(Credit: Evan Zimmerman) The Metropolitan Opera’s 2025–26 Live in HD season will continue with Tchaikovsky’s “Eugene Onegin” on May 2, 2026. The performance will star Asmik Grigorian as Tatiana baritone Iurii Samoilov in the title role, Maria Barakova as Olga, Stanislas de Barbeyrac as Lenski, and Alexander Tsymbalyuk as Prince Gremin. Conductor Timur Zangiev leads the production by Deborah Warner. {…}
(Credit: Evan Zimmerman) Tchaikovsky’s “Eugene Onegin” is one of the most intimate experiences one can have at an opera house. It’s a story of regret that comes with throwing away the only people that ever loved you. It’s got some of the most heart-piercing music in the canon and an impeccable pacing throughout. It’s a work that almost plays itself. {…}
(Credit: Ken Howard / Met Opera) The Metropolitan Opera is set to revive Tchaikovsky’s “Eugene Onegin” in Deborah Warner’s production. The production will mark the return of Asmik Grigorian as Tatiana where she will be joined by Iurii Samoilov as Onegin, tenor Stanislas de Barbeyrac as Lenski, mezzo-soprano Maria Barakova as Olga, and bass-baritone Alexander Tsymbalyuk as Prince Gremin. Mezzo-soprano {…}
(Photo credit: Keith Saunders) While Tchaikovsky may be one of the most popular composers of the symphonic repertoire and certainly one of the great ballet composers, his operas have, arguably, not reached similar stature or popularity in the West. Commentator David Garrett canvasses some of the difficulties of conveying Tchaikovsky’s “Eugene Onegin” to non-Russian audiences in an essay on his {…}
Opera Australia is set to present Tchaikovsky’s “Eugene Onegin” opening at the Sydney Opera House on March 17, 2026. The opera will be presented in a production by Kasper Holten and will be revived by rising star director Heather Fairbairn. Australian soprano Lauren Fagan will sing the role of Tatyana alongside Ukrainian baritone Andrei Bondarenko in the title role. They {…}
(Credit: © Guergana Damianova – OnP) Ralph Fiennes knows a thing or two about Alexander Pushkin’s novel in verse, “Eugene Onegin.” It turns out he has a touch for opera, too, based on his directorial debut at the Paris Opera. His staging of Tchaikovsky’s “Eugene Onegin” at the Palais Garnier is rooted in tradition, but he controlled the action on {…}
(Credit: Guergana Damianova / OnP) The Opéra National de Paris is set to broadcast and stream its new production of “Eugene Onegin.” The opera will be broadcast live on France.tv on Feb. 9 and will also be broadcast at a later date in cinemas and on Paris Opera Play. The recording will be made on Feb. 6 and 9, 2026, {…}
(Ph. Brescia – Amisano © Teatro alla Scala) On March 28, Rai5 is set to present Tchaikovsky’s “Eugene Onegin” from the Teatro alla Scala. The Mario Martone production, which was recorded by Rai Cultura, stars Alexey Markov, Aida Garifullina, Alisa Kolosova, Dmitry Korchak, Elmina Hasan, Dmitry Ulyanov, and Julia Gertseva. Timur Zangiev conducts. A review from OperaWire said, “Alexey Markov {…}
(Credit: Nilz Böhme) Contrary to what the opera indicates in most scenes, with the exception of the duel between Lensky and Onegin, the Swiss director sets the first three acts outdoors. Only the final act at Prince Gremin’s house, where the final confrontation between Tatiana Princess Gremin and Eugene Onegin takes place, is performed indoors. Underlining the fact that everything {…}
Robert Carsen’s beloved production of Tchaikovsky’s “Eugene Onegin” returns to the Canadian Opera Company. The opera will be performed seven times at the Four Seasons Centre for the Performing Arts between May 2 and 24, 2025. Speranza Scapucci conducts the COC Orchestra with a cast that includes Australian soprano Lauren Fagan as Tatiana and Andrii Kymach as Onegin. They will be joined {…}
(Credit: Brescia e Amisano ©Teatro alla Scala) On the recommendation of mezzo-soprano Yelizaveta Lavrovskaya, Tchaikovsky began reading “Eugene Onegin” by Alexander Pushkin, initially more out of obligation than pleasure. However, the novel captivated him, especially the figure of Tatiana, which led him to compose a series of “lyrical scenes.” In a letter addressed to Karl Albrecht, Musical Inspector of the Imperial {…}