'Onegin' is an operatic high point

Yet Anchorage Opera has managed to make it both a musical and theatrical highlight of this arts season.

Voices count most, and Anton Belov in the title role has a rich, hall-filling baritone. As Tatyana, the country girl turned princess, Veronica Mitina proved to be both a convincing actress and a fine soprano; her vocal personality matured along with her character as the timeline progressed. The opera may have been unfamiliar to many at the Discovery Theatre, but the final scene between the two leads had most on the edge of their seats.

While good, the second couple wasn't quite on step. Lara Stevens, singing Tatyana's sister Olga, was musically secure but some thought she looked tired at points. As Onegin's friend Lensky, Matthew Pena sounded notably lighter than the others. In the first act, I wondered if he could be heard in the balcony and -- while he made a good effort with his aria before the duel -- whether he might be fighting a bug.

The supporting cast, however, came through with flying colors. The opening duet with veterans Sherri Weiler as Tatyana's mother and Janice Meyerson as the Nanny, was as well-sung and naturally acted a scene as I can remember seeing here; it gave immediate notice that this was a different kind of opera -- conversational, novelistic, an unflinching look at people trapped in their routines and societal roles at the expense of happiness.

Tatyana's husband, Gremin, was beautifully sung by Todd Robinson. John Frazier as the French guest Triquet drew chuckles from the crowd -- as he always does.

Non-singing counted for much here, too -- notably the contribution of conductor Timothy Myers. Faced with a pared-down orchestra (nine violins total would be about half of the first violin section alone in any of Tchaikovsky's symphonies), he compensated with masterly precision that paid attention to the composer's melodies and ingenious deployment of instruments, getting especially crisp work from the winds.

For instance, the distinct wind and harp voices supporting the letter-writing scene came out with elegant clarity. The Anchorage Opera orchestra has seldom sounded this good. Should I ever find myself in a city where this man is directing anything, I'll drop all lesser pleasures to attend.

Director Cynthia Edwards gets credit for compelling, credible humanity in the stage action. Although Onegin's final entrance was somewhat creepy and jarring, the interactions of characters and groups otherwise flowed smoothly. The re-entry of the guests during the quarrel between Onegin and Lensky in the second act came off smoothly and with an eerie brilliance.

Lauren MacKenzie Miller's lighting also helped with the flow, particularly in the dawn scene of Act One. And Yoshi Tanukura's set -- a balance of simple formal shapes with Empire period touches -- made the most of what must be an excruciatingly tight budget. The suggestion of birch trees in the duel scene was particularly clever.

Although the lack of enough peasant costumes may have kept most of the chorus offstage during Act One, the party scenes with magnificent uniforms and gowns were suitably gorgeous. Credit must also go to the chorus itself which, in addition to singing, learned the steps to old ballroom dances at the hand of choreographer Blair Chenoweth. In a few instances they were dancing and singing at the same time, which is common in musicals but unheard of in opera.

"Onegin's" outsider status in the established repertoire may give some opera fans reservations. Set them aside. This one sticks in your head long after the cynical, sour ending. Besides, the next time you have a chance to hear Tim Myers conduct, it'll probably cost more.