2009-3, Vienna, Eugene Onegin

Eugene Onegin

2009_Onegin_Vienna_08.jpg REUTERS/Herwig Prammer

Composer: Pyotr Tchaikovsky
Librettist: Modest Tchaikovsky after Pushkin’s story
Venue and Dates: Staatsoper, Vienna
7, 10, 13, 16, 19, 22 March
Conductor: Seiji Ozawa
Director: Falk Richter
Tatyana: Tamar Iveri
Olga: Nadia Krasteva
Eugene Onegin: Simon Keenlyside
Lensky: Ramón Vargas
Prince Gremin: Ain Anger
Larina: Aura Twarowska
Filipjewna: Margareta Hintermeier
Monsieur Triquet: Alexander Kaimbacher
The Captain: Hans Peter Kammerer
Zaretzki: Marcus Pelz
Ein Vorsänger: Wolfram Igor Derntl
Notes: Simon’s debut in the role


REUTERS/Herwig Prammer


REUTERS/Herwig Prammer


REUTERS/Herwig Prammer


REUTERS/Herwig Prammer


Vienna Online, 8 March 2009

Translated by Petra Habeth


Ice cold “Eugen Onegin” at the Staatsoper

The Vienna Staatsoper served its audience on Saturday night an ice cold “Eugen Onegin”. The audience acknowledged the minimalist direction of Falk Richter with a storm of booing but acclaimed the terrific efforts of the singers.

Director Falk Richter demonstrated a lot of feeling for pictures full of emotion but rather less for keeping the tension. The hurricane of booing was a little overdone, the elation for the terrific efforts of the singers throughout was justified. Seiji Ozawa’s last opening night as music director with “Eugene Onegin” was warmly greeted.

The snow trickles silently [translator’s note: this is a German Christmas song] according to Richter’s direction (staging Katrin Hoffmann): At first you are taken with the dense snow flurry in the background, but in a while you are lost in it and, towards the end, just stare apathetically into the flurry. It is clear: this direction does not want to lament the climate change but Eugen Onegin’s soul landscape who as a “semi hip” townsman acts the professional juvenile and lurches from relationship to relationship – until he stands there alone. As additional warning couples of extras embracing each other, unmoving, representing the pillars of our society or something.

Richter is a moralist, not one of the bad sort but at least one of the middle-class. And he tries to lift a timeless “Eugene Onegin” onto the stage, which might to be in vogue since Eric Bechthold’s “Ring”-production. What he really can do: to choreograph his characters and to play on the nearly empty (cleared) stage with distance and closeness. A stylised four-poster bed made of ice blocks is enough for the love-bemused Tatjana to write her letter to Onegin. The document itself is projected overpoweringly on the wall. Richter has got a camera-eye which is to the to the benefits of a lot of scenes. Especially in the mass-scenes (i.e. with the choir) with the partly artistically choreographies (Joanna Dudley). Anyway the suspense does not work, on the party in the last act Kitsch is added, which reminds one of cut Tirolian glass tassels and might have been left over from the opera ball.

But Richter has got a good feeling for his actors. Not only good actors but also excellent singers: Baritone Simon Keenlyside plays out his totally lyrical Baritone in such a way that you are followed by melancholy and thoughtfulness into the storm outside the opera house. Not an egocentric spendthrift womaniser was at work, but a zeitgeist imprisoned self-realiser: Tatjana first disdained by him, later hopelessly desired is sung by Tamar Ivery who got the most applause of the evening. Ramon Vargas voiced the naïve poet Lenskij respectably, his Olga was sung by Nadia Krasteva. the short entry of Ain Anger as Prince Gremin and imp-like Alexander Kaimbacher as clown-like bard Triquet verged on a waste of wonderful resources.The last one (i.e A.Kaimbacher) hopefully will abandon the status of an unknown.

As nearly a tragic figure Ozawa was standing at the conductor’s podium and was acclaimed at the end. It might have been balm on the wounds of the recent past, if you believe the voices out of the opera house. Ozawa has conducted this Onegin with much precision and meticulousness, it resulted in a nearly excessive transcendence which reminded partly on Mahler symphonies. You have to like it. Also more – deserved –applause as usual for the choir.  And the loud buhs for Richter which this time establishe against the bravos soon died away. Because you know: The denial of confirmed opening night visitors is not for the special new production but for the new production per se.


