The role is perfect for Eyvazov’s bright, edgy tenor, and thanks to Tchaikovsky’s lighter scoring, a sensitive conductor, and Moshinsky’s thoughtful blocking he is far more audible than he was in Turandot earlier in the season. In fact, this is far and away the best I’ve heard him sing, displaying sympathetic lyrical chops and an impassioned delivery. His plea to Lisa in the Act I bedroom scene (Prosti prelestnoe sozdanye) is meltingly delivered, the top notes gleaming throughout. He may not be the most daring of actors, and he does watch the conductor a lot, but it’s hard to imagine the role better sung.

December 01, 2019

Read more: Queen of Spades at Metropolitan Opera