Young Australian soprano gets her big break

In the Sydney and Melbourne performances of Tchaikovsky’s Eugene Onegin, directed by Kaspar Holten, the young Australian Nicole Car made such an impression as Tatyana that music director Pappano booked her for the Covent Garden revival. It will be her London debut. Sir Tony thinks Car”s going far.

nicole car

She’s super-articulate, too.

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  • I’m sure she’s very good but I won’t be going for the sole reason that Holten’s production is one of the worst productions of ANY opera I have ever seen and I’ve seen over 800 opera performances

    i went to the new production at CG at I can only say that what we saw was crass incompetent rubbish.

    how he ever got the job in the first place I’ll never know. Perhaps Brussels were glad to get rid of him

    • Opera Australia did Holten’s Eugene Onegin in Sydney. It was sensational. Much of that was to do with Nicole Car, who played Tatiana. I wasn’t expecting great things after reading the London reviews, but the casting in Sydney really made Holten’s bold vision – which I don’t entirely agree with — make sense, visually and emotionally. I’d recommend giving it another try. I think Car and Fabiano will make it a very different show.

  • Horses for courses; I loved the Holten take but then I don’t believe time is linear, so that helps. Car was, as Harriet said, fabulous and the voice is just delicious and full of fresh and honest youthfulness. She is singing Tatyana in Berlin in May.

    Fabiano and Car just sang the hell out of Faust in Sydney.

  • I love this opera and have seen over 15 performances.

    I went to the first night in London.

    Sitting up in the ‘gods’ (I am am pensioner so can’t afford better seats) l spent half my time trying to fathom out why there was two Tatiana’s and two Onegins on stage And from that distance you couldn’t tell which was which.

    What was the point. It just confused people. Some idiot told me to close my eyes and just listen. Great, I can do that at home on a CD and save a lot of money.

    Producers should think about what their production looks like from everywhere in the theatre, not just the expensive stalls.

    I don’t care who is singing, nothing would induce me to see this production again – it was idiotic.

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