyana declares that she will remain steadfast and true to her husband. After Chair a struggle she leaves the room, bidding For Onegin farewell forever. Onegin is left distraught, overcome by despair. Eating & Drinking Dmitri Makaroff New York Sirloin Prime Rib of Beef " 1975 The Decca , Ltd © Record Co . Exclusive U.S. Agents, London Records, Inc. Baked Stuffed Shrimp 539 West 25th Street, New York, N.Y. 10001 London Broil All rights reserved. Unauthorized duplication prohibited. Reprinted by permission." Barbecued Spareribs Boston Scrod Guest Artists 344 Newbury St., Boston Galina Vishnevskaya, soprano South Shore Plaza Chestnut Hill Mall Galina Vishnevskaya, a native of Lenin- grad, began performing on stage when Luncheon 1 1 :30 A.M. - 3:30 P.M. she was sixteen, and a year later was Dinner 3:30 P.M.- 1:00 A.M. invited to join the Leningrad Operetta Drinking til 2:00 Theatre. Soon after she won a compe- AM. tition to join the Bolshoi Opera where she immediately became a leading soprano. She scored her first great success in the role she performs in this concert with the Boston Symphony, Tatyana in Tchaikovsky's Eugene Onegin, and WALLIS WOOLLEN MILL A touch of class from Wales. British woollen clothing, since that first performance she has fabrics, home furnishings, knitting yarn and unusual gift items. triumphed in numerous leading operatic Tel. 661-2590 role's. It was for Galina Vishnevskaya that Benjamin Britten wrote the soprano part in his War Requiem. Both Britten and the late Dmitri Shostakovich have dedicated song cycles to her. ART/ASIA GALLERY Galina Vishnevskaya made her Ameri- Asian prints, ceramics, decorative arts. Custom framing, art leasing. Member, Art Investment Asia. can debut in 1960 with the Moscow State Tel: 661-1596 Symphony and returned the following season to appear with the Metropolitan 49 PALMER STREET Opera in Aida and Madame Butterfly. Cambridge, Mass. 02138 V (LOCATED BEHIND THE COOP IN HARVARD SQUAREl She has been a guest artist in London's J 15 Royal Opera House, Covent Garden, the honors he has received for his the Vienna State Opera and Milan's La distinguished contribution to music, the Scala. Mme Vishnevskaya is a People's ones most cherished are those bestowed Artist of the U.S.S.R. and has been upon him by the late King Gustav VI awarded the Order of Lenin, the highest Adolph of Sweden; the late King Fredrik award granted by the Soviet Union. IX of Denmark, and Pope Paul VI. Mme Vishnevskaya last appeared with the Boston Symphony Orchestra during the 1975 Tanglewood season, where Benjamin Luxon, Baritone she performed songs of Mussorgsky and Rachmaninoff and appeared in the Verdi Benjamin Luxon, baritone, was born in Requiem conducted by her husband, Cornwall, England, and completed his Mstislav Rostropovich. studies at the Guildhall School of Music, where he won the school's Gold Medal. During his early career he was closely Nicolai Gedda, Tenor associated with the English Opera Group; he sang the title role in the BBC-TV Nicolai Gedda, tenor, has the distinction premiere of Benjamin Britten's opera of being the most recorded tenor in the 'Owen Wingrave' and has since appeared world with 135 recordings to his credit. at Covent Garden in works by Peter Possessed of an outstanding linguistic Maxwell Davies, Britten, Puccini and talent, Mr. Gedda's lyrical tenor can Tchaikovsky, and, with an album of encompass almost anything in the field Wolf lieder already to his credit, he is of oratorio, opera, operetta and songs recording all the Schubert song cycles. whether the original language be English, Mr. Luxon made his debut with the French, German, Italian, Russian or Boston Symphony Orchestra as a soloist Swedish. in Beethoven's Symphony No. 9 last Mr. Gedda was born in Sweden of March. His last appearance with the Russian-Swedish parents and studied at Boston Symphony was last summer at the Royal Conservatory of Music in Tanglewood in Bach's 'St. Matthew Stockholm. He made his professional Passion.' debut at the Royal Opera, Stockholm in 1952 in 'Le Postilion de Longjuneau' and created tremendous excitement for his Paul Plishka, Bass brilliant performance. He made his Metropolitan Opera debut during the Paul Plishka, bass, is a native of Old 1957-58 season in the title role of Forge, Pennsylvania, and attended Mont- Gounod's 'Faust,' and has been a valued clair State College in New Jersey, where member since that time. he trained under Armen Boyajiian and Today Nicolai Gedda has behind him the Paterson Lyric Opera Theater. At 23, an achievement in the operatic world he won the Baltimore Opera Auditions, which is unrivalled. He has ranged from and shortly thereafter joined the National Haydn and Mozart, through all the Company of the Metropolitan Opera. French, German and Italian schools, to In 1967 he joined the Met's parent com- contemporary operas by Stravinsky, pany, making his debut in 'La Gioconda. Orff, Barber and Menotti. He is regarded Since then he has performed over thirty as the leading operetta tenor of the day roles with them. Mr. Plishka's schedule and is also renowned as a leading lieder includes engagements in the United singer and recitalist. States and Europe and recording with He has worked with almost all of the the Cincinnati Symphony under Thomas international conductors of the past Schippers. He last appeared with the twenty years including Beecham, Bern- Boston Symphony Orchestra at Tangle- stein, Cluytens, Giulini, Heger, Karajan, wood this past summer in Beethoven's Klemperer and Mitropoulos. Amongst Symphony No. 9. 16 We invest your money for reasons other than money. Old ColonyTrust A DIVISION OF THE FIRST NATIONAL BANK OF BOSTON 17 Angeles Philharmonic, the Houston Jean Dupouy, Tenor Opera, the Boston Symphony at Tangle- wood and the Pittsburgh Symphony in Tenor Jean Dupouy was born in 1938 in both Pittsburgh and Carnegie Hall. Joy Pau, France, and studied at the Conser- Davidson resides in Miami with her vatory in that town. He entered the Paris husband and three children. Conservatory in October 1964 and won its Voice Prize in June 1965. Following a number of awards and operatic appear- David Arnold, bass aces throughout France, Mr. Dupouy was engaged by the Paris Opera for the David Arnold, a native of Chicago, title role in Berlioz' 'Benvenuto Cellini'. studied singing at the Chicago Conser- He has since sung a number of other vatory and received an Artist Diploma roles in Italian and French operas in the degree from the New England Conser- same house. Mr. Dupouy last appeared vatory of Music. Mr. Arnold has with the Boston Symphony Orchestra appeared as soloist with the Newton during the 1976 Tanglewood season in Symphony, the Concord Symphony, Berlioz' 'Romeo et Juliette', a work he the Springfield Symphony as well as the recorded with that Orchestra during the New England Conservatory Orchestra. winter season of 1975. Mr. Arnold last appeared with the Boston Symphony Orchestra in a performance of Schoenberg's Gurrelieder during the Lili Chookasian, contralto 1975 Tanglewood season. A native of Chicago, Metropolitan Opera contralto Lili Chookasian is a frequent Gregory Reinhart, Bass-Baritone guest artist with all of the major orches- tras of the United States and in many of Gregory Reinhart, bass-baritone, gradu- the most renowned European Festivals, ated with distinction in 1974 from The including Bayreuth and Salzburg. Since New England Conservatory in Boston, her New York Philharmonic debut in where he now resides. With the Boston 1960 Miss Chookasian has established Symphony, Mr. Reinhart has appeared herself in both standard and contem- in works of Monteverdi, Bach and porary repertoire. Her recent appearances Stravinsky, with Michael Tilson Thomas have included Schoenberg's Gurrelieder and Seiji Ozawa, and last spring sang with the Bostony Symphony at Tangle- a complete new translation of Krenek's wood and a series of Mahler perfor- Jonny Speilt Auf, conducted by Gunther mances with the New York Philharmonic, Schuller. Mr. Reinhart recently received the San Francisco Symphony, the Detroit a grant from the Fromm Foundation for Symphony, the Minnesota Orchestra study at the Berkshire Music Center. and the Cleveland Orchestra. Pamela Gore, Contralto Joy Davidson, mezzo-soprano Contralto Pamela Gore studied voice at Joy Davidson was born in Fort Collins the New England Conservatory of Music Colorado of musical parents. At home in Boston and, prior to that, received a and abroad she has appeared with many B.A. in German Literature from Swarth- of the world's greatest orchestras and more College. Her musical training in- with such conductors as William Stein- cludes private study with Oren Brown at berg, Georges Pretre and Rafael Fruhbeck the Juilliard School, Gladys Miller at the de Burgos. During the 1975-76 season New England Conservatory and Ethelwyn Ms Davidson was heard with the Dallas Smith at Swarthmore College. Ms Gore Opera, the Edmunton Opera, the Los has received vocal coaching from Martin 18 Smith, Allen Rogers and Felix Wolfes. Oliver, who is Director of Choral and Solo appearances by Ms Gore include: Vocal activities for Tanglewood, a mem- Boston Symphony Orchestra, Springfield ber of the faculty of MIT, and Director (Mass) Symphony, Handel and Haydn of the MIT Glee Club and Choral Society, Society, Chorus Pro Musica, Cantata has been Director of the Festival Chorus Singers and the Oratorio Society of since its inception. Members of the New York. chorus, who come from the Greater Boston area, rehearse throughout the year. The Chorus made its debut in 1970 The Chorus at Symphony Hall in a performance of Beethoven's Ninth Symphony conducted by Leonard Bernstein. Since that time the The Tanglewood Festival Chorus, spon- Chorus has appeared under Music sored under the joint auspices of the Director Seiji Ozawa, Principal Guest Berkshire Music Center and Boston Conductor Colin Davis, and many guest University, was formed in 1970. John conductors of the Orchestra. mystique. 'Tanglewood', published by IT MAY NOT BE CHRISTMAS McGraw-Hill, is available in the book- YET, BUT . . . stores now. It's never too early to begin thinking CHAMBER PLAYERS AT about Christmas presents, and this JORDAN HALL season we have a unique gift to suggest. It's a new book all about Tanglewood; The Boston Symphony Chamber in fact, it's called Tanglewood' and it's Players open their '77 season this year written by Herbert Kupferberg, a leading in a new home — it's Jordan Hall, with American writer of music. Mr. Kupfer- the opening concert on Sunday, January berg is a senior editor of Parade maga- 30 at 4 o'clock. This three-concert series zine and music critic of the National (always at 4 o'clock on Sundays; Observer. He is also a regular con- January 30, March 13 and April 17) tributor to the programs of Lincoln has subscriptions for sale for only $6, Center and the Kennedy Center. His $9 and $12. Orders will be filled if you previous books include Those Fabulous send your check to Chamber Players Philadelphians, The Mendelssohns and Series, Symphony Hall, Boston, MA A History Opera. To quote from the of 02115. publishers of the book in describing 'Tanglewood': 'Music mecca, tourists delight, and cultural center, the Berkshire SUPPERS AT SYMPHONY Festival at Tanglewood is one of our most colorful musical traditions.' This There is still time to subscribe to the is the definitive book on Tanglewood — Stage Door Suppers for the Thursday the people and events, the rich social 'A' and Thursday 'B' series. Or come on history, the role and function in the story a Tuesday evening to the Tuesday 'C of music in America. From its beginning series. The buffet supper and talk begins over forty years ago it has been a focal at 6:45 pm (and at 6:15 pm for Tuesday point for notable performers — from B). The subscription price per series is Koussevitzky to Ozawa. Tanglewood $25. Space is rather limited so order your tells not only of one of the most popular tickets now! Make checks payable to: music rituals in our history, but evokes Council of the Boston Symphony Or- with ancedote, drama, and detail the chestra and send to: Friends Office, people who have made the Tanglewood Symphony Hall, Boston, MA 02115 19 The way to get what you pay for. Over 90 cents of every dollar you pledge to the United Way of Mass. Bay comes back to you and your neighbors in the form of services. If all the 165 or so human care agencies who are supported by your United Way had to raise all their own resources, a larger percentage of that money would be wasted on fund raising efforts. You should also know that the agencies themselves must continually show that they are spending their United Way money on necessary and valuable programs for all of us. Another thing to think about when you make your pledge is that it will make it possible for a whole army of people to keep doing their great work. UnifeedWay of Mass. Bay Agreat way _ to do some good. 20 advantage over myself as critic in that I Steinberg A Word from Michael can say what I hope are useful things before the event. Not that I am skeptical criticism I certainly I became The Boston Globe's music about (though am critic in January 1964 and I stopped in about most critics) : if I were, I would September of this year, something like not have done it — and done it with 2,500 concerts and operas later. My first passion — all these years. It is only that Globe review was of a Boston Symphony the program-note writer perhaps has it concert that included the premiere of easier when it comes to scoring direct Leonard Bernstein's Kaddish; my last was impact on the way his readers hear music. of the Paris Opera production of Faust Five or six years ago, I wrote a short with Gounod?), so that the (Going out essay on program notes for the program final word I heard in line of duty was the book of another orchestra. It was never angels' cry of "Saved!" printed because I said that I hoped no one 1964 was a startling January-February would read the program during the con- change for me, in part because of the cert, and the manager feared that that switch from a very private professional — would offend or at least discourage his life ' I had been teaching history at the advertisers. I'll say it again, though. Manhattan School of Music — to an Reading about music is no substitute for exposed one, in part because I was not listening to it, and music will reveal itself prepared to have people find my views to you only when you listen to it. And I on music and its performance, views that do mean "listen" — "to hear attentively altogether reasonable, so to me were ... to give attention with the ear to some weird. there are changes again, And now sound or utterance; to make an effort in the matter of private/public, in col- to hear something" (Oxford English leagues, in the kinds of writing I do, in Dictionary) — and that is something you the schedule on which I'll do it. I won't can't do while reading. be home for lunch as often, but I'll be around more evenings and Sundays. As to what we give you to read, that will depend on the pieces played. Stolzel's But those are externals. What I really amiable music needs no explication, but perceive in my professional life is the of continuity. Writing criticism was more chances are you have never heard Stolzel himself, like at teaching, but from a different platform and you might least to he was and that the and addressed to a different audience. know who most informed of his contemporaries held Writing program notes is a return to him in high regard. With the something more explicitly like teaching, Webern Passacaglia or the Brahms Variations on but it will not exclude the asking of ques- a Theme Haydn you do better to