Overview

New Production! Eugene Onegin is a story of squandered romance and tragic honor.  Known for its rich orchestration and beautiful melodies, “Onegin” is Tchaikovsky’s most beloved opera and the epitome of Russian Lyric Opera.

Eugene Onegin (Yevgény Onégin)
Opera in three acts
Music by Pyotr Ilyich Tchaikovsky
Libretto by the composer and Konstantin Shilovsky, based on Alexander Pushkin’s novel in verse.
Premiere: Moscow, 1879

This Production
Conducted by Stephen Lord
Original Production by Tomer Zvulun
Directed by Stephanie Havey
Scenery by Erhard Rom
A co-production with Lyric Opera of Kansas City
Sung in Russian with English supertitle translations
Running time is three hours

Fall Bravo (pdf)

Eugene Onegin Study Guide

Opening Night Dinner

Don’t miss this opportunity to support Michigan Opera Theatre’s Fall Season opening production by attending the Opening Night Dinner in the Black Box.

5:00PM Seated Dinner
Cocktail Attire, Valet Parking
$150 per person (does not include performance ticket)

RSVP by Monday, October 8th: 313-237-7464
Or click here

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Artists

Corinne Winters

Tatyana

Acclaimed by The New York Times as “an outstanding actress, as well as a singer of extraordinary grace and finesse,” soprano Corinne Winters returned to the Royal Opera House Covent Garden this summer as Violetta in La traviata. This marked her first London appearances in her signature role since her explosive European debut in the 2013 Peter Konwitschny production at English National Opera, which landed her on the cover of Opera magazine. In the 2017/18 season, Corinne brings her Violetta to Theater Basel, for her house debut in a new Daniel Kramer production, and to Melbourne, where she debuts with Opera Australia. She also returns to the National Symphony Orchestra in Washington, D.C., under the baton of Gianandrea Noseda, and debuts at the Bregenz Festival in Austria.

A recent nominee in the International Opera Awards Young Singer category, Corinne has won prizes from the Mabel Dorn Reeder FoundationMarcello Giordani Foundation (1st prize, Critics Choice Award, Vero Beach Prize), George London Foundation (George London/Leonie Rysanek Award), Sullivan Foundation (Career Grant), Licia Albanese Puccini Foundation (1st Prize), Palm Beach Opera Competition (1st Prize), Gerda Lissner Foundation (2nd Prize), and the Metropolitan Opera National Council Auditions (National Semifinalist, 1st place New England Region), and is a recipient of Wolf Trap Opera’s Shouse Career Grant.

Corinne Winters

Tatyana

Iurii Samoilov

Eugene (Yevgeny) Onegin

Iurii Samoilov makes his U.S. debut in the title role of Eugene Onegin. Last season, Iurii made role debuts as Ned Keene and Danilo in new productions of Peter Grimes and Die lustige Witwe at Oper Frankfurt, as a member of their prestigious ensemble. Other repertoire in Frankfurt last season includes Guglielmo, Così fan tutte; the title role, Eugene Onegin; Marullo, Rigoletto; and Dandini, La cenerentola. Iurii also returned to the Bolshoi Theatre to reprise his critically-acclaimed portrayal of the title role in Billy Budd. This season Iurii is making a succession of opera and concert debuts, including at Théâtre de la Monnaie.

Iurii Samoilov

Eugene (Yevgeny) Onegin

Jamez McCorkle

Vladimir Lensky

Lensky was played by New Orleans native Jamez McCorkle, who is someone for opera fans to follow closely. His tenor voice is substantial, expressive and flexible. It was on full display in the excruciatingly beautiful farewell aria he sings before the duel. McCorkle has made this role his own.
-The Post and Courier

Hailing from New Orleans, Jamez McCorkle recently graduated from the Curtis Institute of Music. Also a trained pianist, McCorkle is a winner of several awards and competitions including the George London Competition, Sullivan Foundation, Brava! Opera Competition, National Opera Association Vocal Competition and the Metropolitan Opera National Council Auditions, Gulf Coast Region.

