With a libretto written by the composer's brother, Modest, this tale of terror, with a plot involving obsessive love and gambling, hallucinations and descent into madness never fails to have a profound effect on its audience.

What makes “The Queen of Spades” arguably Tchaikovsky’s most complete and complex opera is its tonal shifts in its thematic material and music.

Hermann kills himself. When Tchaikovsky went to Paris in 1876, he saw Bizet’s opera Carmen. But he wasn’t immediately at his best and seemed to struggle a bit in warming up to the task. Not only did she provide a bubbly foil to Davidsen’s Lisa in their initial scene together, but she also blended her sound with her soprano counterpart gloriously during their initial duet.

Many scholars have noted that the composer himself might have seen himself reflected in the protagonist’s outsider status and in the context of the melodrama, Hermann’s desire to learn the Countess’ secret comes from his desire to rid himself of this status. She retained a strong presence in the Poco più animate section that followed before hushing to the most delicate of piano sounds, which she retained throughout the ensuing repetition of the main melody.

She maintained a slow tempo throughout, creating the sense of desolation and fear Lisa feels, stretching out the final eighth notes leading up to the fermata before the fortissimo sections to create an agonizingly beautiful effect. That the opera ends on a note of hope and prayer simply completes the glorious nature of this masterpiece.

Tempi fluctuated seamlessly and you just felt like you were in very sure hands all the way through. The line was connected and there was a sense of drive and intensity building throughout the aria.

The first clarinet is especially good. That said her voice did seem to lose its focus in upper ascensions to a G flat and the climactic high A flat near the close of the piece with the vibrato widening and the pitch becoming unstable.

But the aria that followed was the true gold, with the tenor holding nothing back. To explore this further, Thompson gives Hermann a black costume for the duration of the opera, putting him in immediate contrast with Lisa’s white as well as the grey of Tomsky, who is shown to be a murkier character from a moral standpoint.

His friend tells him that the girl’s name is Lisa, and that her grandmother is an old countess who used to gamble (play cards for money) when she was young. G. Forman, The Queen of Spades is one of Tchaikovsky's best works.

A work of extreme moods and colors, The Queen of Spades explores life’s frivolities as well as the darkest impulses of obsession, addiction, madness, and self-destruction. There was a vibrant connection between the notes with the melancholic nature of the sound heightened by her more reserved approach, the voice somewhere between mezzo-piano and mezzo-forte. The Bolshoi's production is riveting, with sumptuous sets and costumes, and the famed Bolshoi chorus and corps de ballet are at their most elegant and spectacular. He was visibly the most involved of characters, seemingly in control of every situation, but also very sensitive to Hermann’s troubles. With Yelena Obraztsova, Juri Mazurok, Vladimir Atlantov, Tamara Malashkina.

She has been hailed as a major dramatic soprano with Antonio Pappano heralding her as a “voice in a million.” While enthusiasm around rising stars is never a negative, it does create the problem of hype, something that a lot of singers over the past decades have never quite lived up to. He was even softer on the slow and prolonged repetitions of “Oh God” before building up to the more matter of fact expressions of “Three cards.” The melody’s repetition drew out a graver sound, turning the initial mystery into something darker and graver. This was furthered at the end of the scene during the final storm where the tenor simply could not compete with the orchestra, his voice sounding increasingly overwhelmed. Yusif Eyvazov, Lise Davidsen, Vasily Petrenko Shine In Fantastic Elijah Moshinsky Production. Later, the ghost of the grandmother comes to Hermann and tells him the three secret cards: Three, Seven, Ace. Lisa drowns herself. Pyotr Ilyich Tchaikovsky. Hermann gambles all his money, saying "The life is only game and the sure is only death". In the ensuing scene he sang with darker and more subdued tones, but his fear was potently expressed when he interpolated one of the recitative lines into a higher tessitura. The gripping plot is set against the vast elegance and macabre allure of St. Petersburg, which functions almost as a character itself. They grated against you for their pointed but cheery bullying of Hermann.

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