Word: lynching
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...tale of tragic unrequited love centers on Tatyana, portrayed by Jane Lynch ’03 last Friday. She is a daughter of the petty nobility stranded on a country estate and mired in reading romantic novels. When Onegin comes to visit with Vladimir Lensky, the beau of her sister Olga, Tatyana falls instantly in love with him. Thus begins the tragedy...
...Lynch is a spectacular Tatyana, both as a vocalist and as an actress. She exudes the childlike innocence of romantic dreams for the first two acts, and maintains an air of elusive grace throughout. Her eyes alternate between deep thought and the anguish of love and shame...
...When Lynch begins to sing, her voice is ethereal yet clear and projects deep into the hall. Her arias are the opera’s highlights. Their notes ring like chimes in all ranges, yet the sound is full and well-rounded, even in top notes. The orchestra tends to get carried away on occasion, playing the swelling crescendos with slightly too much crescendo for the acoustic environment and for the singers who must resound above it. Lynch’s voice, however, always resounds fully above the orchestra...
...Miles Rind’s Onegin falls far short. In contrast to Lynch, his sound is completely horizontal, making his changes of register barely noticeable. Moreover, his acting skills are unsuited to his role; he switches between only two facial expressions: a blank look of nonchalance and a mean scowl. The role is more complex than Rind represents and the lead vocal part requires considerably more tonal and dynamic variation...
...Lensky, John A. McMunn ’04 is, like Lynch, an exemplar of the talent that Harvard’s undergraduate community has to offer. His musical and expressive range is impressive and his execution is spirited. His pure love for Olga is discernible in the vibrato of his ample voice. Erin Baker’s Olga, on the other hand, had a far too guttural and nasal voice, and her Russian was incessantly garbled...