talk tions, which is an essential part of the of about the musical unfolding. Looking at critic's stance. Shostakovich's Symphony No. 4, you More important, the purpose is the cannot ignore the political contexts in same. Whether I teach in a classroom, which it was composed, rejected, and at speak in Cabot-Cahners, whether I write last revived. The story of Roger Sessions' in a newspaper, or magazine or in this cantata, When Lilacs Last in the Door- program book, I do it because I hope I 'd, is the story of a can say something that can help some- yard Bloom how com- poser lives with a text, but also and in- one hear more and hear better. evitably a story of Whitman, Lincoln, I once heard a musician complain about a conductor of a rather non-assertive and civil war. sort, who, instead of giving decisive Whatever it is, I hope you will read it signals before an event tended to make with pleasure as well as gain. And I hope corrective gestures during and after. you will read it before or after the music, "He's not a conductor," she scornfully not during: the book lasts, but the per- said, "he's a music critic." As teacher and formance, which is the reason for our as a writer of program notes, I have the coming here, will be gone. 21 . Longfellow Place. Maybe the best place in the world to live. There are only a few truly out- from all that Boston has to offer. Yet standing addresses in the world to- you're a world apart. Surrounded by day. The Olympic Towers in New gardens. With indoor and outdoor York. The Savoy in London. Rue St pools Private cabanas. Year 'round Honore in Paris. And now, Longfel- tennis. Stores. Restaurants. Shops. low Place in Boston. All protected by an airtight security A new, $50 million apartment system . Yet for all its comfort and complex offering a degree of luxury security, Longfellow Place is not to be found anywhere else. surprisingly reasonable. Studio, From your private terrace, you one, two and three bedroom can almost see forever. Bos- apartments rent from $280 ton Harbor. The Charles. The to $850 per month. Pent- city itself, spread before you. hou ses up to $ 1 2 80 a month You're only minutes away Come see us, soon. Longfellow Place At Charles River Park Our Rental Office with four model apartments and complimentary parking is at 4 Longfellow Place on Staniford Street. Open weekdays 9 am to 7 pm. Saturday to to 742-2920 9 am 6 pm. Sunday noon 5 pm. Phone £} Equal Hous.ng opportunity 22 That first Tanglewood season, in 1970, Tanglewood Festival Chorus included performances of Luigi Nono's // Canto Sospeso, Mozart, Cosi Fan Tutte, "transparent" "beautiful "Well-prepared," and, in combination with groups from that are almost sound," — phrases other Boston area choruses, the Mahler routinely applied to performances by the Second Symphony with Leonard Bern- Festival Chorus. Now begin- Tanglewood stein, and the Berlioz Requiem with Seiji the Tanglewood ning only its eighth year, Ozawa. The experiment was deemed a is ranked in quality only Festival Chorus success, and plans were made for the fol- the choruses of the Chicago and with lowing season. This time enlarged to 80 Orchestras, both of Cleveland Symphony singers, and without assistance from other standing. in seven much longer How groups (although with the addition of the Festival Chorus years the Tanglewood vocal students for some performances), be, in the words of one guest has come to the chorus sailed through one of the most of the great choruses of conductor, "One incredible eight week seasons any choral world," virtuosic vocal ensemble the a group has surely ever had. Bach Magnifi- capable of performing with the Boston cat, Monteverdi Vespers of 1610, Beetho- in any musical style from Symphony ven Missa Solemnis (the preparation for works of Roger Sessions, to Beethoven, to which included a six hour chorus rehearsal Haydn and Monteverdi, is the subject of with Leonard Bernstein lasting till mid- this brief history. night, which has become a much loved The Chorus was originally formed in chorus legend, gleefully recounted each 1970 with only 50 singers, to answer the year by older members to new ones in an needs of the Tanglewood season for a informal, but firmly established initiation stable choral group. Choral performances rite), Mozart Requiem, Schubert Mass in at Tanglewood had formerly been handled G, and winding up with Berlioz Damna- by the Berkshire Chorus, composed of tion of Faust. Looking back on it, I have Berkshire area residents and the students no memory of the chorus members hav- of the Berkshire Music Center vocal pro- ing felt intimidated or pressured by such gram. When John Oliver, Conductor of a schedule of major choral masterpieces — the Tanglewood Festival Chorus was ap- perhaps we simply didn't know any better. pointed director of choral and vocal In any case, it was a stunning success, activities at Tanglewood in 1970, it was and the Tanglewood Festival Chorus had his feeling that a core group of Boston- proved itself. The following season, 1971- based singers would be a more appropriate 72, the chorus was again expanded, this foundation for the choral performances time to its present size of 120 singers. The at Tanglewood. The singers could be story since then has been one of continual drawn from the great musical resources of advance in quality, and a corresponding the Boston area and would have the expansion of the role the chorus plays in added advantage of convenience in re- the activities of the Boston Symphony. hearsing together during the winter months Although originally created to perform for the summer programs. The Boston Primarily at Tanglewood, the Tangle- Symphony agreed, and Boston University wood Festival Chorus now is an equally generously agreed to co-sponsor the Chorus important part of the orchestra's Boston by providing much-needed rehearsal space. and New York seasons, as well as its re- The Chorus had its debut with the Bos- cording program. The Chorus' first ap- ton Symphony in May of 1970 rather un- pearance on records was in the Boston expectedly when it was called upon, together Symphony's impressive recording of with the Chorus Pro Musica, to sing in a Berlioz Damnation of Faust, led by Music performance of Beethoven's Ninth Sym- Director Seiji Ozawa, a performance phony with Leonard Bernstein that was which won John Oliver and Seiji Ozawa substituted for another program that had a Grammy nomination for best choral to be cancelled during the Orchestra's performance on records of 1975. Since special celebration of the Beethoven cen- then, the Chorus has participated in re- tennial. 23 Free GUIDE TO Danske luksus sardiner. A world of fine foods Harvard Square / Belmont / Newton Centre / Charles River Park Telephone (all): 876-2211 24 cordings of Ravel Daphnis and Chloe performance experience. You may have (complete) with Seiji Ozawa, and the or- noticed and wondered about the fact that chestra's yet to be released Ives 4th Sym- in performances of the Tanglewood Fes- phony, and Liszt Faust Symphony, con- tival Chorus the men and women, and in ducted by Seiji Ozawa and Leonard fact all the voice parts, are mixed together Bernstein, respectively. on the stage, instead of standing in clearly The major role in the Chorus' develop- defined sections of Soprano, Alto, Tenor ment is of course that of its talented and and Bass, as do most other choruses. This dynamic conductor, John Oliver. He is set-up, known as a "hashed" line-up, or the one who prepares the Chorus for its simply as "John's way," has a number of eventual meeting with the conductor; he distinct advantages over the more tradi- drills and cajoles the ensemble in an enor- tional arrangement, and has won the mous variety of musical styles, pains- whole-hearted support of the conductors takingly rehearses the diction in English, the Chorus has worked with. First, it French, German, Latin and Russian, and helps eliminate problems of pitch, since develops the knowledge of vocal tech- each singer is able to hear all the parts nique that produces the lush sound for around him, and therefore can "tune" his which the Chorus is known. In addition, own singing to the total texture and sound he works closely with the conductor of the music. Secondly, it makes it neces- throughout the final week of rehearsals, sary for each singer to learn and be able making sure the Chorus is able to carry to sing his/her part strongly and inde- through fully on the desires of the con- pendently, and not lean on others for sup- ductor — a role which one guest conductor port. Another effect is that it makes each described as "playing Aaron to my Moses." chorus member feel and sing like a soloist, He also has the huge task of hearing while still blending in with the ensemble. and evaluating the hundreds of singers This season you will have many oppor- who audition for places in the Chorus tunities to hear the Tanglewood Festival every year, and of selecting the best 120 Chorus in performance with the Boston among them, as all chorus members must Symphony Orchestra. Our season opens re-audition each year to retain their mem- with Tchaikovsky's great masterpiece, bership. The Chorus auditions, unusual Eugene Onegin, conducted by Seiji Ozawa, in that singers are heard only in vocal and sung in Russian — the Chorus' first quartets after a thorough rehearsal on the venture into that language. In December, audition piece, are designed to mirror the in a special concert, the Chorus, cut to 65 The best of the bunch UnionWarren Savings Bank 25 singers for this performance, will sing Handel's Messiah with Colin Davis, in the WANT TO BE A FRIEND? Boston Symphony's first performance of this work in Boston. January brings an- The Friends are supporters of the BSO, other chance at the Russian language, active in all of its endeavors. Friends re- with Prokofief's Alexander Nevsky, led by ceive the monthly BSO news publication Mstislav Rostropovich. In early April and priority ticket information. You can you can hear Colin Davis conduct the be a Friend for as little as $15 a year. For Chorus and the Orchestra in Beethoven's information about the Friends of the Mass in C, and Stravinsky's Symphony Boston Symphony, just call the Hall Psalms, and the end of April will of see Monday through Friday between nine Roger Sessions' difficult cantata, When and five. Ask for the Friends, they'll be Lilacs Last in the Dooryard Bloom 'd. glad to help. Jane Stein Manager Tanglewood Festival Chorus UPCOMING CONCERTS . . IT'S OPENING NIGHT... Thursday November 4 at 8:30 pm Friday November 5 at 2 : 00 pm Saturday November 6 at 8:30 pm Tuesday November 9 at 8:30 pm SEIJI OZAWA Conductor Mamangakis: Anarchia Bruckner: Symphony No. 5 Thursday November 11 at 11 am OPENING CONCERT OF THE MORNING SERIES SEIJI OZAWA Conductor Beethoven: Piano Concerto No. 4 MURRAY PERAHIA Wagner : Tannhauser Overture Wednesday November 10 at 7: 30 pm OPEN REHEARSAL Thursday November 11 at 7:30 pm Friday November 12 at 2 : 00 pm Saturday November 13 at 8:30 pm SEIJI OZAWA Conductor Bartok: Music for Strings, Percussion and Celeste Beethoven: Piano Concerto No. 4 MURRAY PERAHIA Wagner: Tannhauser Overture Friday November 26 at 2 : 00 pm Saturday November 27 at 8:30 pm COLIN DAVIS Conductor Finer children^ wear . . 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The garden of the Ldrin estate. On the left, the house with its terrace; \Not that I ever read him, . . on the right a tree, its branches overhanging a flowerbed. At the back of the stage an old tumble-down trellis from behind which, through a TATYANA mass a foliage, one glimpses the church and the village. Evening is . . . pevtsa sv6yei pechali? . . approaching. ...the singer of his sorrow?... Ldrina is seated under the tree, making jam and listening to her daughters singing; Filippyevna stands beside her and helps with the OLGA jam-making. During the second stanza of Tatydna 's and Olga 's duet . . . glas pevtsa lubvi, pevtsa pechali? . . two old begin to chat. the women ...voice of the singer of love, the singer of his sorrow?. The sound of singing is heard from inside the house. The doors leading onto the terrace are open. LARINA TATYANA, OLGA ... no v starinu knazhna Alina, Slikhali-lvi za r6shei glas ndchn6i ...but in the old days Princess Alina, Didyou hear beyond the grove the voice nocturnal moya mdsk6vskaya kuzina, . . pevtsa lubvi, pevtsa svoyei pechali? my Moscow cousin, . . of the singer of love, the singer of his sorrow? Kdgda pola v chas utrenni molchali, TATYANA When thefields at the hour ofmorning were silent, . . . Kdgda v lesakh . . svireli zvuk unili'I i prdst6i, slikhali-lvi?, . . . When in theforests . . the pipe's sound, doleful and simple, didyou hear?, togda svireli zvuk etc. LARINA then the pipe's sound etc. . . . tverdila chasto mne 6 nom. ...spoke so often tome about him. LARINA One poyut, i ya pevala They are singing, and I too used to sing it NURSE l5a, pomnu, pomnu! v davn6 prdshedshiye goda, Yes, I remember, I remember! in long past years, ti p6mnish-Ii, i ya pevala. do you remember? I too used to sing it. TATYANA . . . vi yundshu vidali, ' TATYANA . . . you saw the youth, Vzddkhnuli-I vi, . . . Did you sigh, . . OLGA . . . Kdgda vi yunoshu vidali, . . . . the . . NURSE . When you saw youth, Vi bili m616di tdgda! You were young then.' LARINA Akh, Grandis6n! . . . OLGA Ah, Grandison! . . Vzdokhnuli-I vi, . . Did you sigh, . . NURSE V 16 vrema bil yesho zhenfkh suprug vash, . . . LARINA thai A I time he was still a suitor, your husband was, Kak ya lubila Richardsona! How I loved Richardson! "l.ARINA . . . akh, Richardson! TATYANA . . . uh, Richardson! . . . vnimaya tikhii glas . . . . . listening to the quiet voice . . NURSE ... no vi ponevole . . . . . . but . OLGA you willy-nilly . . . . . vnimaya . . . . . listening to. . TATYANA, OLGA . . . vstrechaya vzor yevo potiikhshikh glaz, . . . NURSE . . . meeting the gaze of his bedimined eyes, . . . Vi bfli m616di tdgda! t You were young then! LARINA . . . Akh, Grandison! . TATYANA . . . Ah, Grandison! . . . pevtsa lubvi, . . . NURSE . . of the singer of love, . . . . . togda mechiali 6 drugom, OLGA . . . at that time used to dream of another, . . . tikhii . . kdtorii serdtsem i umom ... . . . the quiet . . who in heart and mind . . . . . TATYANA TATYANA, OLGA . v/dokhniili-l vi? . . . vzdokhniili-l vi, vsireehaya v/6r . . . . did you sigh? ...... did you sigh, when you met l he gaze... OLGA LARINA . . . vzdokhniili-l vi? . . . No vdriig be/ moycvo soveta . . . . . . did you sigh? . . . But suddenly without my being consulted . . . LARINA NURSE ...Akh, Richardson! Ved on b'il Svezli vnezapno vas k ventsii, ...... Ah, Richardson! After all he was. They took vou off suddenly to church to be married, NURSE TATYANA . . . vam nravilsa gorazdo bole! . . . ponikhshikh glaz, v/dokhmili-l vi'? . . . pleased you much more! . . . of his bedimmed eyes, did you sigh? .. . OLGA OLGA . . . potiikhshikh glaz, . . . . . . vzdokh niili-l v'i? . . . of his bedimmed eyes, . . . . . . did yo;' sigh? . . NURSE LARINA . . . potom, chtobi rasseyat gore, . . . . . . slavnif frant, igrok . . . . . . then,- to dispel your grief, . . . . . . a fine dandy, a gambler TATYANA TATYANA . . . vzdokhniili-l vi? . . . vzdokhniili-l vi? . . . . . . did you sigh? . . . . . did you sigh? . . . LARINA OLGA . i vardiyi serzhant. . . g . . . vzd6khniili-l vi? . . . . . . and a Guards sergeant. . . . did you sigh? . . . LARINA "OLGA Akh, kak ya plakala snachala, . . . vzdokhniili-l vi? Ah, how I wept at first, . . . did you sigh? . . s supriigdm chiit ne razvelas, . . . NURSE from my husband I nearly separated, .... Davno proshedshiye goda! Long past years! NURSE . . . suda priyekhal barin vskore, . . . . . . hither . . TATYANA came the master soon after, . . . . vzdokhnuli-l vi'? . . . TATYANA . . . did you sigh? . . . . . . vzddkhniili-l vi? . . . LARINA . . . did you sigh? . . . Kak ya bi'la vsegda odeta! How I was always dressed up! OLGA . . . vzd6khmili-l vi, vzddkhniili-l v'i? . . . OLGA . . . did you sigh, did you sigh? . . . . . . vzdokhniili-l vi'? . . . LARINA . . . did you sigh? . . . . . . potom khdzalstvom zanalas, . . NURSE . . . then I busied myself with running the house, . . Vsedga po mode! Afways in the fashion! NURSE . ... v'i tut khozaistvom zanalis, . . with TATYANA . here you busied myself running the house, . . . vzdokhniili-l vi? . . . privikli i dovolni stali, . . . ...... did you sigh? you got used to it and became contented, . . . LARINA TATYANA, OLGA Vsegda p6 mode i k litsii! . . . vzd6khniili-l vi? Always in the fashion and becomingly! . . . did you sigh? OLGA LARINA . . . v/dokhnuli-l vi? ...... privikla i dovolna stala! . . . did you sigh? ...... / got used to it and became contented! NURSE NURSE Vsegda po mode i k litsii! . . . i slava Bogu! Always in the fashion and becominglv! . . . and praise be to God! . ! ! LARINA, NURSE PEASANTS Privichka svishe nam dana. . . . beli ruchenki so' rabotushki! Habit from Heaven to us is given, . . . white little hands from drudging! Shemit moyo retivoye serdtse so zabotushki! zamena shastiyu ona, It aches, my ardent heart does, from caring! a substitute for happiness it is; da, tak-to, tak! Ne znayu, kak bit, yes, that's so, that 's so / don 7 know what to do Privichka etc. . . . kak lubeznovo zabit! Habit etc how to forget my darling boy! Bolat moyi skori etc. LARINA They ache, my swift etc. Korset, albom, knazhnu Pdlinu, Bolat moyi beli" etc. Corset, album, Princess Pauline, They ache, my white etc. stikhov chuvstvitelnikh tetrad, (The Peasants enter carrying, copy-book ofsentimental verse, to thefore, a decorated sheaf.) ya vso zabi'la . . . Zdravstvui, matushka barina! all of it I haveforgotten . . . Greetings, little mother, your ladyship! NURSE Zdravstvui, nasha kormilitsa! Stali zvat Akulkoi Greetings, our benefactress! You began to call the maid "Akulka"; V6t mi prishli k tvoyei milosti, prezhnuyu Selinu, Here we have come to your Grace, ' ' the one you used to call 'Celine ', snop prinesli* razukrashennii"! a we have brought, all decorated it is! i obnovili nakonets . . . sheaf and mended at last . . . S zhatvoi pokonchili mi'! With the harvest we have finished! LARINA Akh! . . LARINA Ah!. . . Chto zh, i prekrasno, veseliles, Well, then, that 's excellent, make merry. LARINA, NURSE ya rada vam. . . . na vale shlafrok i chepets! I'm happy to see you. ... the quilted dressing gown and the mob-cap! Propoite chto-nibiid poveselei Privichka . . . etc. Sing us something jolly! Habit etc. . . . PEASANTS LARINA Izvolle, matushka, poleshim bari'nu! No miizh lubil Certainly, little mother, let's entertain her Ladyship! mena serdechno, . . . But husband my loved me with all his heart, .. . Nil, devki, v. kriig skhodiles! Come on, girls, in a ring! Come together! NURSE Nil, chtozhvi, stanbvites, stanovites! No barin vas lubil serdechno, . . . Well, what are you waiting for? Take your places, take your places! But the master loved with all . you his heart, . . (During the following chorus the peasant girls dance with LARINA decorated sheaf. Tatyana and Olga come out onto the balcony.) . . . vo vsom mne veril on bespechno. . . . in all things he trusted me without concern. PEASANTS Uzh kak po mostii, mdstochku. NURSE Once along a bridge, a little bridge, . . . vo vsom vam veril on bespechno. po kalinovi'm dosochkam, ... in all things he trusted you without concern. along the guelder rose planks, LARINA, NURSE vainu, vainu, vainu, vainu, vainu, vainu, vainu, vainu, Privichka etc. Habit etc. po kalinovi'm dosochkam, along the guelder rose planks, (From off-stage a chorus ofpeasants is heard approaching.) tilt i shol-proshol delina, here came passing along a fine, strapping young fellow, CHORUS LEADER slovno yagoda — malina, Bolat moyi skori nozhenki so pokhodushki, . . . every bit as tempting as a raspberry, They ache, my swift lit tie feet, from trudging, .. . vainu, etc. vainu, etc. PEASANTS slovno yagoda — malina . . . skori nozhenki so pokhodushki! every bit as tempting as a raspberry. . . . swift little feet, from trudging! Na pleche nesot dubinku, CHORUS LEADER On his shoulder he carries a cudgel, Bolat moyi belt ruchenki so rabotushki, . . . pod poloi nesot volinku, skirt They ache, my white little hands, from drudging, . . . under one of his coal he carries his bagpipes. vainu.. etc. (She comes down from the balcony and approaches her mother.) vainu, etc. pod poloi nesot vol'inku, OLGA under one skirt of his coat he carries his bagpipes, Akh, Tana, Tana! Vsegda mechtayesh ti! pod drugoi nesot gudochek, Oh, Tanya, Tanya! Always day-dreaming, you are! under the other he carries his whistle, A ya tak ne v teba, dogadaisa, mil druzhochek, But I am so unlike you, just you guess, dear little friend mneveselo, kdgda ya penye slishu. vainu, etc. Ifeel light-hearted when I hear them singing. vainu, etc. dogadaisa, mil druzhochek. (doing afew steps of the peasants' dance) just you guess, dear little friend. Solntse selo, ti ne spish-li? "Uzh kak po mostii, mostochku, aren't asleep The sun has set, you "Once along abridge, a little bridge, Li bo viidi, libo vi'shli, po kali novim dosochkam! ..." Either come out yourself, or else send out, along the guelder rose planks!..." vainu, etc. vainu, etc. (Olga caresses her mother, then comesforward to thefootlights to sing libo viidi, libo vi'shli thefollowing number. Larina, Tatyana and Filippyevna surround her.) either come out yourself, or else send out Ya ne sposobna k griisli tomnoi, libo Sashu, libo Mashu, libo dushechku Parashu, / am not capable of languid melancholy, either Sasha, or Masha, or darling little Parasha, ya ne lublu mechtat v tishi, vainu, etc. I do not like today-dream in silence, vainu, etc. il na balkone nochyu tomnoi libo dushechku Parashu! or on the balcony by night in the dark or darling little Parasha, vzdikhat, vzdikhat, vzdikhat Libo Sashu, libo dushechku Parashu, to sigh, to sigh, to sigh Either Sasha, or darling little Parasha, iz glubinf dushf. libo Sashu, libo Mashu, libo dushechku Parashu, from the depths the soul. either Sahsa, or Masha, or darling little Parasha, of Zachem vzdikhat, kogda shastlivo libo Sashu, libo Mashu, libo dushechku Parashu! Why sigh, when full happiness either Sasha, or Masha, darling little Parasha! of moyi dni yuni'ye tekut? Parashenka vikhodila, my days ofyouth flow gently by? Little Parasha came out, Ya bezzabotna i shalovliva, s mili'm rechi govorila, lam carefree and playful; with her sweetheart she had a talk, mena rebonkom vse zoviit! vainu, etc. a child they all call me! vainu, etc. Mne biidet zhfzn vsegda, vsegda mila, s milim rechi govorila: Forme will life always, always be sweet, with her s weetheart she had a talk: i ya ostanus, kak i prezhde, "Ne bessud-ka, moi druzhochek, and I shall remain -as before, ' 'Don 'I think ill of me, my dear little friend, podobno vetrenoi nadezhde, v chom khodila, v torn i vishla! like light-headed hope, what I had on is what I've come out in! rezva, bespechna, vesela! V khudenkoi vo rubashonke, playful, carefree, gay! In my poor little shift, podobno vetrenoi, etc. vo korotkoi ponizhonke, like light-headed, etc. in my short little petticoat Ya ne sposobna, etc. vainu, etc. lam not capable, etc. vainu, etc. v khiidenhoi vo rubashonke, LARINA in my poor little shift, (The Nurse and Tatyana move away from the others.) vo korotkoi ponizhonke!" in my short little petticoat!" Nu tf, moya vostriishka, Well now, my witty little one, "Ne bessiid-ka, eic. . . . "Don 7 think ill of me, etc. . . . vesolaya i rezvaya ti ptashka are, Vainu, etc. merry and playful little bird that you Vainu, etc. ya diimayu, plasal sekhas gotova, / think that now you're ready to start dancing, TATYANA ne pravda-li? in her hand) r la book sn t that true? Kak ya lublu pod zviiki pesen etikh' How I love to the sounds of these songs NURSE mechiami unositsa inogda Taniisha! A, Tanusha! Chtost6b6i? in reverie to wander off sometimes Little Tanya! Oh, little Tanya! What's up with you? kuda-io, kuda-io, daleko! Uzh ne bolna-li tf? somewhere, somewhere, faraway! You 're not ill, are you? ! ,j_': ms Mm aaSj H $$&iffi Srol Wo® W f>J* fSffiftiCSS^E fAj TATYANA chto v zhi'zni net geroyev, Net, nana, ya zdorova. that in real life there were no heroes, No, nurse, I'm well. spckoina ya. calm and contented am I no w. LARINA (turning to the peasants) Nil miliye, spasibo vam za pesni! OLGA Well, my dears, thank you for the songs! Naprasno tak p6k6Tni, Stupaile k fligelu. A pity you 're so calm and contented! Go over to the wing. sm6trite, fartuk vash vi snal zabfli! Look! Your apron! You've forgotten to take it off (to the Nurse) Nil kak priyedet LenskiT chto t6gda? What if Lenski should come, what then? Filippyevna, a tf veli im dal vina. Filippyevna, see that they're given vodka. (She laughs. Larina hurriedly takes off her apron.) Proshalte, drugi! OLGA Goodbye, my friends! Chii! Podezhayet kto-to, eto 6n! Listen! Someone's driving up! It is he! PEASANTS Proshalte, matushka! LARINA Goodbye, little mother! I v samom dele! It is indeed! (The peasants go off, the Nurse following them. Tatyana sits down on the terrace steps and is absorbed in her book.) TATYANA (looking out from the terrace) OLGA On ne odin . . . Mamasha, p6sm6trite-ka na Tanu! He 's not alone . . . Mama, • just take a look at Tanya! LARINA LARINA Ktob eto bil? chto? I vpram, m6i drug, A Who could it be? What is it? Indeed, my dearest, bledna ti 6chen! NURSE you 're pale! Very much so! (in a flurry, hurrying in with a boy servant) Sudarina, priyekhal Lenskii barin. TATYANA Milady, Master Lenski 's just come; Ya vsegda" takaya, s nim gosp&din Onegin! I'm always like that, with him is Mr Onegin! vi ne" trevozhles, mama! Don't bealarmea mama! TATYANA Akh! Skbreye, ubegii! Ochen interesno to, chto chitayu. Oh! Quick I'll run away! // 's very interesting, what I 'm reading. (is about to run off, but is restrained by Larina) LARINA (laughing) Tak 6t-tovo bledna ti! LARINA ti, Tana? Teba osiidat! So that 's why you 're pale! Kuda Where are you off to, Tanya? People will talk! TATYANA Batushki, a. chepchik moi nab6kii! Da kak zhe, mama, Heavens! And my mob-cap's all to one side! How else could it be, mama? povest milk serdechnikh (The Nurse straightens Tatyana 's dress and, gesturing to her not to be This story of the torments of the heart afraid, leaves.) vlublonnikh dviikh mena volniiyet, OLGA (to her mother) two lovers agitates of me, Velilezhe prosil! mne tak zhal ikh, bednikh! Have them shown in, then! I'm so , sorry for them, the poor things! LARINA (to the boy servant) Akh! kak oni slraday^it, kak oni stradayut! Prosi skorei, pr6si! Ah, how they suffer, how they suffer! Show them in, quick, show them in! LARINA (The boy runs In great agitation the ladies prepare to greet their Polno, Tana! off. visitors.) Enough, Tanya! (Onegin and Lenski enter. Lenski kisses Larina 's hand and bo ws Bivalo ya, kak ti, respectfully to the young ladies.) // used to that I, be like you, LENSKI chitaya knigieti, voln6valas. Mesdames! Ya na seba vzal smelosl when reading such books would get upset. Mesdames! I have taken on myself the liberty Vsoeto vimisel. prives'1 priyatela! Rekdmendiiyu vam: A II of it is made up. of bringing a friend! May I present you Proshli gdda, i ya uvidela, Onegin, mo! sosed. The years went by and I came to see Onegin, my neighbour. . ONEGIN LENSKI Ya 6c hen shastliv! . . . kak Svetlana! I'm very honoured! . . . like Svetlana! LARINA (bashfully) ONEGIN Pomilufte, mi' radi vam; Neuzht&ti vlublon v menshuyu? Oh please... we're happy to see you Surely you aren't in love with the younger one? prisadte! V6t docherimoi! TATYANA Won 't you sit do wn ? Here are my daughters! Ya znayu, . . . ONEGIN / know, .... Ya ochen, ochen rad! LENSKI I'm very, very happy! A chto? LARINA What do you mean ? VoTdomle v komnati, il, mozhet bit, khdtite TATYANA Let's go in, or, perhaps, you'd prefer . . . znayu, eto on! na volnom vozdukhe ostatsa? . . . I know: this is he! to stay in thefresh air. Proshii vas, bez tseremoni budte, OLGA / beg you, don 't stand on ceremony; i . . . vsekh sosedei razvlechot! . . . mi sosedi, tak nam chinitsa nechevo! . . . all and the . neighbours will be diverted! . we're neighbours, so for us to beformal is pointless! ONEGIN LENSKI Ya,vfbral bi druguyu, . . . Prelestn6 zdes! etdt sad, Lublu ya 1_ would have chosen the other one,. . . . It's delightful here! I love this garden, ukromnii i tenistii! TATYANA it's secluded and shady! Uvi, teper . . . V nom tak uyutno! Alas, now. . . In it it's so comfortable! OLGA LARINA . . . Poldot dogadka za dogadkol, . Prekrasno! Poidii . . . There will follow conjecture after conjecture, Splendid! I'll go pokhlopotal ya v dome po khozaistvu, ONEGIN to and see things in the house . . . kogda b ya bil, kak t'i, poet! . I had been, like a vi goslei zalmile . . . _;_. if you, a poet! and you entertain the guests . . . Yaseichas! TATYANA . . . i dni i nochi . . . /'// be back shortly! . . . both my days and my nights . . . (She goes making a sign to Tatyana not to be shy. Lenski and off, OLGA Onegin move to the right. Tatyana and Olga remain, standing ...Vse stanut tolkoval ukradkoi . . . seperately, on the other side of the stage.) ...all will start talking in secret ONEGIN LENSKI lii volna i . . . Skazhi, kotoraya Tatyana? Akh, mi drug, kamen, Ah, dear friend, wave and rocky cliff, .. . Tell me, which one is Tatyana? "tatyana ONEGIN V chertakh u . . . Ya dozhdalas, otkrilis ochi! Olgi In herfeatures Olga . . . My waiting is at an end! My eyes hav'e been opened! OLGA TATYANA Akh, znala, znala ya, chto poyavlenye Onegina . . . • • - i zharkii ddinokil son, . . . I I that the arrival Ah knew, knew of Onegin...... and my burning, solitary sleep, . . . LENSKI OLGA Da la, kotoraya grustna i molchaliva ...... shutil, sudil ne bez grekha! Oh, the one who is sad and silent ...... pleasantries, judgements not without malice! ONEGIN LENSKI Mne ochen Iub6pitn6 znal. . . . slikhi i pro/a, lod i plamen . . . I'm very curious to know. . . . verse and prose, ice and flame. . . "olga ONEGIN . . . pr6izvedot na vsekh b6lshoye vpechatlenye ...... zhizni net, toch v toch . . . . . . all a great impression . . . would make on . . . has no life, she 's exactly tike . . TATYANA OLGA . . . vso, vso . . . Poidot dogadka za dogadkoi . . . . . everything, everything . . . There'llfollow conjecture after conjecture... OLGA LENSKI Poidot dogadka . . . Volna i kamen, lod i plamen, . . . There'llfollow conjecture. . . Wave and rock, ice and flame, . . . LENSKI ONEGIN . . . glupaya luna na etom gliipom ...... ne stol . . . _. . . stupid moon in that stupid ...... are not so . . . ONEGIN "TATYANA ... v Vandikovoi madonne! ...... i diishu . . . . . . a Van Dyck madonna! ...... and my soul . . . TATYANA OLGA . . . . . napomnit obraz milii, . . . . i stanut . . . . . . will remind me of his dear image, ...... and they 'II start . . . OLGA LENSKI . . . . za ddgadkol, vse stanut tolkovat ukradkoi, . . . . . slikhi i proza . . . . . . after conjecture, all will start talking in secret, ...... verse and prose . . . LENSKI ONEGIN . . . nebosklone! i ...... razlichni mezh soboi! Volna kamen, . . . sky! rock, . . . . . r different onefrom the other! Wave and ONEGIN LENSKI . . . ne stol razlichni mezh soboi, kak ...... Krugla, krasna litsom ona, kak eta glupaya ...... ,arenot so different onefrom the other, as... is like that stupid ...... Round, ruddy offace she, TATYANA TATYANA . . . zhech lubvi