Podcast: Eugene Onegin's Post-Show Discussion

Listen to a post-show discussion with Eugene Onegin's co-orchestrator James Widden, librettist Robin Norton-Hale, musical director Sonia Ben-Santamaria and director Lucy Bradley. 

The discussion was held on 7 December 2017 at the Arcola Theatre in East London. 

Eugene Onegin is currently showing at the Arcola Theatre until 23 Dec, then on tour in 2018. 

OperaUpClose's 8th Birthday

Happy Birthday (to us!) 

On 7th December 2017, OperaUpClose turned 8. We spent the evening with a few of our Friends & Patrons at the Eugene Onegin Friends' Night, which included a post-show chat with librettist (and our Artistic Director!) Robin Norton-Hale, director Lucy Bradley, co-orchestrator James Widden and musical director Sonia Ben-Santamaria.

(You can listen to the post show chat here!) 

A little something from Artistic Director, Robin Norton-Hale:

"I can hardly believe it is 8 years tonight since our first performance of La Bohème, in a tiny room above the gloriously ungentrified Cock Tavern in Kilburn. I could never have guessed then what a huge part of my life this wonderful company, and so many singers, directors, designers and audience members would be. Thank you so much for being part of the company - because without our audience, none of this would have happened."
GIF 8th bday.gif

Have a look at our interactive timeline below, which marks all of the milestones in OperaUpClose's first 8 years: 

An Open Rehearsal of Eugene Onegin

By Jenny Kingsley

Proudly, I am writing now as a supporter and member of the Development Committee of OperaUpClose.

Hence, a few weeks ago, I grabbed the opportunity – now this was a sublime operatic chance - to watch a rehearsal, with other supporters, of Eugene Onegin. In a very warm and bright rehearsal studio at the Arcola, we watched how the Director, Lucy Bradley, with steely determination, interwove movement, music (just on the piano) and voices into a vibrant setting. I felt as if the human feelings of dismay, jealousy, anger, desperation and confusion were thickening the air - the atmosphere steamed with sentiment.

Of course, the story has been transposed to suburban London in the 1960s, and there is not a huge chorus or orchestra. But being a newcomer to Eugene Onegin meant that I just accepted what I was seeing at face value and did not observe with thoughts of comparison or critique. I wanted to talk ‘some sense’ into Lensky and tell him not to be so self-indulgent and pull Onegin and Lensky apart when it was obvious that their foolish arguing could lead to a physical and potentially fatal fight. It seemed as if their muscular bodies were spiritually enflamed. Inside, I echoed the chorus when it essentially questioned why men are so enmeshed in territoriality.

When Robin gave me the musical manuscript to look at, I felt as if I was holding the Holy Grail!