This essay analyses the final scene of Tchaikovsky's opera Eugene Onegin, highlighting the gender dynamics that emerge between the two protagonists. It then goes on to investigate the reasons behind the changes made by the composer after the premiere, linking them to the socio-cultural context of fin-de-siècle Russia, with particular reference to the impact of the rediscovery of Pushkin and the importance of the speech given by Dostoevsky in Moscow in June 1880 at the inauguration of the monument to Pushkin.
L’importante è finire? Onegin, (Dostoevskij), Tat’jana e il gioco delle parti
Vincenzina Caterina ottomano
2025-01-01
Abstract
This essay analyses the final scene of Tchaikovsky's opera Eugene Onegin, highlighting the gender dynamics that emerge between the two protagonists. It then goes on to investigate the reasons behind the changes made by the composer after the premiere, linking them to the socio-cultural context of fin-de-siècle Russia, with particular reference to the impact of the rediscovery of Pushkin and the importance of the speech given by Dostoevsky in Moscow in June 1880 at the inauguration of the monument to Pushkin.
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