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Onegin's first-act solo


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I'm starting a different thread for this question, since I want to take it beyond the Royal Ballet's dancers, but I'm getting quite curious about Onegin's Act I, Scene 1 solo (the one where he spends much of it with the back of one hand to his forehead) - and maybe the action that surrounds it - and differing interpretations. My original impression of it was that Onegin was just very much self-absorbed, and enmired (is that a word?) in his own ennui, but some recent dancers seem to have expanded it rather beyond that - or was I wrong in the first place? I haven't seen many casts in the current RB revival yet, so may expand on this later when I've had a chance to think it over more.

 

What's your take on the solo, and what do you think it's expressing? *Does* it vary significantly between dancers?

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Johan Kobborg gave a wonderful interpretation of this solo and the whole ballet. Clearly he was a man with a past that haunted him, there were reasons why he was so self absorbed and arrogant. As always with Johan (also and even as Prince Siegfried in Swan Lake), he found many nuances and interesting features to make what are often, even usually, rather two dimensional characters, have enormous depth.

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Yes, I agree Kobborg is a superb dance actor, he never just dances the steps but searches for the meaning behind them.

 

My Onegin watching goes back a long way and I even saw the original cast, but Kobborg's performance in the role was for me one of the very greatest.

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He is definitely one of the best Onegins I've ever seen. Come to think of it, he's one of the best many things I've ever seen. I can't imagine that he and Alina in Onegin will ever be surpassed. I still get goosebumps and shivers thinking of those performances.

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Alison, that's how I've always taken it too.

 

I've seldom seen the RB production but have seen Onegin performed by a number of companies over the years and that is how it has always come across to me.

 

Thanks, Janet.  Anyone else?

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Yes, but is that all?  In this run, I've been finding that some of them seem to be sizing Tatiana up as potential marriage material as well, almost wondering if she might be the one to bring him out of himself, which I don't remember from previous seasons.

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Oh, I know, but in this case I did get the feeling in some performances that he was looking at her and wondering whether he could be happy with her, and whether she could cure his state of mind, and probably coming down on the side of "No".

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I have found this thread and the other thread on Onegin fascinating for the discussions on the interpretation of the various characters and what drives their behaviour. I don't remember having so much discussion about any other ballet recently. The source material seems to provide a lot of scope for this.

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