{"id":6797,"date":"2018-01-25T10:18:04","date_gmt":"2018-01-25T10:18:04","guid":{"rendered":"https:\/\/ensemble.cymru\/?p=6797"},"modified":"2021-10-19T11:52:52","modified_gmt":"2021-10-19T11:52:52","slug":"cyflwyno-eugene-onegin-gan-tchaikovsky","status":"publish","type":"post","link":"https:\/\/ensemble.cymru\/cy\/2018\/01\/cyflwyno-eugene-onegin-gan-tchaikovsky\/","title":{"rendered":"Cyflwyno ‘Eugene Onegin’ gan Tchaikovsky…"},"content":{"rendered":"

Wrth i ni baratoi i ymuno ag Opera Canolbarth Cymru ar gyfer taith y gwanwyn, gofynasom i’n Cyfarwyddwr Cerdd OCC, Jonathan Lyness rannu, ei farn ar Eugene Onegin<\/em> Tchaikovsky fel darn, a’i brofiad o’r gwaith fel arweinydd. Cyflwyna John opera “hudol, synhwyrus, hardd a hypnotig” Tchaikovsky yn ei eiriau ei hun isod.<\/p>\n

<\/p>\n

Rydw i am fod yn onest yma; y tro cyntaf i mi arwain Eugene Onegin yn 1995 fe wnes i ei mwynhau yn fawr ond nid pob rhan ohoni! Pan ddois yn \u00f4l ati, i’w harwain am y tro cyntaf yn 2007 (roedd hyn ar gyfer Longborough Festival Opera<\/em>) roedd wedi gafael yn llwyr, ac ar y trydydd achlysur (y tro hwn yn y Tobacco Factory Theatres <\/em>ym Mryste) roeddwn i wrth fy modd. Felly fe gymerodd rhywfaint o amser imi gynhesu at yr opera.<\/p>\n

A chymerodd rhywfaint o’r amser i’r opera ei hun ennill ei phlwyf. Rhoddodd Tchaikovsky’r cynhyrchiad cyntaf yn nwylo myfyrwyr Ysgol Gerddoriaeth Moscow yn 1879 cyn iddo gyrraedd y Bolshoi yn 1881. Ond y tu allan i Rwsia roedd pobl yn amheus o’r opera a graddol iawn oedd datblygodd y diddordeb ynddi ar draws Ewrop. Ni chyrhaeddodd yr Unol Daleithiau tan ar \u00f4l y Rhyfel Byd Cyntaf.\"\"<\/a><\/p>\n

Gyda llaw, ga’ i egluro’r ynganiad? Nid ‘Iw-Jin-Won-Jin’, <\/em>fel y’i gelwir yn y busnes weithiau, sy’n gywir! Fe fyddwn i’n mynd am \u2018Iw-j\u00een On-Iei-Jhin<\/em>\u2019. Os bydd unrhyw un sy’n darllen hwn eisiau anghytuno neu os oes gennych chi well ynganiad, e-bostiwch OCC!<\/p>\n

Yn dechnegol, nid yw’r opera’n opera! Fe’i gelwir, yn fy sg\u00f4r, “Golygfeydd Telynegol, mewn Tair Act a Saith Golygfa”. Iawn, rydw i’n cydnabod y byddem ni’n ei galw’n opera heddiw, os am ddefnyddio’r gair ‘opera’ yn yr ystyr generic… mewn gwirionedd, ‘drama gerdd’ yw Tristan und Isolde <\/em>Wagner, ‘op\u00e9ra comique\u2019 yw Carmen <\/em>Bizet (na ddylid ei drysu gyda ‘trag\u00e9die lyrique’) a ‘Singspiel’ yw The Magic Flute <\/em>Mozart (rhagflaenydd cynnar Almaenaidd o’r ‘operatta’ Ffrengig?). Beth am symud ymlaen nawr a galw’r cyfan yn oper\u00e2u – dyna mae pawb arall yn ei wneud – ac mae hynny’n gwneud bywyd yn llawer haws.<\/p>\n

Ond mae’r teitl ‘Golygfeydd Telynegol’ yn bwysig, gan mai dyna’n union yw Eugene Onegin. Nid stori barhaus ond cyfres o saith golygfa, yn debyg i La Boh\u00e8me <\/em>Puccini, sy’n gyfres o bedair golygfa o ‘Sc\u00e8nes de la vie de boh\u00e8me\u2019 Henri Murger. Dewisodd Tchaikovsky olygfeydd o nofel fydr fawr Pushkin, Eugene Onegin, clasur llenyddiaeth Rwsiaidd, a gosod y rhan fwyaf o’r farddoniaeth fel ag yr oedd.<\/p>\n

Mae pob golygfa’n episod, ac Onegin yw’r cymeriad canolog. Mae Onegin ar y llwyfan ym mhob golygfa ar wah\u00e2n i Olygfa 2, ond mae’r olygfa yn s\u00f4n amdano, gan mai’r episod ganolog enwog yng Ngolygfa 2 yw llythyr Tatyana i Onegin yn cyfaddef ei bod yn ei garu. Fel La Boh\u00e8me, mae Eugene Onegin yn teimlo’n episodig, ac fel La Boh\u00e8me mae manylion dirifedi am blot sy’n digwydd rhwng golygfeydd, ond nad oes angen i ni bryderu amdanynt.<\/p>\n

