Abstract :
The present article examines Tchaikovsky’s Eugene Onegin to demonstrate how a holistic approach can deepen the performance of opera; the approach integrates the composer’s dramaturgical strategies, the literary source, and critical scholarship into a unified interpretive framework. The discussion focuses on Onegin’s rejection aria and establishes that Belinsky’s characterisation of Onegin as an “involuntary egoist” reshapes the performer’s vocal and dramatic choices. By tracking how contextual understanding directly informs decisions of vocal colour, articulation, and phrasing, the article illustrates the practical necessity of a holistic approach in which interpretation and technical execution are inseparable.
Keywords :
aria, Eugene Onegin, Pushkin, superfluous man, TchaikovskyReferences :
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