Name: Yevgeny Onegin
Start: 2024-09-24T00:00:00.000Z
End: 2024-10-14T00:00:00.000Z
Location: Royal Opera House

Admin

Royal Opera House

Conductor

Henrik Nánási

Chorus master

William Spaulding

Stage director

Ted Huffman

Set designer

Hyemi Shin

Costume designer

Astrid Klein

Lighting designer

D M Wood

Orchestra

Orchestra of the Royal Opera House

Others

Chorus of the Royal Opera House

Baritone

Gordon Bintner

Eugene Onegin

Soprano

Kristina Mkhitaryan

Tatiana

Tenor

Liparit Avetisyan

Lensky

Bass

Dmitry Belosselskiy

Prince Gremin

Contralto

Avery Amereau

Olga

Mezzo-soprano

Alison Kettlewell

Larina

Rhonda Browne

Filippyevna

Christophe Mortagne

Triquet

Jamie Woollard

Zaretsky

Siphe Kwani

Company Commander

Russu

Yevgeny Onegin -  (Eugene Onegin)

London

United Kingdom

Main Stage

Yevgeny Onegin Tchaikovsky, P. I.

Public

Joshua Dos

Ingliż

Approved

American director Ted Huffman (4.48: Psychosis) makes his much-anticipated debut for the Royal Opera House Main Stage with a new production that blurs the boundaries between memory, longing and desire. Gordon Bintner stars in the title role, alongside Kristina Mkhitaryan’s Tatyana, Liparit Avetisyan’s Lensky and Avery Amereau making her Royal Opera debut as Olga. Henrik Nánási conducts, drawing out the many, and often conflicting, emotions at the heart of Tchaikovsky’s most popular opera.

A RUSSIAN LITERARY CLASSIC 
Pyotr Il’yich Tchaikovsky’s best-loved opera, Eugene Onegin, is based on Alexander Pushkin’s 1833 verse novel of the same name. There was initially some concern that Tchaikovsky would spoil this pinnacle of Russian literature by setting it to music, but Eugene Onegin quickly became a firm favourite with Russian audiences. Within a decade of its 1879 premiere it had been performed over one hundred times in St Petersburg.

POETRY THROUGH MUSIC 
By contrast with the satirical tone of the Pushkin poem, Tchaikovsky’s opera is sincere in its sympathy for its characters. The title of the opera may reflect the disillusioned hero of the work, but the heart of the opera belongs to Tatyana, as is shown in the tenderness of her music. Tchaikovsky’s music imbues the interactions between them with intensity of feeling, and when the protagonists meet again, many years later, they are haunted by the memories – and melodies – of the past. You will hear her motif in the strings at the very start of the opera: a sighing, searching melody that gains full expression in her letter scene in Act I – an outpouring of devotion, in which the soprano voice soars over the orchestra. Other famous tunes include the Act III Polonaise, which opens the grand ballroom scene: a precursor to the climactic final encounter between Tatyana and Onegin. Lensky’s aria, immediately prior to the duel scene, is also a poignant meditation on lost dreams of youth, and young heartbreak.

English

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