Mae’r olygfa gyntaf yn cychwyn ac yn gorffen yn dawel, yn yr un modd a’r ail a’r drydedd (sy’n dod \u00e2 ni i ddiwedd Act 1). Mae harddwch trosgynnol i gerddoriaeth Act 1. Dechreua Act 2 gyda’r bedwaredd olygfa (Parti Pen-blwydd Tatyana) lle mae Tchaikovsky’n mynd iddi gyda waltsiau a masyrcas (bydd unrhyw un sy’n ymateb i gerddoriaeth fale wych Tchaikovsky wrth eu boddau \u00e2 Golygfa 4) cyn i drasiedi gychwyn ymddangos.<\/p>\n

Mae Golygfa 5, golygfa’r ornest, yn dorcalonnus. Yr olygfa hon yw uchafbwynt gwirioneddol yr opera (a’r un olygfa nad yw’n Tatyana ar y llwyfan). Mae ei hamseriad yn berffaith er mwyn bod yn uchafbwynt, gan ei bod ddwy ran o dair o’r ffordd drwy’r opera. Hon yw’r olygfa y bydd llawer o bobl sydd wedi gweld Eugene Onegin yn ei chofio; caiff yr ornest ei dangos ar lawer o bosteri Eugene Onegin, neu ar gloriau CDs a setiau blwch finyl – dau ddyn fel arfer yn sefyll mewn diffeithwch gaeafol. Digwydda’r olygfa mewn dwy ran; yn y gyntaf, mae’r bardd Vladimir Lensky yn canu am ei gariad tuag at Olga (chwaer Tatyana) ac, yn yr ail, mae Lensky a’i ffrind gorau Onegin yn wynebu ei gilydd mewn gornest y gellid bod wedi ei hosgoi yn llwyr, gan gau’r ail Act sydd, fel y gyntaf, yn gorffen yn dawel. Mae’r gerddoriaeth sy’n cau’r olygfa, anghenus ac arswydus, yn f’atgoffa o ddiwedd Pathetique Symphony Tchaikovsky, yr arweiniodd ei pherfformiad cyntaf ychydig cyn ei farwolaeth yn 1893.<\/p>\n

Mae golygfeydd 6 a 7 yn digwydd flynyddoedd yn ddiweddarach yn St. Petersburg (agora Golygfa 6 gyda Pholonaise enwog sy’n adnabyddus iawn) pan ddigwydd Onegin a Tatyana gyfarfod unwaith eto. Wna’ i ddim difetha’r plot yn fan hyn neu fe fydda i mewn trwbl…<\/p>\n

Yr hyn sy’n allweddol am opera Onegin yw ei chynildeb. Nid yw’r opera’n dangos ei hun fel oriawr aur sgleiniog, sy’n hawdd ei gweld ac yn chwifio ei swyn Pucciniaidd. Mae’n fwy fel crefftwaith distaw o wneuthuriad hardd, wedi ei chuddio dan lawes, yn barod i dynnu ar linynnau’r galon os bydd arnoch awydd rhoi cip. Mae’n llawn angerdd, ond mae’r angerdd yn fwy tyner, yn fwy gonest, yn fwy dynol. Nid yw Onegin yn orddramatig, dim nodau uchel yn cael eu dal yn hir, dim mynegiant hir ar du blaen y llwyfan, dim yn gafael ynoch gerfydd eich gwar. Mae’r opera hon yn hudol, yn synhwyrus, yn hardd ac yn hypnotig.<\/p>\n

Dewch i’w gweld! Gweler dyddiadau’r daith ac opsiynau archebu yma<\/a>.<\/p>\n

Jonathan Lyness<\/p>\n

Cyfarwyddwr Cerdd, Opera Canolbarth Cymru<\/p>\n

Diolch i Opera Canolbarth Cymru am rannu eu blog gyda ni. Darllenwch flogiau eraill gan OCC yma<\/a>.<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Wrth i ni baratoi i ymuno ag Opera Canolbarth Cymru ar gyfer taith y gwanwyn, gofynasom i’n Cyfarwyddwr Cerdd OCC, Jonathan Lyness rannu, ei farn ar Eugene Onegin Tchaikovsky fel darn, a’i brofiad o’r gwaith fel arweinydd. Cyflwyna John opera “hudol, synhwyrus, hardd a hypnotig” Tchaikovsky yn ei eiriau ei hun isod.<\/p>\n","protected":false},"author":3,"featured_media":6791,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[658],"tags":[711],"class_list":["post-6797","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-creu-cerddoriaeth","tag-opera-canolbarth-cymru","entry"],"yoast_head":"\nCyflwyno 'Eugene Onegin' gan Tchaikovsky... - Ensemble Cymru<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ensemble.cymru\/cy\/2018\/01\/cyflwyno-eugene-onegin-gan-tchaikovsky\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cyflwyno 'Eugene Onegin' gan Tchaikovsky... - Ensemble Cymru\" \/>\n<meta property=\"og:description\" content=\"Wrth i ni baratoi i ymuno ag Opera Canolbarth Cymru ar gyfer taith y gwanwyn, gofynasom i’n Cyfarwyddwr Cerdd OCC, Jonathan Lyness rannu, ei farn ar Eugene Onegin Tchaikovsky fel darn, a’i brofiad o’r gwaith fel arweinydd. 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