Der neue Merker, 8 March 2009 (Martin Robert Botz)

Translated by Ursula Turecek

A drama of love and friendship in the desert of ice and snow
Really, there is no harvest home, the whole story takes place in (emotional) winter. Everything is black, but the floor is white, in the rearward part of the widely open stage it is snowing almost all the time. May the first tableau be described as an example: some blocks of ice as seats, Tatiana’s bed looks like a block of ice too. Throughout almost all the opera 8 couples are standing far in the back, most of the time completely motionless, then, for example at the ball, they mingle with the persons and stunt acrobatically, making somersaults for example. But all of this looks very good, yet the continuing snowfall is a little tiring. The stage is by Katrin Hoffmann. The costumes/Martin Kraemer are modern, but felicitous, “of course” they are black, only Larina and Olga are wearing red, Tatiana occasionally blue. Carsten Sander’s lighting is felicitous.
Director Falk Richter has some ideas for directing the characters. Thus the ball for Tatiana with the fatal consequences is well played. Or the duel for example: It almost begins like a tender love scene of the two friends but none of them says the redemptory word and the result is Lenski’s death. Also Onegin’s final meeting with Tatiana is very thouroughly arranged in a felicitous way, the guests at the feast in Gremin’s house move like a funeral cortege.

Seiji Ozawa takes the indication “Lyric scenes” extremely seriously. But then he gives dramatic fire for the outbursts by forcing pace and with orchestral accumulations. Tchaikovsky is his particular cup of tea. When he conducted for the first time at the State Opera it was this opera and it is now his last premiere at this house. The Philharmonic Orchestra had a great day and played Tchaikovsky’s music wonderfully. The Chorus was optimally rehearsed by Thomas Lang.
In the name part Simon Keenlyside was simply brilliant. At the moment he has one of the noblest baritone voices and is furthermore a good actor on stage, also in the way he sings and acts his late insight on Tatiana. Or is it only self-pity because of the meaninglessly spent years?

Coming completely from belcanto Ramón Vargas has conserved this balance and did not overcharge his voice. On the contrary, he has kept his precious timbre and an even line. A clever singer! Of course he has to sing rewarding pieces in the arioso and the great aria.

Tamar Iveri ranks among those artists with whose voices the reviewer has difficulties. Her timbre is somewhat dull and furthermore very dark. The letter scene was clearly lacking brilliance and glaze. This scene was not particularly impressive, but afterwards she opened up her voice more and more and achieved a strong performance. Yet Natalia Ushakova had this vocal brilliance in Brno lately. But most visitors like Iveri.

Her mother Larina/Aura Twarowska came across as young and agile and she was good. Vocally I particularly liked Nadia Krasteva as Olga, with rich, full notes sung beautifully in line. Margareta Hintermeier was well employed as Filipjewna.

Alexander Kaimbacher also received approval for Triquet. Interestingly Ain Anger did not simply walk through Gremin’s famous aria, he did not completely succeed in finding the correct line.
Hans Peter Kammerer/Captain; Marcus Pelz/Saretzki and Wolfram Igor Derntl/precentor were also present.

At the end there was much applause with graditional cheering. The leading team experienced clear rejection. But this evening did not make compeltely happy.


George Jahn, Associated Press Writer (article carried in several newspapers), 7 March 2009

Tchaikovsky opera showcases wonderful voices, marvelous music and snow

Too much snow!

A veritable blizzard hit the stage of the Vienna State Opera Saturday. Snow fell inexorably through much of the three-hour new production of Tchaikovsky’s “Eugen Onegin.”

It fell, against a pitch-black background, as the heroine was welcoming the rising sun. And it fell even as the action moved to a shady summer garden.

In the last few weeks of a cold, damp, miserable Austrian winter, with sheets of icy rain drumming on the pavement outside, there was simply too much of the white stuff inside— even if it was supposed to represent a world cold and barren of emotion, or simply the Russian landscape. Fittingly, director Falk Richter was booed at the end of the evening.

But warmth triumphed — voices brimming with passion and intensity and an orchestral underpinning that was fiery, intense and intimate.

The music was wonderful — and the winter’s chill quickly gave way to thaw, with Seiji Ozawa, conducting his last premiere as State Opera music director combining brazen french horns, tragic woodwinds and tremulous strings with carefully nuanced tempos for the perfect orchestral tapestry.

The singers responded in kind.