ognom! ...... bez iimolku volshebnoi siloi vso budet . . . will burn with love's fire! ...ceaselessly with magic power everything will... OLGA OLGA . . . Tane prochil zhenikha! . . . . shulil, sudil ne bez grekha i Tane . . Tanya ... putting him forward as a suitor for Tanya! . . . pleasantries, judgements not without malice and for LENSKI LENSKI . . . mi vzaimnol raznotoyu! . . . I6d i plamen, slikhi i proza, . . . . . . we in our mutual difference! . . . ice and flame, verse and prose, . . . ONEGIN ONEGIN Ya vibral bi druguyu! . . . tuna el 6m glu pom, / would ha ve chosen the other one! . . . moon that stupid, . TATYANA (Lenski goes up to Olga. Onegin inspects Tatyana in a rather off-hand manner while she stands with eyes downcast; then he goes up to her i . . . mne tverdil 6 nom diishu zhech lubvi ognom! and engages her in conversation.) soul with love 'sfire! . . . speak to me of him and burn my LENSKI (with ardour) OLGA Kak shastliv, kak shastliv ya. . . . i Tane prochil zhenikha! How happy, how happy I am, . . . andfor Tanya to put him forward as a suitor! ya snova vizhus s vami! once I with LENSKI again meet you! . . . I6d i plamen ne stol razlichni mezhsobol, OLGA . . . ice and flame are not so different one from the other Vchera mi vi'delis, mne kazhetsa! kak mi v/aimnol raznoiol! Yesterday we met, I think! as we in our mutual difference! LENSKI ONEGIN. O da, no vsozh den t sel'i i, . . . gliipom nebosklone! Oh yes, but still a day, a whole day, _j. . . stupid sky! dolgii den proshol v razliike, — eto vechnosl! ONEGIN along day has passed in separation; that's an eternity! Krugla, krasna litsom ona kak eta . . . OLGA Round, ruddy offace is she, like that . . . Vechnosl! Kakoye slovo strashnoye! TATYANA Eternity! What a dreadful word! Vso budet mne tverdit 6 nom . . . Vechnosl! Den odin . . Everything will speak to me of him . . . Eternity! Just one day? . . . ! . LENSKI serdechni'kh miik yesho ne znav, Da, slovo strashndye, the heart 's torments being as yet unknown to me, Yes, it 's a dreadful word, ya bil svidetel umilonnii no ne dla moyei lubvi! f witnessed, moved by tender emotion, but not for my love! tvoikh mladencheskikh zabav! your childhood games! (Lenski and Olga go off.) V leni khranitelnoi dubravi' In the shade of the guardian grove ONEGIN (addressing Tatyana with cold civility) Skazhite mne, ya dumayu, ya razdelal tvoi zabavi, akh! / shared your games, ah! Tell me, I think bivayet vam preskuchnd zdes, ya lublu teba, ya lublu leba, / love you, I love you, it gets very boring for you here dusha poeta tolk6 liibit, v glushi, khota prelestnoi, no dalokoi? kak odna uniquely the soul a poet alone can love, in these remote parts, albeit delightful, but so far away? Us of Ne dumayu, chtob mnogo razvlecheni ti odna v mdikh mechtanyakh, alone are in reveries, I don't think that many amusements you my ti odno moyo zhelanye, dano vam bilo. you alone are desire, are likely to come your way. my ti mne radosl i stradanye TATYANA you for me are both joy and suffering. Ya chitayu mnogo. ya lublu leba, ya lublii leba / read a lot. / love you, I love you i nikogda, nichto: ONEGIN and never shall anything, Pravda, dayot nam chtenye ni bkhlazhdayushaya dal, True: reading does give us neither chilling distance, bezdnu pishi dla uma i serdtsa, ni chas razluki, ni veselya shiim a vast amount offood for mind and heart, nor the hour ofparting, nor merriment 's din no ne vsegda side! nam mozhno s knigoi! ne otrezvat dushi, but not always can we sit with a book! shall ever make sober a soul TATYANA sogreiol devstvennim ognom lubvi! Mechtayu inogda, broda po sadu. warmed by the virgin fire of love! / daydream sometimes, wandering about in the garden. OLGA ONEGIN Pod krovom selskoi lishini . . . In the shelter rural tranquility... 6 chom zhe vi mechtayete? of About what then do you daydream? rosli s toboyu vmeste mi . . . . . . we grew up together . . . TATYANA Zadiimchivost moya podruga LENSKI Pensiveness has been my companion Ya lublu leba! / love 6t sami'kh kolibelnikh dnei. you! from the very days of the cradle. OLGA . . . i, pomnish, prochili ONEGIN ventsi ...... and, do you remember? marriage crowns were foretold Ya vizhu, vi mechtalelni uzhasno, / see you are a daydreamer, terribly much so; . . . u/h v rannem deisive nam stoboi nashi oisi! ...even in early childhood for us by our parents! i ya lakim kogda-to bil! / too was such a one once. LENSKI Ya lublii leba, lublii leba! (Onegin together with Tatyana goes off into the garden; meanwhile / love vou, love vou! Lenski returns with Olga.) LENSKI (with passionate warmth) (Lurina and the Nurse come out onto the terrace. Night is falling. By Ya lublu vas, ya lublu vas, Olga, the end of the Scene it is completely dark.) / love you, I love you, Olga, kak odna bezumnaya dusha poeta LARINA as only the mad soul a poet of A vot i vf Kuda zhe delas Tana? yesh6 lubit osuzhdena. Ah, there you are! But where has Tanya got to? evermore to love is condemned. NURSE Vsegda, vezde odno mechtanye, Dolzhno bit, u pruda gulayei s gostem; Always, everywhere only one longing, She must be by the lake, strolling with our guest; odno privichnoye zhelanye, poidii yeyo poklikat. only one habitual desire, I 'II go and call her. odna privichnaya pechal! only one habitual sorrow! LARINA Ya otrok bil loboi plenonnii, Da skazhf-ka yel, pora de v komnaii. / as a boy was captivated by you; And tell her I think it's time logo in ) nnnH gosJeigolodhikh popotchevaJ chem Bog poslal! ACT I and entertain our hundry guests with whatever God has given us! SCENE II (to Lenski) Tatyana 's room. It is very simply furnished. Simple, old-fashioned Proshii vas, pozhalmte! white wood chairs, upholstered in chintz. Short, little chintz curtains Please, won 't you come in ? to match on the window. A bed, above which is a book shelf. A chest of drawers on which is a small cloth and a small standing mirror. LENSKI Some vases with flowers. By the window a table with an ink-stand and MT vsled za vami! writing materials. We willfollow vou. When the curtain rises Tatyana is sitting in front of the mirror. She is plunged in thought. The Nurse stands near her. Tatyana is in a white (The Nurse goes off. The stage remains empty for a short while. Onegin nightdress. and Tatyana appear, the Nurse following at a distance, trying to overhear what is being said. Onegin sings his words calmly crossing the stage; his last words are given from the terrace. Tatyana still appears NURSE- highly embarrassed.) Nil, zabolialas ya! Well, enough chattering from me! ONE(ilN Pora uzh, Tana, M61 dada sam'ikh chestnikh pravil. // '5 time, Tanya; My uncle, a man of the most honourable principles, rano leba ya razbuzhii k obedne, kogda nevshiitku /anemog, early in the morning I'll wake you for mass when seriously he was taken ill, zasni skoreL on uvazhat seba zastavil go to sleep quickly. respect to himself he enforced i luchshe vidumal ne mog. (Lethargically Tatyana gels up, goes over to the bed and sifs on it. and it was the best thing he could think up. The Nurse caresses her.) Yevo primer drugim nauka. His example may for others serve as a lesson. TATYANA Nespitsa, No, BozhemoT, kakaya skuka nana, zdes tak diishno 1 don' t feel sleepy. nurse. in here it 's so close; But, my God what a bore otkroi okno i sad ko mne. s bolnim side! i den, i noch, open the windo w and sit by me. with an invalid to sit both day and night neotkhoda ni shagu proch! N U RSE (Opens the windo w and sits on a chair beside Tatyana. without moving a step away' Chto, Tana, chiosiobol? Why, 's NURSE Tanya, what the matter with you? Moya goliibka, skloniv golovku TATYANA My little dove, with drooping head Mne skiichno, pogovorim 6 starine. i glazki opusliv, idot smirnenko; Ifeel depressed; let's talk about bygone times. and little eyes downcast, walks along meekly; stidliva bolno! A i to! NURSE she 's shy, dreadfully so ! I wonder! O chom zhe, Tana? Ne priglanulsa-li yef barin et6t novil! About what then, Tanya? Has she perhaps taken a fancy to this new gentleman? Ya, bivalo, khranila v pamali / used to have tucked away in my memory (she goes off shaking her head thoughtfully) nemalo starinnikh bi'lei i nebi'lits, quite a lot of old stories, both true and imaginary ones, CURTAIN pro zlikh dukhov i pro devits, about evil spirits and about maidens; • a nine vso temno mnestalo, but now it's gone all dark in my mind. chto znala, to zabila. what I used to know I 've forgotten no w. Da! Prishla khudaya chereda! Yes! The bad time of life has comefor me! Zashiblo! // hurts! TATYANA Rasskazhi mne, nana, Tell me, nurse, pro vashi stariye goda; about you people in bygone years; bila t'i vlublena togda? were you in love then? NURSE I polno, Tana, Get along with you, Tanya! . . . . v nashi' leta mi ne slikhali pro lubov, TATYANA In our time we never even heard of love, Podi, ostav mena odnu. a to pokoinitsa svekrov Go, leave me to be by myself otherwise my late mother-in-law Dai, nana, mne pero, bumagu, mena bi sognala so sveta. Give me a pen, some paper, nurse, would have driven me from off the face of the earth. da stol pridvin; ya skoro lagu . . . and move the table up; soon I'll go to bed . . TATYANA nana? Da kak zhe tf venchalas, (The Nurse does Tatyana 's bidding.) But how then did you get married, nurse? Prosti! NURSE Adieu! Tak, vidno, Bog velel! Thus, obviously, God willed it! NURSE Moi Vana molozhe bil mena, moi svet, Pokolnoi nochi, Tana! My Vanya was younger than I, my love, Good night, Tanya! a bilomne trinadtsat let! and I was thirteen! (She leaves. For some time Tatyana remains plunged in thought, then she gets up with great agitation, a look determination her Nedeli dve khodila svakha of on face.) For about two weeks the match-maker kept on calling TATYANA (with inspiration, strength and passion) k moyel rodne i, nakonets, Puskai pogibnu ya, no prezhde on my family and, finally, Let me perish, but first blagoslovil mena otets! ya v oslepitelnoi nadezhde he gave me his blessing, my father did! in blinding hope Ya gorko plakala so strakha, blazhenstvo tomnoye zovii, Bitterly I wept with fear; dark bliss I summon, mne s plachem kosu raspleli' ya negu zhizni uznayii! with weeping they undid my maiden 's plait the rapture of life I recognize! i s penyem v tserkov poveli. Ya pyii volshebnii yad zhelani, and with singing to church they led me. / drink the magic poison of desire, I vot well semyii chuzhuyu . . . mena presleduyut mecht'i! And so they brought me into a family of strangers .. . / am beset by reveries! Da ti' ne sliishayesh mena! Vezde, vezde peredo mnoi But you 're not listening to me! Everywhere, everywhere before me is moi iskusi'tel rdkovoi, TATYANA (She embraces the nurse and sings with passionate my tempter, animation.) fatal Akh, nana, nana, ya stradayu, ya toskuyu, vezde, vezde on predo mnoyu! Ah, nurse, nurse, I suffer, I grieve, everywhere, everywhere he is before me! milaya mnetoshno, moya; (She goes up to her writing table, sits do wn, writes for a while, then Ifeel wretched, my dear; stops.) ya plakat, ya ridal gotova! Net, vso to weep, to sob I'm ready! ne to! Nachnii snachala! No, that's still not it! I'll start all over again! NURSE (She tears up the letter.) Dita moyo, ti' nezdorova; My child, you're unwell; Akh! Chto so mnoi! Ya vsa gdru . . . Ah! What's the matter with me! I'm all on fire... Gospod pomilui i spasi! ne znayu, kak nachat! Lord have mercy and save us! I don't know how to begin! Dai okroplu teba svatoi vodoyu, Let me sprinkle you with holy water, (She writes', then stops and reads over what she has written.) ti' vsa gorish! Ya k vam pishu, chevo zhe bole? you're all on fire! To you I write; what more then? Chto ya mogu yesho skazat? TATYANA (hesitantly) What more can I say? Ya ne bolna; Teper ya znayu v vashei vole I'm not sick; Now I know it is in your power ya, znayesh, nana ... ya . . . vlublena . . mena prezrenyem nakazal! /, do you know, nurse... I'm... in love... with your disdain to punish me! ostav mena, ostav mena; No vi, k moyei neshasinoi dole leave me, leave me; But you . . . for my unfortunate plight ya vlublena ... khdl kaplu zhalosli khrana, I'm in love . . if only one drop ofpity you retain, vi ne ostavite mena NURSE you will not abandon me. Da kak zhe . . . Snachala ya molchal kholela; But what . . . A t first I wanted to remain silent; 10 . HBH poverte, moyevo stida Davno . . . net, eto bil ne son! believe me, about my shame Long ago... no. it had not been a dream! ne uznalib nikogda, vf TV chut vosh61, ya vmig uznala, you would not havefound out ever, No sooner had you arrived, I instantly recognized you, nikogda vsa obdmlela, zapi'lala ever! / was altogether stupified, began to blaze with passion (putting the letter aside) i v mislakh molvila: vot on, vot on! O da, klalas ya sdkhranil v dushe and in my thoughts uttered: here he is, here he is! O yes, I swore to preserve hidden within my soul Ne pravda-l, ya teba slikhala: priznanye v strasti pflkol i beziimnoi! Is it not true, I had heard you often before: my avowal of passion, ardent and mad! ti govoril s6 mnoi v tishi', Uvf Ne v silakh ya vladet svoyei dushoi! you had spoken with me in the silence, Alas! / haven't the strength to control my own soul! Kogda ya bedni'm pdmogala Pust budet to, chto bit dolzhno somnoi! when to the poor I gave succour Let it happen, whatever must happen to me! ili molitvdi uslazhdala t&sku dushi? Yemu priznayus ya! or with prayer sought to allay the anguish of my soul? To him I 'II admit everything! I v eto samoye mgnovenye Smelei! On vso uznayet! And at this very instant Courage! He shall know all! neti'-li, miloye videnye, (She writes) was it not you, dear vision, that Zachem, zachem vf posetili nas? v prozrachn6i temnote melkniil, Why, why did you visit us? in the limpid darkness momentarily flashed into view? V glushi zabitdvo selenya priniknuv tikho k izgolovyu, In the remote depths of a forgotten country dwelling Nestling softly by my pillow, ya b nikogda ne znala vas, ne ti-l s dtradoi i lubovyu, I'd never have known you, was it not you that, withjoy and love, ne znalab gorkovo muchenya. sl6va nadezhdi mne shepnul? / wouldn 7 have known such bitter torment. words *of hope forme have just whispered? Dushf neopitnoi volnenya (She goes to the table and again sits down to write. Shortly, A n inexperienced soul 's emotional agitation however, she stops writing and appears to be plunged in thought. smiriv, so vremenem, kak znat?