But it is also fitting that the opera’s climax features a woman finally breaking free of that bond by making a determination over her own future. That it is the work’s most careless and insensitive of men, only adds to the overall theme of women being held as captives by the often irrational (see the duel) and impulsive male counterparts. It is rather telling that the opera’s main title is the name of a man, male dominance really the subtext of the entire opera. Meanwhile, Tatiana’s younger sister Olga understands that she has been destined to marry Lenski, even if she isn’t always thrilled at the idea and enjoys flirting with other guys instead. A few scenes later, Filippyevna jokingly informs her beloved Tatiana that in her old times, the thought of love was nonsense for a young girl and then narrates her marriage at age 13 or 14 to a boy younger than her, noting that “God willed it” and her father made the final decision. Tchaikovsky’s “Eugene Onegin” opens with a conversation between Madame Larina and Filippyevna remarking on arranged marriages and their overall lack of choice in the matter.
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