“I love Tatiana,” Tchaikovsky once said of his heroine in “Onegin” — and it was easy to see why on Saturday.

Tamar Iveri paired marvelous acting to her supple lyric soprano as the bookish young country girl drawn to — and spurned by — the worldly Onegin, only to reject him in the end, leaving him crumpled on stage and intoning, “Oh, my miserable fate!”

She gave full play to both voice and drama in the famous letter scene, moving effortlessly from a low D flat to the higher registers, with her high notes perfect even at difficultly low volumes. And her torment as she anguished about whether to let Onegin know her true feelings was persuasive enough to raise a goose bump or two.

Simon Keenlyside also scored high vocally and dramatically as Onegin, the player who toys first with Tatiana, then with his best friend, Lenski — ultimately killing him in a duel — only to be rejected by Tatiana once he recognizes that he loves her. His aria recognizing his folly in the ball scene of the Act III, Scene I, is a wonderful vocal mix that starts off with musing introspection before mutating into a rhapsody of passion.

Ramon Vargas brought his explosive tenor and impassioned acting to the role of Lenski, delivering a moving farewell to life in the duel scene. And Nadia Krasteva rounded out the top principals as Olga, Tatiana’s live-for-today sister, whose flirt with Onegin leads to the death of her lover, Lenski.

Also notable: Aura Twarowska as Larina; Margareta Hintermeier as Filipievna; Ain Anger as Gremin, and Alexander Kaimbacher as Triquet. And the State Opera Choir was good enough to draw applause after their very first appearance — a gesture usually reserved for soloists and their best arias.

It was in all, an evening of warm musical glow.

Snow, or no.




Egbert Tholl, Vienna Süddeutsche Zeitung

Translated by Petra Habeth

Dance of death at the glacier bar

Decline is everywhere.

Falk Richter directs Tchaikovsky’s “Eugen Onegin” in Vienna

There he stands and knows that he has frittered away his life. How he stands there, this Eugen Onegin, alone on this huge stage, empty except for a spacious staircase he becomes a man of sorrows who touches us, far beyond the conventions of opera, beyond musical controlled affect. This despair of Onegin could be purely sentimental, a more tearful one, if this Onegin was not embodied by Simon Keenlyside. Through him, the smart, sympathetic Baritone for whom melancholy, but not sensitiveness, is rather foreign, this Onegin gets something existential. And Tchaikovsky’s opera “Eugene Onegin” which you could normally sum up as “first he does not want, then she does not want” gets a little bit more from the brilliant malignancy of the text, backed up by the verse romance of Puschkin.

Nobody at the Vienna Staatsoper would be expecting a sharp reinterpretation of this work, particularly not when the director is Falk Richter,  who was engaged at Salzburg as a opera-shocker and who in his normal artist life directs works he has written with his own actors, always taking a hard line on the key subjects of the day.  Richter’s direction could be discounted at first as a cold effort for a timeless significance. It snows a lot. Which might be explained by the fact that this is a co-production with Tokyo where it has to look like Russia.

But behind the snow is method. Tatjana’s bed is built out of blue, shining ice blocks, the remaining furniture exists as silver gleaming cuboids, the peasants are workers in dark blue overalls. Tatjana’s namesday party is a vivid  proceeding at a glacier bar, Gremin’s reception in the 3rd act is a grey-black death dance. Richter leaves no doubts here about the reigning callousness, which would be, in the long run, a little bland if he had not had Simon Keenlyside.

This Onegin does not know what to do with his neighbours, with the mastery less, with the folk really nothing. He creeps around as a figure of tedium himself and all his surroundings. At the same time he knows about the society conventions, and is as professional in the duel as in dancing. Keenlyside embodies this Oblomov of love and life in a clever, nearly literary manner – apart from that he lights up in a delightful calm way Tchaikovsky’s lyricism.

Promise of forbidden fruits

When Pushkin had once fixed the Russian society in verses, the path was not too far to all those who are abased and offended, to the decayed estates and the cleared cherry trees. All this Keenlyside plays with always a bit more of a dressy style than the other suit wearers, more charming, more sensitive. If the décor of Falk Richter’s direction announces a modern party- and society-relevance, it is more exciting to show in only one person how the situation developed into this cold, idiotic presence.