Jamez McCorkle

Vladimir Lensky

Carolyn Sproule

Olga

Born in Montréal, Carolyn Sproule is a graduate of Julliard School and Rice University. She furthered her training at The Banff Centre, Aspen Opera Theatre, San Francisco Opera (Merola Program), Wolf Trap Opera (Filene Young Artist) and Houston Grand Opera Studio.

In 2014 she had her debut at Metropolitan in Hänsel und Gretel, then she has been invited back for Il trovatore, for Salome, as well as for covering Cherubino in Lenozze di Figaro, Olga in Evgenij Onegin, Myrtale in Thais.

Among her latest performances, her Canadian Opera Company debut as Maddalena in Rigoletto, the debut as Carmenat Lake Area Music Festival, her first appearance in Italy as Ulrica in Un ballo in mascherain Cagliari and her debut in Europe at Wexford Festival as Erika in Barber’sVanessa

Carolyn Sproule

Olga

Steven Humes

Prince Gremin

Appearing regularly on the international stage, American bass Steven Humes continues to perform leading roles including König Marke, König Heinrich, Vodník, Hunding, Fafner, Fasolt, Daland, Hermann Landgraf, Sarastro, Ramfis, Oroveso, Wurm, Gremin, Commendatore, Biterolf, Lodovico, Pistola, Alaska-Wolf Joe, Truffaldin, Eremit and Titurel among many others.

One of his many DVD recordings is the highly acclaimed double-grammy winning Rise and Fall of the City of Mahagonny recorded with the Los Angeles opera in 2007. Opera News hailed “Humes was a stentorian Alaska-Wolf Joe”. He recorded the role for DVD again in 2010 with a Fura dels Baus production at Madrid’s Teatro Real. Other recordings of note include grammy nominated La Traviata with Ivor Bolton conducting, Idomeneo (DVD) in Munich’s Cuvilliés-Theatre with Kent Nagano conducting, Alice in Wonderland (DVD) named Best World Premier 2007 by OpernWelt magazine, and both Lucrezia Borgia (DVD) and Roberto Deveraux (DVD) with Edita Gruberova.

Steven Humes

Prince Gremin

Katharine Goeldner

Madame Larina

The American mezzo-soprano Katharine Goeldner studied voice at the University of Iowa with Jocelyn Reiter, and German Lieder at Salzburg’s Hochschule Mozarteum with Paul von Schilhawsky. She lives with her husband and daughter in Salzburg, Austria.

At the Metropolitan Opera, Katharine Goeldner has sung under James Levine as Cherubino in Le nozze di Figaro, Ascanio in Benvenuto Cellini and the Schoolboy in Lulu-the role of her company debut.  A favorite at New York City Opera, she has been heard there as Carmen, Ruggiero in George Frideric Handel’s Alcina, Suzuki in Madama Butterfly, and Minerva in Il ritorno d’Ulisse. She has been honored by NYCO with both their Diva Award and the Betty Allen Prize. In addition, she has appeared in Toulouse as Fricka (Das Rheingold), Waltraute (Götterdämmerung), Geschwitz (Lulu), Idamante (Idomeneo), Octavian (Der Rosenkavalier) and the Composer (Ariadne auf Naxos); in Lyon as Octavian and the Composer; at Paris’ Châtelet as the Composer. Her Nicklausse from Bilbao Opera has been documented on DVD by Opus Arte.

Katharine Goeldner

Madame Larina

Meredith Arwady

Filippyevna

American contralto Meredith Arwady Kahrl studied at Loy Norrix High School in Kalamazoo, Michigan and at Kalamazoo Area Mathematics and Science Center. She received a Master of Music degree from the Curtis Institute of Music where she studied voice with Marlena Kleinman Malas.