- The following words are sung with great feeling.) s with time, who knows?, having been pacified, Kto ti moi angel-li khranitel po serdtsu ya nashla bi driiga, Who are you? Are you my guardian angel? to my liking I might havefound a dear one, ili kovarnii iskusitel? bila bi vernaya supriiga Or are you an insidious tempter? / would have been a faithful spouse Moi sdmnenya razreshi i dobrodetelnaya ma! . . My doubts, dou you resolve them! and a virtuous mother . . . Bitmozhet, eto vso pustoye Perhaps this, all of it, is nonsense; (She is plunged in thought, then suddenly rises.) obman neopitnoi dushi Drugoi! the self-deception of an inexperienced soul, Another! i suzhdeno sovsem inoye? . . . Net, nikomii na svete and what is fated is something altogether different... No, not to anyone else in the whole world (Again she gets up and walks up and down the room plunged in thought.) ne otdala- bi. serdtsa ya! No tak i bit! Sudbii moyu would I have given away my heart! But so be it! My fate To v vishnem suzhdeno sovete. otnine ya lebe vruchayu, That is decreed in the council on high, henceforth I to you entrust, to vola neba: ya tvoya! pered toboyu slozi lyii, that is the will of Heaven: lam yours! before you my tears I shed, Vsa zhizn moya bila zalogdm tvoyei zashiti All my life has been a pledge umolayu, umdlayu! your protection I beseech, I beseech! svidanya vernovo s toboi; of this inevitable meeting with you; (With passion and strength.) Voobrazi: ya zdes odna! ya znayu, ti mne poslan Bogom, / know you have been sent to me bv God, Imagine: I, here, am alone! Nikto ne ponimayet! do groba ti khranitel moi! mena one till the grave you are my keeper! No understands me! Ti v snovidenyakh mne yavlalsa. (She comes to the front of the stage and sings the following You in dreams appeared to me, with ever increasing ardour and animation.) nezrimii, ti uzh bil mne mil, Rassudok moi iznemdgayet. as yet unseen, you already were dear to me, My mind faints with exhaustion tvoi chiidnii vzglad mena tomil, i molcha gibnut ya dolzhna! your wonderful gaze filled me with longing and in silence I must perish! v dushe tvoi golds razdavalsa! Ya zhdii teba, in my soul your voice resounded! / await you, 11 . . . . ya zhdii teba! Yedinim slovom NURSE / a wail you! With one word M61 drug, vot Bog lebe porukoi . . . nadezhdi serdtsa ozhivi, My dearest, as God's my witness .. . the hopes ofmy heart revive, TATYANA il s6n tazholii perervi, Iiak, poshli tikhonko vniika or this oppressive dream break off with, Then send without attracting attention your grandson uvi, uvi, zasluzhennim ukordm! zasluzhennim, s zapiskdl etdi k 6 . . . k tomu . . alas, deserved, alas, deserved reproach! a a with this note to O . . . to the one . . (Quickly goes to the table and hurriedly finishes the letter.) k sosedu, da veli yemu, Konchayu! to our neighbour, and tell him /finish! chtob on ne gdvdril ni slova, (She gets up and seals the letter) that he mustn 't utter a word, Strashno perechest . . Chtob on, chtob on ne nazival mena It's too frightening to read over .. that he mustn 't, that he mustn 7 mention my name. stidom i strakhdm zamirayu . . . NURSE with shame and fear my heart stops beating . . . Komu zhe, milaya moya? no mne porukoi chest yevo But who to, my dear? but forme as a guarantee is his honour Ya n'inche stala bestolkova! i smelo yel seba vverayu! /, these days, have become muddle-headed! and boldly to it myself I entrust! Krugom sosedei mnogo yest, (She goes up to the window and draws back the curtain. Daylight Round about there are many neighbours, comes bursting into the room.) kuda mne ikh i perechest, how can I possibly go through them all? Akh! Noch minula, pr&snulos vso, komu zhe, komii zhe, titolkom govori! Ah! Night is past, everything is awake Who to, then? Who to then? Tell me clearly! i solnishko vstayot. and the dear little sun is rising. TATYANA (impatiently) sits the window.) (She by Kak nedogadliva ti, nana! Pastukh igrayet . . . How slow-witted you are, nurse! The shepherd is playing his pipe . . . NURSE spokoin6 vso . . . Serdechnn drug, uzh ya stara, A t peace is everything . . . My own heart's friend, I'm old now, A ya-to! Ya-to! stara, tupeyet razum. Tana; Whilst I! I! old! They 're getting blunt, my wits are, Tanya! (She is plunged in thought. The door opens softly and the a 16, bivalo, ya vostra: Nurse enters.) But back in the old days I was quick-witted; bivalo, bivalo, mne NURSE (before noticing Tatyana) in the old days, in the old days for me Pora ditamoyo! Vstavai! // 's time, my child! Get up! slovo barskol voli . . . (catching sight of Tatyana) one word of my masters ' wishes . . . Da ti krasavitsa, gotova! TATYANA Why, you, my pretty one, are ready! Akh, nana, nana, dotovo-li! O, ptashka rannaya moya! Oh, nurse, nurse, that's not the point! Oh, my little early bird! Chto nuzhdi mne v tvoyom ume, Vechor uzh kak boyalas ya . . . What need have I ofyour wits? Last night, oh how afraid I was . . . 11 vidish, nana, delo 6 pisme! Nu, jlava Bogu, ti dita, zdorova! you see, nurse, the affair concerns this letter! Well, glory to God, you, my child, are well! Toski n6chnoi isledunet, NURSE Of the anguish of last night there's not even a trace, Nu, delo, delo, delo, . . . litso tvoyo, kak makov tsvet! Indeed, certainly, certainly, certainly, ... your face is the colour of poppies! "TATYANA (Tatyana moves away from the window and picks up the letter.) Chto nuzhdi', nana, mne v tvoyom ume! What need have I, nurse, ofyour wits? TATYANA NURSE Akh, nana, sdelai odolzhenye . . . Negnevaisa, dusha moya, ti znayesh: neponatna ya! Ah, nurse, dome a favour .. . NURSE Don 7 get angry, dear heart ! You know I'm slow to understand prika/hi. l/vol, rodnaya, TATYANA Of course, my own darling tell me what I can do for you. . . . K Oneginu, . . . TATYANA ... 7b Onegin, . . . . . . . . Ne dumai . . . Pravo podo/renye '1 . . . suspicion . Don think . . Really the NURSE no vidish . . akh, ne otka/hi Nu, delo, delo! but you see . . ah, don 7 refuse! . . . Certainly, certainly! 12 ^^^^H TATYANA ACT I . . . Oneginu . . . K SCENE III . . . to Onegin . . . Another part of the garden of the Larin estate. Thick clumps of lilac NURSE and acacia, a rather ancient park bench, flowerbeds, overgrown and neglected, etc. Through the shrubbery in the background one catches Ya ponala! glimpses of the serving girls of the house; they are busy picking berries. / understand now! CHORUS OF GIRLS TATYANA Devitsi, krasavitsi, . . . s pismom . . . Maidens, beautiful maidens, . . . with this letter . . . diishenki, podruzhenki! little darlings, sweet playmates! "tatyana Razigrailes devitsi, . . . k Oneginu . . . Begin to frolic, maidens, . . . to Onegin . . . Razgulaites miliya! begin to make merry, dear ones! NURSE Zatanite pesenku, Nu, nu, ne gnevalsa, . . . Strike up the dear little song, _Come, come, don 7 get angry, . . . pesenku zavetnuyu, "rATYANA the dear, cherished song, zamanite molodtsa . . . poshli ti vniika, nana! lure the fine lad . . . send your grandson, nurse! k khorovodu nashemu! NURSE to our round dance! . . . dusha moya, ti znayesh: neponatna ya! Kak zamanim molodtsa, . . . heart, I'm slow to understand! dear you know As soon as we have lured the fine lad, kak zavidim izdali, NURSE as soon as we catch sight of him in the distance, Da chto zh tisnova poblednela? razbezhimtes, miliya, But why again have you turned pale? let 's all run off in different directions, dear ones, TATYANA zakidayem vishenyem, Tak, nana, pravo nichevo! let 's pelt him all over with berries, cherries, No matter, nurse, really it's nothing! vishenyem, malinoyu, Poshli zhe vniika svoyevo! berries, cherries, with raspberries Do send your grandson, then! krasnoyu smorodin6i! with red currants! (The Nurse, having taken the letter, still stands in a state of Ne khodi podslushivat bewilderment. Tatyana motions her to go. The Nurse goes as far as the Don 'i come eavesdropping door, where she slops, ponders and then comes back into the room. pesenki zavetniya, Finally, showing that she has understood what is required of her, she on our dear cherished songs, leaves. Tatyana sits down at the table and leaning her elbows on it, is ne khodi podsmatrivat again plunged in thought.) don 7 come spying CURTAIN igri nashidevichyi. on our girlish games. Devitsi, krasavitsi, etc. . . . Maidens, beautiful maidens, etc. . . . (Tatyana rushes in and collapses exhausted, on the bench.) TATYANA Zdes on . . . zdes Yevgeni! He 's here . . . Eugene 's here! . . . O Bozhe! chto podiimal on! O my God! What could he have thought of me! Chto skazhet on? . . . What will he say? .. . Akh, dla chevo, Ah, why, slenanyu vnav dushi bolnol, giving heed to the groans of my suffering soul ne sovladav sama soboi, failing to control myself, yemii pismo ya napisala! to him that letter did I write? Da! Serdtse mne teper skazalo. Yes! My heart now has told me chto nasmeyotsa nado mnol that he will only laugh at me, moi soblaznilel rokovoi! my fatal tempter! 13 . . 6 Bozhe moi! Kak ya neshastna, Sudite zh vi, kakiya rozi Oh, my God.' How unhappy lam,. Consider then what roses kak ya zhalka! Shagi . . . vso blizhe . . . nam zagotovit GimeneT, how wretched! Footsteps... ever nearer... for us Hymen would have in store da, etoon, eto on! i, mozhet bi't, na mnogodnei! Yes, it is he, it is he! and, maybe, for many a day! (Onegin enters. Tatyana jumps to herfeet. Onegir'i xalks up to her. (with animation) She lowers her head.) Mechtam i godam net vozvrata, ONEGIN (with dignity, calmly and somewhat coldly) Reveries and past years cannot be brought back, Vi" mne pisali, akh, net vozvrata, You have written to me, ah, cannot be brought back, neotpiraites. Ya prochol neobnovlu dushi moyei! don 7 deny it. I have read / cannot renew my soul! dushi doverchivoT priznanya, Ya vas lublii lubovyu brata, a trusting soul's avowal, / lo ve you with the lo ve of a brother, lubvi nevinnoi izliyanya, lubovyu brata, an innocent love's effusion; with the love of a brother, mne vasha iskrennosl mila! tome your candour is pleasing! il, mozhet bit, yesho silnei! Ona v volnenye privela or, maybe, even more intensely! Into agitation it has brought II, mozhet bit ... II, mozhet bft, davno umolknuvshiya chuvstva. Or, maybe ... Or, maybe, long since silenced emotions. yesho, yesho silnei! No vas khvalit ya ne khochu, even more, even more intensely! But praise I will you not; Posliishaite zh mena bez gneva ya za neyo vam otplachii Listen, then, to me without anger; for it I 'II repay you smenit ne raz mladaya deva priznanyem takzhe bez iskusstva. more than once does a young maiden change with an avowal equally artless. mechtami lokhkiya mechti. Primite zh ispoved moyu, one set of insubstantial reveries for another. Receive, then, my confession; Uchites vlastvovat soboi, . . . seba na sud vam5tdayu! Learn to master yourself, . . . myself to yourjudgment I surrender! TATYANA "CHORUS OF GIRLS (offstage; they remain unseen) Devitsi, krasavitsi, dushenki, podriizhenki! O Bozhe! Kak obidno i kak bolno! Maidens, beautiful maidens, little darlings, sweet playmates! O my God! How galling and how painful! (She lowers herself onto the bench.) ONEGIN . . vsaki'i ONEGIN . ne vas, kak ya, poimot, . . _. . . not everyone will understandyou as I have, . . . Kogda bi zhizn domashnim krugom If my life within a domestic circle CHORUS ya ogranichit zakhotel . . . Razigraltes, devitsi, . . / wished to confine, . . . Begin to frolic, maidens, Kogda b mne bit otsom, suprugom ONEGIN if lobe a father, a spouse . . . k bede neopitnost vedot! priyatnri zhrebi povelel, -. . to misfortune does inexperience _i lead! gentle fate had ordainedfor me, CHORUS (as ifgradually moving away into the distance) to, verno b, krome vas odnol . . . razgulaltes, miliya, then, probably, apart from you alone . . . begin to make merry, dear ones, neves ti neiskal inol. kak zamanim molodtsa, . . another bride I would not seek. as soon as we have lured the fine lad, . . . No ya ne sozdan dla blazhenstva, (Onegin offers his arm to Tatyana. She gives him a long, beseeching But I have not been created for bliss; look, then, as if obeying a reflex, rises and, leaning on his arm, slowly yemu chuzhda dusha moya; leaves with him.) a stranger to it is my soul. . . . kak zavidim izdali, naprasn vashi sovershenstva, . . . as soon as we catch sight of him in the distance, In vain are your perfections; razbezhi'mtes, miliya, ikh nedostoin vovse ya. let 's all run off in different directions, dear ones, un worthy of them altogether am I. zakidayem vishenyem. Poverte, sovesl v torn porukol, let 'spelt him all over with berries, cherries. Believe me, my conscience vouches for it, Ne khodi podslushi'vat, supriizhestvo nam biidet miikoi. Don 7 come eavesdropping, matrimony for us would be torment. ne khodi pddsmatrivat Ya skolko ni lubil bi vas. don V come spying No matter how much I loved you, igri nashidevichyi! on our girlish games! priviknuv, razlublii totchas. once accustomed to you, I'd cease to love you immediately. CURTAIN 14 . . . IMHi^^HHI ACT II COMPANY COMMANDER P6lnote-s . . . SCENE I Please, don 7 mention it, ladies! Ya sam ochen shastliv! The reception room, brightly lit, of the Larins' house. A chandelier / myself am very happy! hangs in the centre and, along the sides, are wall brackets with talk) w YOUNG GIRLS candles. A waltz is in progress. The guests are in evening dress long Poplashem na slavu mi! out offashion; there are some military gentlemen in uniforms of the We 're going to have a glorious time dancing, we are! 1820's. The more elderly gentlemen sit together in groups, keen spectators of the dancing. Doting mamas with reticules occupy chairs COMPANY COMMANDER ranged along the walls. Onegin is dancing with Tatyana, and Lenski Ya tozhe nameren, with Olga. Larina bustles about, constantly crossing from one side of /, too, have the same intention; the stage to the other with the preoccupied air of a solicitous hostess. nachnomte zh plasal! CHORUS OF GUESTS let's start dancing, then! V6t tak surpriz, (Onegin dances with Tatyana. At this point the other dancers Well, what a surprise! stop and watch the waltzing couple.) nikak neozhidali DOTING MAMAS Never did we expect Glante-ka! Glante-ka! voyennol muziki. Just look no w! Just look now! a military band! Tantsuyut pizh6ni Veselye khot kuda! The lovebirds are dancing! Merry-making! So much of it! Davno uzh nas tak ne ugoshali! DOTING MAMAS- 1st Group Along time, indeed, since we were regaled to such a feast! Davno uzh pora bi . . High time too! . . . Naslavu pir! 2nd Group A glorious banquet! Nil, zhenishok! . . . pravda-l, Ne . . gospoda? What a bridegroom! . Isn't that so, ladies and gen tlemen ? lsl Group Kak zhalko Taniishu! SOME GUESTS How sorry one is for poor Tanya! Bravo, bravo, vot tak surpriz nam, . . 2nd Group Bravo, . . . vozm6t yeyo v zhoni . . . bravo! What a surprise for us, . . OTHERS . . . he'll take her as his wife . . . Both Groups Uzh davno nas tak ne ugoshali! ...... i budet tiranit! Jndeed, a long time since we were regaled to such a feast! . . . and then he 'II start playing the tyrant with her! SOME GUESTS On, sli'shno, igrok! He is, so they say, a gambler! . . . bravo, bravo, slavnn surpriz dla nas! (Unnoticed by them. Onegin passes by slowly, trying to overhear . . . bravo, bravo, a glorious surprise for us! their con versation.) OTHERS On neuch strashnii, sumasbrodit, his beha viour 's quite mad, Pir naslavu, ne pravda-l, gospoda? He 's a terrible boor, ... A banquet! A glorious one! Isn't that so, ladies and gentlemen? on daman k riichke ne podkhodii, he won 't come up and kiss a lady 's hand, ELDERLY SQUIRES (basses) on farmazon, on pyot odno V nashikh pomestyakh ne chasto vstrechayem he's a freemason, he drinks only On our estates not often do we come across stakanom krasnoye vino! balavesolovo radostnri blesk. red wine - by the tumbler! a merry ball's joyful sparkle. ONEGIN Tolko okhotol seba razvlekayem, I vot vam mnenye! Only with hunting do we amuse ourselves; So there's public opinion for you! Lub nam okhotnichi gomon i tresk. Naslushalsa dovolno ya dear to us is the hubbub and crackle the hunt. of / 've heard more than enough raznikh spleten merzkikh! DOTING MAMAS (altos) of this selection of repulsive scraps of gossip! Nil uzh veselye, den tseli'i letayut Amusement, indeed! The whole day they go dashing Podelom mne vso eto! podebram, polanam, bolotam, kustam. Serves me right, all this! about through thickets, glades, bogs, shrub. Zachem priyekhal ya na etot glupii bal? Zachem? . . . Why did I come to this stupid ball? Why?... Ustanut, - zalagut, i vso otdikhayut Then they're tired out, they flop down, and all the time they rest - Ya ne proshii Vladimiru usliiguetu! / won 7 forgive Vladimir thisservice! i vot razvlechenye dla bednikh vsekh dam! and there's fine diversion for all the poor ladies! Budu ukhazhivatza Olgoi, /'// court Olga, YOUNG GIRLS (pressing around the Company Commander) vzbeshu yevo poradkom! Akh, Trif&n Petrovich, kak mill' vf, pravo. I'll infuriate him thoroughly! Oh, Trifon Petrovich, how kind you are, really, (A t this point Olga passes by, followed by Lenski.) mi tak blagodarni vam . . . Vot ona! Proshii vas! we 're so grateful to you . . . Here she is! May I have the pleasure? 