The rest is Vienna at its best. Seiji Ozawa frames without baton or score the music in exceptional transparency and acuteness. What Tschaikowsky begins with Tajana’ s letter scene song scents the whole work, how he ties the plot to a love- and friendship-package as a motif. Ozawa plasticizes it wonderfully, he shepherds his singers with a care which is nearly moving. Thus you see – partly – the drama of a foundering society but you hear the impossibility of love and friendship in it.

In the actual opera magazine of the Vienna Staatsoper the director Ioan Holländer writes that the economic crisis has also reached the Staatsoper. The people have no money to go to the opera. In February some performances were  badly attended, which means that the incoming receipts were less than the amount which we planned in the budget. Yet the Staatsoper is able to subsidise this from the excess which “was generated in the first half of the season”.

That Holländer writes that is very remarkable. However it does not sound like panic more the attempt to stablilize, also that the Staatsoper is liable to conditions of real life. A solution is also directly presented by Holländer: “ we can only aim to present even better casts, to convince the interested ones still to come if they are uncertain.

He does not write anything about the directions and where the cast is concerned he has done a good job in “Eugen Onegin”. Ramon Vargas is a melting adorable Lenski, Tamar Iveri animates Tatjana with fine acting nuances and tender lyrics, with touching vitality. And Ain Anger makes a more than plausible Prince Gremin which explains why Tatjana thinks to find her happiness with him and not with Onegin. He is the balmy, virile Bass beside whom Keenlyside appears like the seductive promise of forbidden fruits.

Of course the opening night was sold out. After the end six grave diggers are outside standing in the rain. They are not allowed to talk but they seem to carry a theatre to its grave: the playhouse/theatre of Graz.


Moore Parker, The Opera Critic, 13 March 2009


Tchaikovsky won, but only just

Director, Falk Richter, uses the term “timeless” when describing his new Onegin production at the Vienna State Opera (co-produced with Tokyo where it debuted a year ago).

The protagonists and their issues can easily slip into any epoch and remain valid. And indeed, the backdrop of falling snow (irritatingly monotonous in intensity and tempo), blue-overalled workers, ice-blue neon-lit sets (among them, a proscenium structure for Tatyana’s letter scene, and a rolling catwalk bar) not only offer scope to this Pushkin drama, but could probably serve two-thirds of the standard operatic repertoire. The base line here is pedestrian. Indeed the entire proceedings rather lend the impression of a work in progress rather than a polished individualized production.

An unexpected highlight comes from the ballet whose highly effective acrobatics add a quirky spark to the proceedings in the party scenes (choreography Joanna Dudley).

The scale of the sets (designer Katrin Hoffmann) on this vast stage also expose the dimensions of the artists – with the exception of Ain Anger, whose physical and vocal presence easily fill the house. A refreshing, if unusually youthful, Gremin.

As Tatyana, Tamar Iveri looks charming and develops the character convincingly and sympathetically. Her singing is well paced and reliable, but somewhat lacking in imagination and personality.

Simon Keenlyside’s Onegin is a ribald, contemporary boy-next-door who could have stepped out of a prime-time Soap. As expected, he displayed well-schooled fine singing, but his was hardly an Onegin to knock you for six.

Also not eclipsing memories of predecessors, Ramon Vargas produced some attractive lyrical phrases but lacked the necessary bite for Lensky’s more dramatic moments. He also tends to pitch a shade above the tone and gives the impression of focusing on his vocal production more than on the stage character.

Nadia Krasteva’s Olga is a true vamp. Somewhat larger-than-life and towering over both Onegin and Lensky, she seems slightly inappropriate in the quartet of suitors – but nevertheless sings a polished performance.

Aura Twarowska (Larina) and Margareta Hintermeier (Filipyevna) gave solid if unexceptional portrayals. The other more minor roles were adequately filled.

The previous State Opera production of Eugene Onegin at the State Opera was Seiiji Ozawa’s choice for his house debut in 1988. On this evening the reading can only be described as erratic in delivery, augmented by fluffs from various sections of the pit throughout the proceedings.