Hailed by critics as a “rarity” and “a genuine contralto,” Meredith Arwady delights audiences in the USA and abroad with rich vocal intensity and captivatingx stage presence. She is a 2012 Grammy Award winner for Best Opera Recording (John Adams’s Dr. Atomic). In the 2016-2017 season, she will debut at Washington National Opera reprising her acclaimed performance as Kathy Hagen in Terence Blanchard’s Champion. She also will be seen at the Dallas Opera as Filippyevna in Eugene Onegin and Houston Grand Opera as the 1st Norn in Götterdämmerung. In the summer of 2017, she will return to Santa Fe Opera as Amelfa in Nikolai Rimsky-Korsakov’s Le coq d’or.

Meredith Arwady

Filippyevna

Matthew DiBattista

Monsieur Triquet

Described as “brilliant” by Opera News, tenor Matthew DiBattista has performed on both the operatic and concert stage with such conductors as James Conlon, Seiji Ozawa, Keith Lockhart, and Robert Shaw in the United States, Italy, France, and Portugal. He sings the title role in Kamran Ince’s Judgment of Midas, newly released on Albany Records.

Matthew DiBattista

Monsieur Triquet

Allen Michael Jones

Zaretsky

With a commanding bass voice, Allen Michael Jones has forged a career not only in opera but also as a professional voice-over and radio artist. A native of Atlanta, he received a master’s degree in voice from Georgia State University and is excited to join the Michigan Opera Theatre Studio. Previous roles include Sarastro in “Die Zauberflöte,” Balthazar in “Amahl and the Night Visitors,” Colline in “La bohème,” Don Basilio in “The Barber of Seville,” and Commendatore in “Don Giovanni.” In the spring, Allen Michael will perform the role of the governor in “Candide” with Michigan Opera Theatre.

Allen Michael Jones

Zaretsky

Harry Greenleaf

A captain

Wixom, Michigan native Harry Greenleaf is Michigan Opera Theatre Studio’s resident baritone. He made his debut with Michigan Opera Theatre in 2016 in the role of Top in The Tender Land. His credits with MOT also include Le Bret in Cyrano, Jack Wallace in The Girl of the Golden West and Morales in Carmen. He has been a Studio Artist with the Wolf Tap Opera Company, an Apprentice Artist with Des Moines Metro Opera and a Young Artist with the Glimmerglass Festival. He holds a Master of Music degree from the University of Cincinnati College-Conservatory of Music and is an alumnus of the Michigan State University College of Music. Last season, Harry performed with MOT as Marullo in Rigoletto, Sciarrone in Tosca and the roles of Leo Stein and Man Ray in Ricky Ian Gordon’s 27.

Harry Greenleaf

A captain

Michael Day

A peasant

Tenor Michael Day hails from Rockford, Illinois. Past roles at MOT include Spoletta in Tosca, Pablo Picasso and F. Scott Fitzgerald in Ricky Ian Gordon’s 27, and Don Basilio in The Marriage of Figaro. His performance credits also include Indiana University Opera Theatre, Opera Theatre of Saint Louis, and Utah Festival Opera. Past roles include Tamino (The Magic Flute), Arcadio (Florencia en el Amazonas), Alfred (Die Fledermaus), Padre (Man of LaMancha), Al Joad (The Grapes of Wrath), and Leo Hubbard (Regina). Michael is a two-time Metropolitan Opera National Council District Winner and winner of the Indianapolis Matinee Musicale Competition. He holds a Bachelor’s degree in music education and Master’s degree in vocal performance from Indiana University. This season at Michigan Opera Theatre, Michael will also perform the title role in Candide and reprise the role of Al Joad in The Grapes of Wrath.