15 ! . . ! (Olga is bewildered.) All LENSKI Ne pravda-l? VI obeshali mne teper! Isn't that so? You promised me this one! Na slavu pir, ne pravda-l? ONEGIN A glorious banquet, isn't that so? Da! Voyennoi muzi'ki Oshi'bsa, vernd, t'i? Yes! You 're mistaken, no doubt! A military band nikak ne ozhidali mi (Onegin dances with Olga) LENSKI never did we expect! Akh! Chtotakoye! Pir naslavu, naslavu, naslavu! A banquet! A glorious one! A glorious one! A glorious one! Why! What is this? Veselye, veselye khot kuda! Glazam neveru! Merry-making! Merry-making! So much of it! / can 'i believe my eyes! naslavu, Pir naslavu! Olga! Bozhe, chto so mnoT! . . Pir Olga! My God, what 's happening to me? A banquet! A glorious one! A banquet! A glorious one! CHORUS: Gentlemen LENSKI (going up to Olga, who has just finished dancing with Pir naslavu! Onegin.) A banquet! A glorious one! Uzhel ya zasluzhi'l ot vas nasmeshku etu? Ladies Surely I have not deserved of you this mockery? V6t tak surpriz! Akh, Olga, kak zhestoki v'i so mnoi! Well, what a surprize! Ah, Olga, how cruel you are to me! Gentlemen Pir naslavu! Chto sdelal ya? A banquet! A glorious one! What have I done ? Ladies OLGA Vot tak surpriz! Nepontmayu, v chom vinovataya! Well, what surprize! a I don't understand for what I'm to blame! Gentlemen LENSKI Vot tak ugoshenye! Vse ekossezi, vse valsi Such delicious treats! All the ecossaises, all the waltzes, Ladies s Oneginim vi tantsevali; Vot tak ugoshenye! with danced them; Such delicious treats! Onegin you priglashal vas, no b'il otvergnut! Gentlemen ya Veselye khot kuda! / asked you, but was rejected! Merry-making! So much of it! OLGA Ladies Vladimir, eto stranno, Veselye khot kuda! Vladimir, this is strange, Merry-making! So much of it! iz pustakov ti'serdishsa! Gentlemen over trifles you are angry! Veselye khot kuda! Merry-making! So much of it! LENSKI All Kak! lz-za pustakov! Uzheli Pir naslavu! What! Over trifles! How could I possibly A banquet! A glorious one! ravnodushno ya videt mog, Vot tak surpriz. with indifference look on Well, what a surprise! kogda smeyalas ti, koketnichaya s nim! nikak ne ozhidali while you were laughing, playing the coquette with him! never did we expect K tebe .on naklonalsa voyennoi muzi'ki He was leaning over towards you a military band! i riiku zhal tebe. Veselye khot kuda! and squeezing your hand. Merry-making! So much of it! Ya videl vso! Gentlemen / saw all! Uzh davno nas . . . Indeed, a long time . . . OLGA Ladies Vso eto pustaki i bred, Bravo, bravo, bravo, bravo! . . . All this is trifles and nonsense! _Bravo, bravo, bravo, bravo! revnuyesh t'i naprasno, Gentlemen you 're jealous for no reason at all! tak ne ugoshali! . . . since we were regaled to such a feast! mi tak boltali s nim, were just having littie chat together; Ladies we a . . Vot tak surpriz nam, bravo, . . . on ochen mil! What a surprise for us, bravo, . . . he's .very nice! Gentlemen . Pir na slavu! Ne pravda-l LENSKI . A banquet! A glorious one! Isn't that so, Dazhe mil! Ladies Even nice! Akh, t'i nelubish! . . bravo, bravo, bravo, bravo, bravo! Olga, mena Ah, Olga, don't love me! _ . . bravo, bravo, bravo, bravo, bravo! you 16 ! OLGA Mesdames! Ya biidu natchinait! KakoT ti' strannii! Ladies! I will begin! How strange you are! Proshu tepier mnie niemeshait! I ask now not to interrupt me! (Onegin approaches) (with much expression) LENSKI TI mena ne lubish Acettefete convies, You don't love me! Invited to these festivities, Kotilyon so mnoT tantsiiyesh ti? de celle dont lejour est fete cotillion; will you dance it with me? The of the one, whose Name Day is being celebrated contemplons le charme et la beaute. ONEGIN let us contemplate the charm and beauty. Net, so mnol! Nepravda-I, Son aspect doux et enchanteur No, with me! Isn't that so? Her aspect, sweet and enchanting, slovS vi mne dali? repand sur nous tous sa lueur. You gave me your word. sheds on us all its light. OLGA De la voir quel plaisir, quel bonheur! To see her, what pleasure, what happiness! I sderzhii ya slovo! And I'll keep my word! Brillez, brillez toujours, belle Tatiana! V6t vam nakazanye za revnost vashu! Shine, shine always, beautiful Tatyana! There's your punishment for your jealousy! GUESTS LENSKI Bravo! Bravo! Bravo, Monsieur Triquet! Olga! Kuplet vash prevoskhoden Olga! Your couplet is excellent i ochen, ochen milo spet! (Triquet appears the the stage, at back of surrounded by young and very, very nicely sung! ladies.) (Triquet bows and thanks them.) OLGA TRIQUET Ni za chto! Que lesort comble ses desirs, Not for anything in the world! May Fortune abundantly fulfil her wishes, Gladile-ka, vse barishni idiit suda s Trike! que lajoie, lesjeux, les plaisirs Oh, look! All the young ladies are coming here with Triquet! may joy, amusements, pleasures fixent sur ses levres lesourire! ONEGIN ever fix on her lips smiles! Kto on? Que sur leciel de ce pays, Who's he? In the heavens of this land, OLGA etoile qui toujours brille et luit, star which sparkles shines Frantsuz, zhi'vot u Kharlikova! as a always and A Frenchman; he lives at Kharlikov's. elle eclaire nos jours et nos nuits. may she illumine our days and our nights. YOUNG GIRLS Brillez, brillez toujours, belle Tatiana! Monsieur Triquet! Monsieur Triquet! Shine, shine always, beautiful Tatiana! Chantez de grace un couplet! Sing, pray, a couplet! GUESTS (Triquet, bowing, thanks them.) Bravo! Bravo! Bravo, Monsieur Triquet! TRIQUET Kuplet vash prevoskhoden Kuplet imeit ya s sobol. Your couplet is excellent Ze couplet I 'az wiz me. i ochen, ochen milo spet! No gdie, skazhite. Mademoiselle? and very, very nicely sung! But where, tell me, is the Mademoiselle? On dolzhen bit peredo mnol! (At the end of his couplet Triquet kneels and presents the text to the He must be in front of me! highly embarrassed Tatyana.) Car le couplet est fait pour elle! For the couplet has been made for her! COMPANY COMMANDER Messieurs! Mesdames! LADIES Mesta zanat izvolte! Vot ona! Vot ona! Your places take, pray! Here she is! Here she is! Seichas nachnotsa kotilyon! Pozhalmle! Now will begin the cotillion! Ifyou please! (The Guests aliform a circle and Tatyana is made to stand in the middle. Triquet sings his coupletsfacing her. Tatyana is overcome (He offers his arm to Tatyana and, with gusto, leads off the mazurka with embarrassment and tries to leave, but she is restrained and made with her. their positions in pairs. Onegin to stay.) The other dancers take up partners Olga towards the front of the stage. Lenski stands, musing, TRIQUET behind them. After Onegin has danced a turn with Olga, he escorts her Aha! Voila tsaritsa etot dien! to her seat and then, pretending that he has only just noticed Lenski, Aha! 'Ere is ze Queen zis day! addresses him.) 17 . ONEGIN LENSKI Ti ne tantsuyesh, Lenski? Onegin! Vi bolshe mnene drug! You 're not dancing, Lenski? Onegin! You to me are a friend no more! ChaildGaroldom stoish kakim-to! Bit blizkim s vami yanezhelayu bolshe! You 're standing there like some Childe Harold! To be close to you I do not wish anymore! Chto s tobol? Ya . . . ya prezirayu vas! What's the matter with you? / . . . / despise you! LENSKI GUESTS So mnoi? Nichevo. V6t neozhidannii surpriz, With me? Nothing. Here 's an unexpected surprise! Lubiiyus ya tobol, kakaya ssora zakipela, / 'm feasting my eyes on you: you 're What a quarrel has begun to seethe! kakol ti drug prekrasnii! u nikh poshlo ne v shiitku delo! such a fine friend! Bet ween them it 's no joking matter now! ONEGIN ONEGIN (taking Lenski a little to one side) Kakovo? Poslushai, Lenski, tineprav, tfneprav! What 's that? Listen, Lenski, you're wrong! You're wrong! Ne ozhidal priznanya ya takova! Dovolno nam privlekat vnimanye nashei ssoroi! / wasn V expecting such an avowal! Enough of our attracting attention with our quarrel! Ya ne smuiil yesho nichel pokoi Za chto ti duyeshsa? / haven't upset yet What are you sulking about? as anyone's peace of mind i, priznayiis, zhelanya ne imeyu LENSKI (he answers calmly at first, but then gradually his tone and, I must admit, I have no wish becomes embittered and irritated.) yevo smushal. to upset it. Ya diiyus? O, nimalo! Lubiiyus ya. Me, sulking? Oh, not in the least! I'm just admiring LENSKI (his rage ever increasing) Togda zachem zhe ti yei riiku zhal, kak slov svoikh igroi Then why were you how with the play ofyour words squeezing her hand sheptal yei chto-to? . . .. i svetskoi boltovnoi and whispering something to her? . . and with worldly chatter Krasnela, smeyas, ona! ti kruzhish golovi Blushing, laughing, she was! you turn people's heads Chto, chto ti govoril yei? i devochek smushayesh pokoi dushevnii. What, what were you saying her? and disturb the peace of mind ofyoung girls. Vidno, dla teba odnoT Tatyani malo, ONEGIN Evidently, for you just Tatyana is not enough; Poslushai, eto gliipo, Listen! This is ridiculous! (The guests, one couple after another, gradually stop dancing and nas okruzhayut! listen to the conversation of Lenski and Onegin.) Everyone 's surrounding us! iz lubvi ko mne ti verno khochesh LENSKI (beside himself) Out of love for me you obviously want Chto za delo mne! Olgu pogubit, smutit yeya pokoi, What matter is that to me! to ruin Olga, to upset her peace of mind, Ya vami oskorblon, zhe. a lam smeyatsa nad neyu / have been insulted by you, and then to laugh at her. i salisfaktsii ya trebuyu! Akh! Kak chestno eto! and I demand satisfaction! Ah! How honourable that is! GUESTS ONEGIN (mocking, but calm) V chom delo? Rasskazhi'le, Chto? Da ti sumasoshol! What's the matter? Tell us! What ? But you 've gone mad! rasskazhite, chto sluchilos? Tell us what has happened. LENSKI Prekrasno! Menazh ti oskorblayesh, LENSKI Excellent? Me you insult Prosto, ya trebuyu, Simply this: I demand i menazh ti zovosh pomeshannim! and me you call a madman! chtob gospodin Onegin mne obyasnil that Mr. Onegin should explain to me (The dancing ceases.) svof postiipki! Onnezhelayet etovo, GUESTS his behaviour! He doesn 't wish to do so Chto takoye? V chom tarn delo? i ya proshu yevo prinat moT vizov! What is it ? What 's the matter there ? and I ask him to accept my challenge! Chto takoye? LARINA (pushing her way through the crowd, addressing Lenski) What is it? O Bozhe! v nashem dome, (The Guests leave their places and surround the quarrelling couple.) O my God! In our house! . poshadite, poshadite! ONEGIN Spare us! Spare us! . . . luba, ya b dolzhen pokazal seba, . . . . . . I love, I should have shown myself, . . . LENSKI V vashem dome! v vashem dome! TATYANA In your house! In your house! . . . trevozhit, mena trevozhit revnivaya toska! ...... I am troubled, troubled by jealous anguish!... (with great feeling) GUESTS V vashem dome, kak sni zolotfye, Bednri Lenski!! In your house like golden dreams Poor Lenski! moi detskiye godi tekli! ONEGIN my childhood years flowed gently by! . . . ne machikom predrassuzhdeni, . . . V vashem dome vkusil ya vperviye . . . not as the plaything ofpopular prejudices, . . . In your house I lasted for the first time TATYANA radost chistoi i svetloi lubvi! . . . Akh, terzayet mne serdtse toska! . . . the joy ofpure and radiant love! ... Ah, anguish tears at my heart!... No sevodna uznal ya . . . But to-day I have learnt . . . OLGA, LAR1NA Boyiis, chtobi vosled . veselyu ...... drugoye, . . . Ifear that following the revelry .. . . . something else, . . . ONEGIN "ONEGIN ...no muzhem scheslyu i umom. Nayedine s svoyei dushol . . . Alone with my soul...... but as a grown man of honour and intelligence. "lenski TATYANA . . . Kak kholodnayachya-to ruka, ...... ya izvedal, chto zhizn neroman,... . . . Like someone's cold hand, ...... / have found out that life isn't a novel, .. . OLGA, LARINA ONEGIN . . . ne zavershilas noch duelyu! . . . ya nedovolen sam soboi. . . . the night may conclude with a duel! ...I'm displeased with myself. Nad etoi strastyu . . . GUESTS This passion, . . . Bednii yunosha! Poor youth! LENSKI . . . chest lish zviik, druzhba — slovo . . . TATYANA . . . honour is but a sound, friendship — a word ...... ona mne szhala serdtse bolno tak, zhestoko! . . . it has wrung my heart so painfully, cruelly! ONEGIN . . . robkoi, i nezhnoi . . . ONEGIN . . . timid and tender, . . . Ya slishkom poshutil nebrezhno! / have jested too thoughtlessly! "lenski LENSKI . . . pustoye, . . . Ya uznal zdes, chto ...... an empty word, . . . / have learnt here that ONEGIN . . . deva krasoyu . . . . . ya slishkom poshulil . . . . a mtiden, in her beauty . . . / have jested with . . . too mozhet bit, tochno angel, mila like an angel, sweet TATYANA can, just be Potrasena ya, . . . (with bitterness) / am stunned, . . . i prekrasna, kak den, no dushoyu, and as lovely as the day, but in her soul LENSKI no dushoyu ...... oskorbitelnil, zhalk'u obman, da, . . but in her soul ...... a humiliating, miserable lie, yes, . . . tochno demon, kovarna i zla! ONEGIN just like a demon, perfidious and malicious! . . . nebrezhno. Vsem serdtsem yiinoshu . . . ^TATYANA ...thoughtlessly. As with all my heart the youth... Akh, pogibla ya, da, pogibla ya! . . . TATYANA Ah, I am lost, yes, I am lost!... OLGA um . nembzhet ponat Yevgeniya, . . krov v goracha, bni reshayut vso ...... my mind cannot understand Eugene, Akh, mushinakh Ah, blood in men is hot, they decide everything. "lenski LARINA . . . dskorbftelnii, zhalkiT, da, zhalkii obman! Akh, m616d6zh kak goracha, ... a humiliating, miserable, yes, miserable lie! Ah, young men, how hot-blooded they are! 19 ...... 6ni reshayut vso . . . ONEGIN They decide everything nebrezhno! Vsem serdtsem yunoshu luba, ...too thoughtlessly! As with all my heart The youth Hove,.. ONEGIN Nayedine s svoyei dushol . . . SOME GUESTS Alone with my soul ...... oni reshayut vso splecha, . . . GUESTS . . . they decide everything impulsively, . . . Uzhel teper, vosled veselyu . . . Can it be that now, following the revelry .. . OTHER GUESTS TATYANA . . . povzdorat, posporat, sefchazhe derutsa, . . . . . . they squabble, they quarrel and immediately they fight, . . . . . Mne serdtse govorit, . . . My heart says it, . . . OLGA, LARINA TATYANA .