Christopher Norton Welsh, Opera, June 2009

Though snow may be an adequate metaphor for the young people’s feelings and fate in Yevgeny Onegin, it is hardly expressive of their beginnings or the opening harvest festival. But such was the background to virtually the whole of Katrin Hoffmann’s sets for the new production at the Staatsoper (seen on March 13). The gloom was not lifted even for Gremin’s ball, held in a set of black and silver panels round a flight of grey steps. Apart from red for Larina and Olga, and Tatyana’s birthday blue, Martin Kraemer’s costumes were also dark and decidedly 20th-century. The farm workers appeared as factory hands, the men each with a blue metal toolbox. There was also precious little dancing at Larina’s; Onegin did waltz with Olga but otherwise it was an orgy with a pop-star Triquet on the table and acrobats backflipping, cartwheeling and the like. Despite all this, the producer Falk Richter did bring out the inner emotions of the principals successfully.

Simon Keenlyside’s Onegin was superbly sung but was not quite the bored dandy one expects, whereas Ramon Vargas was a very lyrical Lensky with some lovely soft singing. Tamar Iveri also sang beautifully as Tatyana and fully brought out the character’s development. Nadia Krasteva was a luxury as Olga, and Aura Twarowska and Margareta Hintermeier were good as Larina and Filipyevna. Ain Anger was an imposing Gremin but seemed in poor vocal form. The only real disappointment was Seiji Ozawa. He had conducted the work at his debut here in 1988 to general approval, but now his reading was coarse and over-loud.


Wilhelm Sinkovicz, Die Presse, 8 March 2009

Translated by Petra Habeth

“Eugen Onegin”, dwarfed

Tschaikowky’s “lyrical scenes” reduced to smallness by an unimaginative direction team was also musically underexposed under the baton of Seiji Ozawa.

Of all the lamentable dwarfings endured by famous works by so called directors in recent times, maybe this one, of Tchaikovsky’s Eugen Onegin, has the most to be lamented.

However, one has also learned something at this opening night. Until now one assumed that today’s stage settings do, comparatively speaking, the least harm if they carry out their duty as little as possible. If they, let’s say, don’t erect Flak towers, concentration camp walls or the like, instead of middle-class parlours or Neapolitan vedute [landscape painting]. [Least harm is done] if the stage stays as empty as possible. Katrin Hoffmann who is named this time as stage director convinces us of the contrary very soon. She has set on the stage only some glass- or iceblocks which – how ever they are arranged – stay without atmosphere.

voice fading in an optical wasteland

The optical wasteland responsible for this is the proof that the above mentioned thesis does not work. The empty stage will not become better. On the contrary, as you witness the musical side of the performance then the initial situation becomes worse for the singers. A musical with microphone amplification cannot be played in such a stockroom but could be sung. “Eugen Onegin” cannot.

A young, illustrious cast was found for the main parts that could visually have been able to wake Pushkin’s figures to life if the director had introduced them in their cosmos. But about that later.

Vocally the performance generally ends about on a level with the prompt box. Apparently the fly tower absorbs the bigger part of the volume if the protagonists don’t enter from the very edge of the stage, as they used to do in great-grandfather’s time.

This is, maybe, a small point, but what drifts to the ears of the audience is, honestly, not really up to the standard of an opening night. None of the singers is able to play to their strengths under these circumstances. Ramon Vargas, who in many parts is a sensitive subtle, shaper relies as Lensky on the pure beauty of his tenor voice. Even in his great aria before the duel happens, he can only find a way to sustain his soft tones right at the end.

Simon Keenlyside’s main part also sounds comparatively monochrome. You feel how much energy it costs him to rebel against the soundwaves from the orchestra, even in those parts where the conductor Seiji Ozawa exerts himself to reduce the no loudness. The fact the maestro apparently never worked at a coherent phrasing and practically never realises the possibility of modulating the sound becomes fatal for the overall musical picture of the production. Even when a singer such as Tamar Iveri, especially in Tatiana’s letter scene, IS able to send some inner engagement over the edge of the stage it is met with totally uninvolved, incoherent instrumental sounds. The necessary interaction between singing and orchestra was absent for the entire evening. Even though Tschaikowsky explicitly describes this as “lyrical scenes” rather than opera, like chamber music for the whole theatre.

Literature for chicks.

Nadia Krasteva is the most able to enter into the current situation. She plays her lively kitten Olga to the heart’s content and gives a strong profile to her, short aria sung with a beautifully coloured alto. So the minor parts get the upper hand. Ain anger sings the “Gremin” aria admirably in a beautifully curved line. If it wasn’t an opening night but, for example, an audition, the opera director would probably engage him without reservations but saying “you are much to young to sing Gremin”. But in every other way Ain Anger is certainly able to play the part.