Michael Day

A peasant

Stephen Lord

Conductor

Opera News named Lord one of the “25 Most Powerful Names in U.S. Opera” (one of four conductors), and he is continually praised for conducting both traditional and contemporary operatic works. For his debut with San Francisco Opera, conducting Rigoletto, one critic observed, “He partnered his singers perfectly and gave everything its proper weight – he was master of the score’s details and the orchestra played superbly for him.” He is currently music director emeritus for Opera Theatre of Saint Louis and was formerly the music director of Boston Lyric Opera.

Stephen Lord joined Michigan Opera Theatre as Principal Conductor in November 2016, and he will lead the company’s artistic activities through the 2018-19 season.

Stephen Lord

Conductor

Stephanie Havey

Director

Winner of the Adelaide Bishop Award and the Opera America Director-Designer Showcase, Stephanie Havey has directed for Pittsburgh Opera, Atlanta Opera, Opera Omaha, North Carolina Opera, Opera Grand Rapids, Syracuse Opera, and Shreveport Opera, and created new productions for Curtis Institute of Music, Carnegie Mellon University, Tulsa Opera, Opera Columbus, Opera North, Opera NEO, Opera Fayetteville, Opera in the Heights, and Lyrique-en-mer International Festival de Bell-Ile. She has also been a member of the staging staff at San Francisco Opera and The Santa Fe Opera.

Ms. Havey is sought after as a collaborator for the development of new opera, staging new works with Opera Philadelphia for their Double Exposure event, Opera America’s New Works Forum, and developing two new operas with North American New Opera Workshop.

This is her Michigan Opera Theatre debut.

Stephanie Havey

Director

Tomer Zvulun

Original Production

General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of leading stage directors of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by
prestigious opera houses in Europe, South and Central America, Israel and the United States, including the Metropolitan Opera, Washington National Opera, Houston Grand Opera, Dallas, San Diego, Boston, Pittsburgh, Minnesota, Wexford, Buenos Aires, Tel Aviv, and Wolf
Trap as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University.

Tomer Zvulun

Original Production

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Synopsis

ACT I
Russia, 19th century. Autumn in the country. On the Larin estate. Madame Larina reflects upon the days before she married, when she was courted by her husband but loved another. She is now a widow with two daughters: Tatyana and Olga. While Tatyana spends her time reading novels, with whose heroines she closely identifies, Olga is being courted by their neighbor, the poet Lenski. He arrives unexpectedly, bringing with him a new visitor, Eugene Onegin, with whom Tatyana falls in love.

Tatyana asks her nurse Filippyevna to tell her of her first love and marriage. Tatyana stays up all night writing a passionate letter to Onegin and persuades Filippyevna to have her grandson deliver it in the morning.

Tatyana waits for Onegin’s response in the garden. He admits that he was touched by her declaration but explains that he cannot accept it and can only offer her friendship. He advises her to control her emotions, lest another man take advantage of her innocence.

ACT II
January. The local community has been invited to the Larin estate to celebrate Tatyana’s name day. Onegin has reluctantly agreed to accompany Lenski to what he mistakenly believes will be an intimate family celebration. Annoyed to find himself trapped at an enormous party and bored by the occasion, Onegin takes his revenge on Lenski by flirting and dancing with Olga. Lenski’s jealousy is aroused to such a height that he challenges Onegin to a duel. The party breaks up.

Before the duel, Lenski meditates upon his poetry, upon his love for Olga, and upon death. Lenski’s second finds Onegin’s late arrival and his choice of a second insulting. Although both Lenski and Onegin are full of remorse, neither stops the duel. Lenski is killed.

ACT III
St. Petersburg. Having travelled abroad for several years since the duel, Onegin has returned to the capital. At a ball, Prince Gremin introduces his young wife. Onegin is astonished to recognize her as Tatyana and to realize that he is in love with her.

Onegin has sent a letter to Tatyana. He arrives at the Gremin palace and begs her to run away with him. Tatyana admits that she still loves him, but that she has made her decision and will not leave her husband. Onegin is left desperate. —Courtesy of English National Opera

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