-. . . . splecha, bez ssor he mogut ostavatsa! . roptal yanesmeyu, nesmeyu! . . . ...impulsively, without quarrelling they cannot remain!...... to complain I dare not, I dare not! . . . ONEGIN OLGA . . . ya nedovolen sam sobol, ...... ni v chom ne vinovata, ni v chom! . . . . . / am displeased with myself, ...... in no way am to blame, in no way! . . . SOME GUESTS LARINA . . . ikh ssora konchitsa duelyu? . . . . . . duelyu, molodozh tak goracha! ...... their quarrel will end in a duel? . . . . . . with a duel; young men are so hot-blooded! . . . OTHER GUESTS ONEGIN . . . ikh ssora duelyu okonchit nash den? . . . ...their quarrel with a duel will end our day?...... ya b dolzhen pokazat seba, . . . . . . / should have shown myself, . . . TATYANA SOME GUESTS ... no gibel 6t nevo lubezna, . . . . . . oni reshayut vso splecha, ...... but doom through him is dear to me, . . . . . . they decide everything impulsively, . . . OLGA OTHER GUESTS . . . Akh, krov v mushinakh, v mushinakh goracha, . . . ...Ah, blood in men, in men ishot,...... povzdorat, posporat, sekhazhe derutsa! . . . ... they squabble, they quarrel and immediately they fight! .. . LARINA . . . Akh, molodozh, molodozh kak goracha, . . . TATYANA ...Ah, young men, young men! How hot-blooded they are! . . . Akh, zachem roptat, zachem ioptat! . . . . . Ah, why complain, why complain? . . . ONEGIN . . . nad etoT strastyu robkoT, nezhnol . . . OLGA . . . this passion, timid and tender, ...... Akh, ya ni v chom, ni v chom ne vinovata. . . . GUESTS . . . Ah, I in no way, in no way am to blame, . . . . . . No molodozh . . . . . . But young men . . . LARINA, SOME GUESTS . . . Da, molodozh tak goracha! . . . TATYANA . . . Yes, young men are so hot-blooded! . . . . . . gibel 6t nevo lubezna! . . . doom through him is dear to me! LENSKI OLGA, LARINA Akh, net! tf nevinna, angel mo!, .. . Ah, no! You are blameless, my angel, ...... oni reshayut vso splecha! . . . . . . they decide everything impulsively! . . . ONEGIN ONEGIN predrassuzhdeni, ne pilkim ...... ne machikom . . . ya slishkom poshulil ...... not as the plaything ofpopular prejudice, not as a hot-headed . . . / have jested . . . GUESTS OTHER GUESTS . . . Da, molodozh tak goracha, oni reshayut ... tak goracha, . . . . . . Yes, young men are so hot-blooded, they decide ...... are so hot-blooded, vso splecha! . . . TATYANA everything impulsively! . . . ...Pogibnu, pogibnu, mne serdtse skazalo, . . . heart has told so, . . . . I doomed, me . / am doomed, am my TATYANA . . . mozhet, ne mozhet on shaslya mne da(, . . . OLGA ne ... he cannot, he cannot give me happiness! . . . . . . D.usha v nom revnoslyu obyata, noya...... His soul with jealousy is filled, bull... LARINA OLGA . . . veselyu ne zavershilas noch ...... Mushini ne mogut bez ssori ostatsa, . . . Boyiis, chtobi vosled . . quarrelling, ...... /fear that following the revelry the night may conclude . Men cannot remain without 20 . ! . LARINA, GUESTS ONEGIN ne mogut ni chasu ostatsa, . . . Bez ssori . . . nedovolen sam soboi. No ...without quarrelling they cannot remain a single hour . . . am displeased with myself. But delal nechevo, teper . . LENSKI there 's nothing to be done; now . . . ...... ti nevinna, nevinna, moi angel, on nizkif, SOME GUESTS . . . . you are blameless, blameless, my angel; he is a base, . . . . ikh ssora konchitsa duelyu, ikh ssora . . . . . . their will . ONEGIN quarrel end with a duel, their quarrel . . . . ne pilkim rebonkom, nomuzhem uzh OTHER GUESTS . . . not as a hot-headed child, but as a man already . . . ikh ssora duelyu okonchit nash den, ikh zrel'i'm, . . . . . . their quarrel with a duel will end our day, their mature, . . . ssora . . . TATYANA quarrel . . . . . . pogibnu, pogibnu, serdtse skazalo, told so; TATYANA . . . / am doomed, I am doomed; my heart has me . . . roptal ya nesmeyu, nesmeyu! ya znayu! . . . . . . to complain I dare not, dare not! / know it! . . . OLGA, LARINA, GUESTS OLGA . . . ni v chom ne vinovata, nivchom! . . . povzdorat, posporat, sefchazhe ... /n no way am to blame, in no way! . . . they squabble, they quarrel and immediately i dratsa gotovi! . . . LARINA they 're ready to fight! . . . . . . duelyu, molodozh tak goracha! LENSKI . . . with a duel, young men are so hot-blooded! . . . kovarnif, bezdiishniT predatel, on budet nakazan! ONEGIN . . . perfidious, callous traitor! He shall be punished! . . . ya dolzhen otvechal na oskorblenya! . . . ONEGIN . . . / must answer his insults! . . . . . . ne pilkim rebonkom, no muzhem uzh zrelim, . . . not as a hot-headed child, but as a man already mature; SOME GUESTS . . . konchitsa duelyu? ya vinovat! . . . / am to blame! ...... will end with a duel? TATYANA OTHER GUESTS . . . duelyu okonchit nash den? . . . Akh, pogibnu ya, da, pogibnu ya! ...... with a duel will end our day? . . . A h, I am doomed, yes, I am doomed! . . . OLGA ONEGIN . . . Akh, krov v mushinakh goracha, oni reshayut ...K uslugam vashim ya. Dovolno! ...Ah, blood in men is hot; they decide . . . At your service am I. Enough! vso splecha. . . . Vislushal ya vas, bezumni vV, everything impulsively. . . . / have heard you out; you're mad, LARINA bezumni vi! I vam urok posluzhi't . . . Akh, molodozh lak goracha, oni reshayut you're mad! Andfor you a lesson will serve ...Ah, young men are so hot-blooded; they decide k ispravlenyu! vso splecha. . . . for your correction everything impulsively. . . . LENSKI ONEGIN Itak, do zavtra! Posmotrim, . . . Nayedine s svoyei dushoi, ya . . . And so, till to-morrow! We shall see . . . Alone with my soul, I . . . kto kovo prouchit! GUESTS who will teach whom a lesson! . . . Puskal vi . . . Uzhel teper vosled veselyu . . . beziimets ya, no it It may very well that I . . ... Can be that now, following the revelry .. . be am a madman, but you vi' beschestnii soblaznilel! TATYANA you are a dishonourable seducer! . . . Pogibnu, pogibnu, mne serdtse skazalo, . . . . . . / am doomed, I am doomed, my heart has told me so, . . . ONEGIN OLGA Zamolchite, il ya ubyii vas! Be silent or I will kill you! . . . Dusha v nom revnoslyu obyata, no ya . . . . . . His soul with jealousy is filled, but I . . . (Lanna, Olga and some of the guests restrain Lenski. Tatyana weeps. Onegin hurls himself upon Lenski. They are separated. Onegin LARINA moves to one side and turns awayfrom Lenski.) . . . Boyiis, chtobi vosled veselyu, . . . 1 fear that following the revelry GUESTS dopuslim ne zavershilas noch . . . Chtoza skandal, mi ne the night may conclude . . . What a disgraceful bra wl! We will not permit 21 ! ! . dueli mezh nimi, krbvavoi raspravi! LENSKI a duel between them, bloodshed to settle their differences! Kuda, kuda kuda vf udalilis, Ikh prosto otsiida ne piistim. Where, where, where have you gone, Simply we won 7 let them out of here! vesni moyei zlatiye dni? derzhile, derzhile, derzhile! golden days of my spring ? Hold them ! Hold them! Hold them (He rises and comes to thefront of the stage.) Cht6 den gradiishi mne gotovit? . . . Da, ikh prosto izddmu nepustim. What is the coming day preparing for me? .. . Yes, simply out of this house we won't let them! Yevo mol vzor naprasno lovit; ne piistim! My gaze in vain seeks to grasp it; We won't let them! v glubokoi tme taitsaon! OLGA in profound darkness it conceals itself Vladimir, uspokolsa, umolayu! Net niizhdi; prav sudbi zakon! you! Vladimir! Calm yourself! I beseech No need! Just is Fate's law! Padii li ya, streloi pronzonnii. LENSKI Whether Ifall pierced by the arrow, Akh! Olga! Olga, proshal navek! il mimo prolelit ona, Ah, Olga! Olga! Farewell forever! or whether it flies pas( me, vso blago: bdeniya i sna GUESTS all 's for the best: for waking and for sleep BYl dueli! prikhodit chas opredelonnii! The duel shall lake place! comes the appointed hour! (Lenski runs out. Onegin also leaves hurriedly. Olga runs after Blagosloven i den zabot. Lenski, but then falls in a swoon. All rush to her aid.) Blessed is both the day of care, blagosloven i tmf prikhod! CURTAIN blessed is also the coming of darkness! Blesnot zaiitra liich dennitsi Early in the morning the ray ofthe day-star will flash i zaigrayet yarkii den and the bright day will begin to sparkle, a ya, biCmozhet, ya grobnitsi whereas I, perhaps, I into the tomb 's soTdu v tainstvennuyu sen! mysterious portals shall descend! I pamat yunovo poeta And the memory of a young poet poglotit medlennaya Leta, ACT II will he swallowed up by slow-flowing Lethe; zabudit mir mena, no ti! . . SCENE II the world will forget me, but you! . . . ti' . . . Olga . . . A rustic water-mill. Trees. The banks of a stream. Early morning; you . . . Olga . . . very shortly after sunrise. It is winter. (with great feeling) the curtain rises When Lenski and Zaretski are already on stage. Skazhi, Lenski sits pensively under a tree; Zaretski walks up and down Tell me impatiently. pridosh-li, deva krasoti, will you come, maiden of beauty, ZARETSKI slezii prolit nad rannel iirnoT Nu, chto zhe, kazhetsa, protivnik vash tear to shed over the untimely urn Well, then, it seems your opponent a i diimal: on mena lubil! ne yavilsa? think: he loved me! hasn't appeared, has he? and to On mne yedinnoT posvalil LENSKI To me alone he dedicated Yavitsa selchas! rassvet pechalnil zhi'zni burnol! He 'II turn up directly. the sorrowful dawn of his stormy life! akh, Olga ya teba lubil! ZARETSKI Ah, Olga, I did love you! N6 vso zhe eto stranno mne lebe yedinnoi posvalil But all the samefor me it's strange. to you alone did I dedicate nemnozhko, chto net yevo; sedmoi ved chas! rassvet pechalnii zh/zni biirnoi, somewhat, that he's not here. Why, it 'softer six! the sorrowful dawn of my stormy life! Ya dumal, chto on zhdot uzh nas! akh, Olga, ya leba lubil! / thought that he'd be already waiting for us! Ah, Olga, I did love you! SerdechniT drug. (Zaretski moves away to the weir and enters into conversation with the Dearest friend of my heart, miller, who has just appeared at the back of the stage, pointing at the mill- wheel, the millstone etc. zhelanmi drug, Lenski remains seated, plunged in thought.) dearest friend of my desires! 22 pridi, pridi, zhelannii drug, LENSKI Come, come, dearest friend of my desires! Nachnom, pozhalui! pridi, ya tvoi supriig, /suppose we'd better begin! Come, I am your spouse! pridi, ya tvoi supriig, (Zaretski together with Guillot move to one side to arrange the Come, I am your spouse! conditions of the duel. Lenski and Onegin stand waiting, neither one pridi, pridi! looking at the other.) Come, come! Ya zhdu leba, zhelannii drug. / await you, dearest friend of my desires. LENSKI, ONEGIN Pridi, pridi, ya tvoi supriig! Vragi! Davno-li drug 6t driiga Come, come, lam your spouse! Enemies! Is it long since, one from the other, Kuda, kuda, kuda vi udalilis. nas zhazhda krovi dtvela? Where, where, where have you gone, the thirst for blood seperaled us ? zlatiye dni, zlatiye dni moyei vesni? Davno-li mi' chasi dosiiga. golden days, golden days of my spring? Is it long since our hours of leisure, trapezu, i misli, i dela ZARETSKI (coming up to Lenski) our meals, and thoughts, and business A, vot oni! No s kern zhe vash priyalel? delili driizhno? Ah, here they are! But who's vour friend with? Nine zlobno, we shared together as friends? Now in anger, Ne razberii! vragam nasledsivennim podobno, / can V make him out! like hereditary enemies (Onegin enters together with his manservant, mi drug dla driiga v tishi'ne Guillot, carrying the pistols.) we, one for the other, in silence ONEGIN (bowing) gotbvim gibel khladnokrovno. Proshii vas izvinenya! prepare destruction in cold blood. I ask * your pardon! Akh! ne zasmeyatsa-l nam, poka Ya opozclal nemnogo! Ah! Shall we not burst out laughing I'm a little late! ne obagrilasa ruka, before our hands are stained with red? ZARETSKI Pozvolle! Gdezh vash sekundant? ne razditi's-li polubovno? Shall we not part amicably? Pardon me but where is your second? Net! Net! Net! Net! V duelakh klassik ya, pedant; No! No! No! No! In what concerns duels a classicist am I, a pedant; lublu metodu yaiz chuvsta, / love a methodical approach heartily, (By now Zaretski and Guillot have loaded the pistols and paced out the distance. Zaretski conducts the opponents to their i cheloveka rastaniit respective positions and hands them their pistols. Highly and I 'II permit a man to be laid out cold embarrassed, Guillot hides behind a tree.) pozvolu ya ne kak-nibud, not just anyhow, ZARETSKI no v strogikh pravilakh iskiisstva, Teper skhodiles! but only according to the strict rules of the art, Now advance! po vsem predanyam starini! following all the traditions of old! (He claps three times. Without yet taking aim, the adversaries take four steps forward. Onegin, as he advances, raises his pistol. ONEGIN At the same time Lenski begins to take aim. Onegin fires. Lenski Chto pokhvalit mi' v vas ddlzhni! . . . staggers and falls, dropping his pistol. Zaretski runs up to Lenski For which we must praise you! .. . and examines him closely. Onegin also rushes to his fallen adversary.) M6i sekundant? Vot on — My second? Here he is: ONEGIN (in a hollow voice) Monsieur Guillot! Ubit? Slain? Ya ne predvizhu vozrazheni I do not envisage any objections ZARETSKI na predstavleniye moyo: Ubit! to my proposal: Slain! khot chelovek on neizvestn'ii, although as a man he's unknown (Onegin, horrified, clutches his own head with both hands.) no uzh, konechno, malii chestnii. but then, of course, as a chap he's honest. CURTAIN (Guillot gives a profound bow. Zaretski responds coldly.) ONEGIN (to Lenski) Chto zh, nachinal? Well, then, shall we begin? 23 ! . . . . . ACT III (Thefollowing Ecossaise did notfigure in Tchaikowsky 's original version, but was added by the composer at the request of Vsevolozhski, SCENE I Director of the Imperial Theatres, for the St. Petersburg production of the work in 1885.) At the end of the Ecossaise Prince Gremin enters with Tatyana on his One of the salons adjoining the ballroom of a nobleman 's mansion in St. Petersburg. A ball has just begun with the traditional introductory polonaise; GUESTS not unlike a procession, this makes a majestic "tour" of all the Knagina Gremina! Smotrite, smotrite! state apartments well the ballroom. as as Princess Gremin! Look! Look! Soon after the curtain has risen the cortege reaches the salon and the line of guests, in couples, performing the appropriate steps and SOME GENTLEMEN bowing to right and to left, makes its stately way across the stage. Kotoraya? As the "tour" is completed, guests come and sit. Others form groups Which 6ne? and engage in conversation. Onegin stands by the wall on the right, near the front of the OTHER GENTLEMEN stage. Suda vzglanite! Just glance this way! ONEGIN LADIES Vot ta, chto sela u stola. I zdes mneskuchno! Blesk i suyeta That one over there, who's just sat down by the table. Here, too, I 'm bored! The brilliance and bustle bolshovo sveta vechnoi, ne rasseyut GENTLEMEN ofsociety will not dispel my ever-present, Bespechnoi prelestyu mila! tomiteln&i tdski! With serene charm she's delightful! painful anguish! (Onegin peersfixedly at Tatyana.) (he comes closer to the footlights.) ONEGIN Ubiv na p6yedinke driiga, Uzhel Tatyana? T6ch.no ... net ! . . Having killed in single combat a dearfriend, Can it really be Tatyana? Just so . . . No! . . . dozhfv bez tseli, bez trudov Kak! Iz glushfstepnikhseleni! having reached, without aim, without work, Howcanitbe? From that God-forsaken backwater in the steppes? do dvadtsali shesli godov, Ne mozhet bit! Ne mozhet biit! the age of twenty six, It cannot be! It cannot be! lomas bezdeistviyem dosiiga, I kak prosta, kak velichava, languishing in the inactivity leisure, of And how unaffected, how majestic, bez sluzhbi, bez zheni, bez del, kak nebrezhna! . . . without employment, without wife, without business, how off-hand! . . . seba zanat y a ne sumel Tsan'tsei kazhetsa&na! I've not to devote myself to any pursuit! managed Like an empress she seems! MnoT 6vladel6 bespokolstvo, / was seized with restlessness, TATYANA (to the gentlemen surrounding her, indicating with a okhota k peremene mest, glance Onegin, who has just been approached by Prince Gremin.) with desire for a change ofplace; Skazhite, kto eto . tarn s muzhem? vesma muchitelnoye svoistvo, Tell me who is that? Over there with my husband? an extremely agonizing peculiarity, Ne razglazhu! nemnogikh dobrovolnil krest! / can 't quite make out who it is! forfew people is it a voluntary cross! Ostavil ya svoi selenya, GENTLEMEN / left my country estate, Chudak pritvornii, lesov i niv uyedinenye, A funny kind of chap: affected, the solitude offorests andfields, pechalnu, strann'n sumasbrod. gde okravavlennaya ten melancholy, strange, extravagantly mad in behaviour. where a bloodstained shade V chuzhfkh krayakh on bfl . . . ko mne yavlalas kazhdii den! In foreign parts he has been . . . appeared before me every day! Ya nachal stranstviya bez tseli, OTHER GENTLEMEN / set out upon peregrinations without aim, I vot . . vernulsa k nam teper And lo and behold .. . he has returned to us now, dostupni'T chuvstvu odndmu . . Onegin! / was accessible to emotion alone . . Onegin has! ichtozh? K neshastyu moyemu, and what should happen ? To my misfortune TATYANA i stranstviya mne nadoyeli! Yevgeni? even my peregrinations forme became