There’s a lot to be said about the setting. As far as Falk Richter has cared about details of the characters it is can be said that he is too restrained. The things that make an impact as teenage affection on the female side and boyish awkwardness on the Male side would have been there from the singer’s understanding of the roles. Romances for Tatiana and glossy magazines for Olga are not enough extra for a deeper characterisation.

When the gentlemen approach each other

The wrong-headed and unusual relationship between Onegin and Lensky is never explained. Simon Keenlyside’s Onegin lacks lacks aloofness let alone arrogance. Things seem to happen because of clumsiness. The two needed direction when they approached each other shortly before the duel but did not manage to talk to each other. This is only sensible if you understand the regulations, restraints and narrow mindedness of the world in which they live.

The only sensible thing to be said about Falk Richter is that he is unable to cope with the chorus and extras. The only liveliness in these oratorical tableaux is that of forceful gymnastics or military exercises. The audience doesn’t care that some guy sits on some girl and pulls her hair. The lack of narrative structure  leaves us unable to get angry about the fact that workers with toolboxes appear instead of peasants from the fields.

Alexander Kaimbacher has to make his way through the ball scene, which of course is not allowed to BE a ball scene, dressed up like a rock star with silver shoes and sunglasses. The couplet which the composer intended to the charming Monsieur Triquet has Biedermeier like song snatches.  No, this production did not get any of the melancholic poetry of Tschaikowsky, let alone the spirit of Pushkin which could be adopted as an adequate counterweight to the scenic alienation if modern scepticism has to reign.

Larry L Lash, Opera News, June  2009 , vol 73 , no.12

It snows in Wiener Staatsoper’s new Eugene Onegin — and snows, and snows. Tatiana has a bunk bed made of ice cubes, which are also used for a bar in the party scene. Otherwise, there is a black box and more snow, thanks to Falk Richter’s minimalist production, with black and midnight-blue costumes by Katrin Hoffmann and Martin Kraemer. (Party-girl Olga gets a red outfit, a Regietheater cliché.)

No matter. Despite the deafening boos that greeted the creative team on March 7 for this, yet another “non-production” from the soon-to-end tenure of Staatsoper director Ioan Holender, Tchaikovsky won out, with a dream cast and superb music-making from the orchestra under Seiji Ozawa, a music director more in name than in practice since 2003. (His contract will expire, as will Holender’s, in 2010.)

Rather than enumerate Ozawa’s failures in Vienna, it is time to acknowledge his successes with his two Tchaikovsky operas (the other being The Queen of Spades). This is music with which Ozawa seems to connect profoundly. Despite his somewhat mediocre track record with the orchestra here, this Onegin was a musical triumph for Ozawa — and heaven for the ears of his audience.

The ever-youthful Simon Keenlyside, one of the most versatile and intelligent artists onstage today, and the gloriously voluptuous spinto soprano Tamar Iveri, a young diva in the making, managed to ignore the nescience of Richter’s production and create their own drama. Keenlyside made the perfect Onegin — young, vain, self-absorbed, cocky and capable of gorgeous vocalism, increasing in tenderness as his character matures. Now nearing fifty, Keenlyside also looks a good ten years younger than he is.

Iveri, in her first new Staatsoper production, proved as versatile in her acting as she did in her singing. First seen lying on her stomach, happily lost in a book, feet swinging in the air, she was all innocent, girlish delight. It was fascinating to hear her gradually darken her voice over the course of the opera as Tatiana suffers humiliation after humiliation, eventually dying an emotional death when she marries Gremin and forgoes the fantasy that has been Onegin.

Ramón Vargas, a frequent Lenski, here sounded impetuous and youthful until his big aria, “Kuda, kuda, vy udalilis,” when the voice began to sound dry and devoid of character — perhaps a casualty of this production’s performing the first two acts without a break.

Ain Anger, an extremely young Gremin, more friend to Onegin than rival for Tatiana, endowed his brief scene and aria with lustrous basso cantante tone. Kudos to Nadia Krasteva for scaling back her sizeable mezzo for a bubbly Olga; to Alexander Kaimbacher for a delicately delivered Triquet; and to veteran Margareta Hintermeier for an especially heartfelt Filippyevna.

>>> click to see our photo album for the March performances >>>

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HK Techt / APA / Picturedesk.com

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Premiere party

Alexander Tuma / Picturedesk.com

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Curtain calls – 10 March

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