unutterably boring! Eugene? Ya vozvralilsa i popal, / returned and myself find , GENTLEMEN kak ChatskiT, s korabla nabal! On izvesten vam? like Chatski, straight from the ship at a ball! He is known to you? 24 TATYANA who has scarcely yet seen the world, 6n po derevne nam. Sosed i zakalonnomy sudboi He's a neighbour, in the country, of ours and to one tempered by fate, boltsii s sedoyu g616v6i! (Aside:) to a warrior with a grey head! Onegin, yaskrivat nestanu, O Bozhe, pomogi mne sknl Onegin, I shan't conceal it: Oh God, help me to conceal beziimno ya lublii TaCyanu! dushf uzhasndye volnenye! to the point of distraction I love Tatyana! my soul's horrible agitation! TosklivS zh'izn moya tekla, ONEGIN Drearily my life flowed on; SkazhY mne, knaz, ne znayesh tf, ona yavilas i zazhgla, Tell me, prince, you don't happen to know she appeared and lit up, kto tarn v malindvdm berete kak solntsa luch sredi nenas(ya, who that is over there in the raspberry-coloured toque like the sun 's ray in the midst of foul weather, s poslom ispanskim govdrit? mne zhi'zn i molodosJ, talking to the Spanish ambassador? my life, giving me youth da, molodost i shastye! GREMIN yes, youth and happiness! Agha! Davnozh tf ne bfl v svete! Sredi lukavikh, malodushnikh, Aha! It's a long time since you were in the world ofsociety! In the midst of these cunning, pusillanimous, Postoi, teba predstavlu ya. shalnikh, balovannikh detei, Wait a moment, I'll present you. mischievous, pampered children, ONEGIN zlodeyev i smeshnikh i skuchnikh, these scoundrels, both absurd and boring, Da kto zh ona? But who is she, then? tupikh, privashivikh sudel; these obtuse, captious arbiters; GREMIN sredi koketok bogomolni'kh, Zhena mdya. in the midst of pious coquettes, My wife. sredi kholopyev dobrovolnikh, in the midst of volunteer vassals, ONEGIN sredi vsednevnikh modnikh stsen, Tak tf" zhenat? Ne znal ya rane! in the midst of constant scenes 'a la mode ', So you're married? I didn't know before! uchtivikh, laskovikh izmen, Davno li? courteous and affectionate acts of infidelity, Ha ve you been married long ? sredi kholodnikh prigovorov GREMIN in the midst of the cold verdicts zhestokoserdoi suyeti, Okolo dviikh let. of cruel-hearted vanity, About two years. sredi dosadnol pust&ti ONEGIN in the midst of the vexing vacuity Na kom? rashotov, diim i razgovorov, Who to? of reckonings, considerations and conversations, ona blistayet, kak zvezda GREMIN she shines like a star Na Larinol. vo mrake nochi, v nebe chistom, To Larina. in the murk of the night, in a sky pure and clear, ONEGIN i mne yavlayetsa vsegda Tatyane! and to me she appears always To Tatyana! v siyanye angela luchistom! in the radiant nimbus ofan angel! GREMIN Lubvi vse vozrasti pokorn'i, etc. . . . Ti yei znakom? To love all ages ofpeople need must submit; etc.... She knows you? Itak, poidom, teba predstavlu ya! So, come! I'll present you! ONEGIN (Gremin conducts Onegin to Tatyana) Ya im sosed! I'm their neighbour! Moi drug, pozvol lebe predstavit My dearest, permit me to present to you GREMIN (with nobility; calmly, but with warmth) rodnii i driiga moyevo, Onegina! Lubvi vse vozrasti pokorn'i, a kinsman and a dearfriend of mine, Onegin! To love all ages ofpeople need must submit; yeya porM blagotvorni (Onegin gives a profound bow. Tatyana responds with utter simplicity, its transports are salutary seemingly without a trace of embarrassment.) i yiinoshe v rastsvele let, TATYANA both to a youth in the blossoming forth of his years Ya ochen rada . . . yedva uvidevshemu svet, I'm delighted. . . 25 . Vstrechalis prezhde s vami mi'! ya v oslepitelnol nadezhde We 've met before! /, in blinding hope, ONEGIN vkushii volshebn'n yad zhelani, shall taste the magic poison of desire, V derevne ... da . davno! upyus nezbVtochnoi mechtol! . In the country . . . yes a long time ago! I shall intoxicate myself with unrealizable longings!. TATYANA Vezde, vezde on predo mnot, Otkiida? Everywhere, everywhere it is before me, Where have you comefrom? 6braz zheiannii, ddrogoT, Uzh ne iz nashikh-li storon? . . . the image desired and dear! Perhaps from our parts? . . . vezde, vezde on predo mnoyu! ONEGIN Everywhere, everywhere it is before me! O net! Iz dalnikh stranstvi (He runs out) no! From distant voyages ya vozvratilsa. ECOSSAISE NO. 2 / have returned. TATYANA CURTAIN 1 davno? And have you been back long? ONEGIN ACT III Sevodna. To-day. SCENE II TATYANA (to Gremin) A drawing room in Prince Gremin 's house. Drug mol, ustala ya! My dearest, I'm tired! The curtain rises on an empty stage. Tatyana, in elegant morning dress, enters holding a letter. (Leaning on Gremin 's arm, Tatyana goes out, acknowledging the bows TATYANA of the guests. Onegin follows her with hiseyes.) O, kak mne tazhelo! O, how distressing this is for me! ONEGIN Opat Onegin Uzhel ta samaya Tatyana, Again Onegin Can it really be that same Tatyana, stal na puti moyom, Kotorol ya nayedine, stands in my path, to whom I, in private kak prizrak besposhadnil! v glukhol dalokoi storone, like a relentless apparition! in that God-forsaken, remote part of the country, On vzorom ognennim with hisfiery gaze, v blagom pi" 1 u nravouchenya He, in a fine fit of moralizing, mnedushu vozmulil, chital kogda-to nastavlenya? . . . has troubled my soul; lectured once on high-minded . . precepts? . on strasl zaglokhshuyu Ta devochka, kotoroi ya my dormant passion That girl, whom I tak zhivo voskresil! prenebregai v smirennoi dole? he has resurrected so vividly! scorned in her humble lot? Kak biidto snova Uzheli to ona bi'la, As if once more Is it possible that that was she? devochkoi ya stala, Tak ravnodiishna, tak smela! / had become a young girl; With such equanimity, so self-possessed! kak biidto s nim mena chto No somnol? Ya kak vosne! as if from him But what's the matter with me? I'm as if in a dream ! nichio ne razluchalo! . . . Chto shevelnulos vglubine nothing had parted me! .. . What has just stirred in the depths (She weeps.) dushi khol6dn6I i lenivoi? (Onegin appears at the door. For a while he stands gazing passionately of a soul, cold and slothful? at the weeping Tatyana. Then swiftly he approaches her andfalls on Dosada, siiyetnosl, il vn6v his knees before her. Tatyana looks at him, displaying neither surprise, Vexation, vanity, or once more nor anger, then motions him to rise.) zabota yunosti — lubov? that particular anxiety of one's youth — love? TATYANA Uvi, somnenya net, vlublon ya, Dov6lno, vstante, ya dolzhna A las, there 's no doubt, I 'm in lo ve, Enough! Rise! I must vlublon, kakmalchik, p6lni!strasti yun61! vam obyasnitsa otkrovenno. in love, like a boy full ofyouthful passion! talk to you frankly Puskai pogibnu ya, n6 prezhde Onegin, p6mnite-l t6t chas, Let me perish, but first Onegin, do you remember that hour 26 kogda v sadii, v alleye nas vam soblaznitelnuyu chest? when in the garden, in the avenue you a seductive reputation ? sudba svela i tak smirenno ONEGIN fate brought us together and so meekly Akh! O Bozhe! Uzhel, urok vash vislushala ya? Ah! O God! Can it be, I heard out your lesson? (passionately, with much feeling) ONEGIN uzhel v molbe m6yei smirennoi O, szhaltes! Szhaltes nado mnoyu! can it be that in my humble plea O, have pity! Have pity on me! uvidit vash kholodnii vzor Ya tak oshfbsa, ya tak nakazan! your cold gaze will see / was so mistaken! I have been so punished! zateyi khitrosli prezrennoi? the devious schemes of contemptible cunning? (Tatyana dries her tears and motions Onegin not to interrupt her.) Mena lerzayet vash ukor! TATYANA Your reproach torments me! Onegin! Ya togda mdlozhe, Kogda b vi znali, kak u /has no Onegin! Then I was younger, If only you knew how terrible it is ya liichshe, kazhetsa, bila, tomitsa zhazhdoyu lubvi, I was a better person, I think, to be parched with the thirst for love, i ya lubila vas, no chto zhe, terpet i razumdm vsechasno and I loved you, but what, then, to have to endure and with one's reason constantly chto v vashem serdtse ya nashla, smiral volneniye v krovi, what in your heart did I find? to subdue the agitation in one 's blood, kakoi otvet? Odnii surovost! 'helat obnat u vas koleni What answer? severity! Only to long to clasp your knees Ne pravda-l, vam bila ne novost i, zaridav u vashikh nog, Isn't it true that for you it was no novelty, and, bursting into sobs at your feet, smirennoi devochki lubov? izlil molbi, priznanya, peni, a meek young girl's love? to pour out my prayers, avowals, plaints, I nfnche, Bozhe, stfnet krov, vso, vso, chto virazil bimog! And now, OGod, my blood runs cold everything, everything that I could express! kak tolko vspomnu vzglad kholodnii as soon as I recall that cold look TATYANA i etu propoved! No vas Ya plachu! and that sermon! But / weep! ya. ne vinii! V tot strashni'i chas ONEGIN I do not blame you! At that terrible hour Plachte! Eti sl6zi vi postupili blagorodno, Weep on! These tears are you behaved with nobility; dorozhe vsekh sokrovish mira! vi bili pravi predo mnoi. more precious than all the treasures in the world! you were correct towards me. TATYANA Togda, ne pravda-li, v pirtti'ne, Akh! Shastye bflo tak vozmozhno, Then, is it not true, in the wilds, Ah! Happiness was so possible, vdali 6t suyetndl molvf, tak blizko, tak blizko! far from vain, social gossip, so close, so close! ya vam ne nravilas. Chto zh nine I was not to your liking. Why, then, now ONEGIN mena presleduyete vf? Akh! do you pursue me ? Ah! (with ever greater animation) TATYANA, ONEGIN Zachem u vas ya na primete? Shastye bflo tak vozmozhno, Why am I the object ofyour attentions? Happiness was so possible, Nepotomu-I, chtov vfshem svele tak blizko, tak blizko, blizko! Is it not because in the highest society so close, so close, close! leper yavlatsa ya dolzhna, now I have to appear? TATYANA chto ya bogata i znatna, No sudba moya uzh reshena, Because lam rich and of the nobility? But my fate has already been decided, chto miizh v srazhenyakh izuvechen i bezvozvratno! Because my husband has been maimed in battle, and irrevocably! chto nas za to laskayet dvor? Ya vi'shla zamuzh: vi dolzhni, and for that reason the court is kindly to disposed us? / am married: you must, Ne pdtomu-l, chto moi pozor ya vas proshii, mena ostavit! Is it not because disgrace my / beg you, leave me! teper bi vsemi bil zamechen now would be noticed by all ONEGIN i mog bi v obshestve prinest Ostavit? Ostavit! Kak, vas dstavit? and could in company bring Leave? Leave! What, leave you? 27 (with the greatest possible expressiveness) (She moves away and, in her exhaustion, sits down.) Net! Net! P6minutno videt vas ONEGINfw/V/; feeling, impetuously, passionately and falling on his No! No! Every minute to see you, knees before her.) povsiidu sledovat za vami, O, ne gonf, mena ti' liibish, everywhere to follow you; Oh, do not drive me away! you love me ulfbku list, dvizhenye, vzglad i ne ostavlu ya teba, the smile your lips, your movements, your gaze: of and I'll not leave you! lovil vlublonnimi glazami, ti zhizn svoyu naprasno to seek to catch them with enamoured eyes; zgiibish, Your life to no purpose you 'II destroy! vnimat vam dolgd, ponimal (6 vola neba: li moya! to listen to you at length, to comprehend It is the will of Heaven: you are mine! dushol vso vashe sovershenstvo, Vsa zhizn tvoya bila zalogom in my soul all your pefection, A II your life has been a pledge (gradually he becomes more animated; again he falls to his knees Soyedineniya so mnoi! and grasps her hand) ofyour union with me! pred vami v strastnikh miikakh zamiral, I znal: tebe ya poslan Bogom, before you in passionate torments to freeze, blazhenstvo, And know this: to you I have been sent by Cod; blednel i gasnul: vot to turn pale and sink into oblivion: that is bliss; do groba ya khranitel tvoi! till the gra ve I am your keeper! vot odna mechtamoya, odno blazhenstvo! Ne mozhesh ti mena dtrinut, that is my only longing my one and only bliss! You cannot reject me! TATYANA (freeing her hand, somewhat frightened) Ti dla mena dolzhna pokinut Onegin, v vashem serdtse yest For me you must forsake Onegin, in your heart are postilii dom i shiimnii svet, i gordost i pramaya chest! this hateful house and the hubbub of society; both pride and real, straightforward honour! tebe drugoi dorogi net! ONEGIN Jor you there is no other way! Ya nemogii dstavit vas. TATYANA (having risen) / cannot leave you. Onegin! Ya tverda ostanus: . . . TATYANA Onegin! I shall remain firm: .. . Yevgeni, v'f dolzhni, ya vas proshii, ONEGIN Eugene, you must, I beg you, Net, ne mozhesh ti . . . mena ostavit! No, you cannot . . . leave me! . . . mena otrinut! reject me! ONEGIN O, szhaltes! TATYANA Oh, take pity! . . . sudboT drugomu . . . . . . by fate to another . . . TATYANA ya dana, Zachem skrivat, zachem lukavit! I have been given; Why conceal it, why dissemble? s nim biidu zhit i ne rasstanus, . . . Akh! Yavaslublu! . . . with him I will live and will not part from him, .. . Ah! I love you! . . . ONEGIN (Carried away with her avowal, Tatyana buries her head in Onegin 's Ti dla mena . . . bosom. He embraces her. But then she, coming to her senses, For me . . . swiftly frees herselffrom his arms.) . dolzhna pokinut vso! vso! . . . ONEGIN . you must forsake everything! everything! . . . Chto slishu ya? TATYANA What do I hear? . . . net, klatvi pomnit ya dolzhna! . . . Kakoye slovo t! skazala? . . . no, I must my vows remember! , . . What word did you speak? O radost! Zhizn moya! ONEGIN . . . Postilii" i Oh joy! My life! dom shumnif svet! . . . T\ prezhneyu Tatyanoi stala! . . . This hateful house and the hubbub of society! You have become the Tatyana offormer days! TATYANA . . . v . TATYANA Gluboko serdtse pronikayet . . . . . into heart it penetrate, . . . Net, net, proshlovo ne vorotil! Deep my does No! No! There's no bringing back the past! ONEGIN Ya otdana leper drugomu, . . . Tebe drugoi dorogi net! . . . /„ am given now to another; ...For you there is no other way!... moya sudba uzh reshena, my fate has already been decided; TATYANA ' ya vek . . budu yemii . verna. . . . yevo otchayannii" priziv, / shall be forever true . . to him. . . . his desperate appeal; . 28 ) ONEGIN TATYANA . . . Dovolno! . . . O, ne goni mena, molii, ...Oh, do not drive me away, I implore you, .. . Enough! TATYANA ONEGIN . . . ne ukhodi! . . molii — . no pil prestupnn" podaviv, O, but, the criminal flame of passion having been suppressed. Oh, I beseech you: don't go! TATYANA ONEGIN Net, ya tverda ostanus! . . . IT liibish menu, . . . No! I shall remain firm! , . . you love me, . . . ONEGIN TATYANA Lublu leba, lublii teba! . . . chesti surovi'f, dolg I love you! I love you! honour's duty, severe. . TATYANA ONEGIN Ostav mena! . . . tf zhi'zn svoyii naprasno Leave me! your life to no purpose . . . TATYANA ONEGIN . . . svashennri . . . Lublii teba! / . . . and sacred, . . . love you! ONEGIN TATYANA (leaving the room) Navek proshal! . . . zgiibish, ti moya, navek moya! Forever, farewell! . . . you 'II destroy; you 're mine, forever mine! TATYANA ONEGIN Ti moya! ...... chiistvo pobezhdayet! . . . You 're mine! . . . _. . triumphs over one's emotions.'. . . (Onegin seeks to lead Tatyana away with him. In the greatest agitation (for a while he stands stupified, overcome by despair) she endeavours to free herselffrom his embrace. Finally she begins to weaken in the struggle.) . . . Pozor! . . Toska! . . . . . . . Anguish! . . . . , Ignominy! TATYANA O zhalkil zhrebi mol! . . . Ya udalayus. O, my pitiful fate! . . . / depart from you. (He rushes off. ONEGIN Net, net, net, net! No! No! No! No! CURTAIN © 1975 The Decca Record Co., Ltd. Exclusive U.S. Agents, London Records, Inc., 539 West 25th Street, New York, N.Y. 10001. All rights reserved. Unauthorized duplication prohibited. Reprinted by permission. 29 A k