Teatro alla Scala 2024-25 Review: Eugene Onegin
An All Russian Cast Brings Mixed Results to Tchaikovsky’s Masterpiece
By Bernardo Gaitan(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.”
- He did not want exceptionally gifted voices, but rather well-prepared singers.
- The singer-actors had just to act, without exaggeration.
- The staging had to be simple and faithful to the 1820s.
- The chorus should not be a mere “flock of sheep but human beings taking part in the action.”
- The conductor should be “neither a machine nor an excessively rigid musician like Nápravník” (then the conductor of the Mariinsky Theater Orchestra in St. Petersburg).
He concluded by stating that he would never hand over “Onegin” to the imperial theaters of Moscow or St. Petersburg and that if it could not be premiered at the Conservatory, he would rather it not be performed at all.
Three years earlier, Verdi’s “Aida” had triumphed in Moscow with its monumental production. Comparisons between the two operas were inevitable in Russia, and when Tchaikovsky was warned about the lack of theatricality in “Onegin,” he replied: “What is the purpose of these effects? {…} I prefer operas with characters who feel the same as I do, with emotions I have experienced and understand. I do not know what an Egyptian princess, a pharaoh, or an enraged Nubian might feel…”
Spoiler alert: To Tchaikovsky’s dismay, “Onegin” never left the programming of the Bolshoi or the Mariinsky Theaters, and ironically, it was conducted multiple times by none other than Eduard Nápravník himself. Even more, in this new production at Teatro alla Scala, Mario Martone disregarded one of his conditions: instead of setting the opera in the 19th century, he opted for a modern version. Nevertheless, the vision of the Neapolitan director, returning to La Scala with Russian repertoire after Mussorgsky’s “Khovanshchina” in 2019, was bittersweet.
Modernity & Ambivalent
Margherita Palli’s set design was dazzling: an immense wheat field and a vibrant blue sky (created with Alessandro Papa’s video mapping) evoked the scorching summer of the first act. In contrast, the second act depicted the ruthless Russian winter with a landscape of ice blocks, an effect enhanced by Pasquale Mari’s lighting. The final scene, set in an imposing black box, underscored Onegin’s emotional void. However, one directorial decision radically altered the story: instead of a duel, Martone proposed a game of Russian roulette, making Lensky take his own life instead of being killed by Onegin. This diluted the central conflict and completely changed the protagonist’s psychology, as the guilt of killing his best friend is far more significant than merely witnessing his suicide.
Mixed Results
Timur Zangiev’s musical direction was also ambivalent. He returned to La Scala after the 2022 controversy when he replaced Valery Gergiev in “The Queen of Spades,” after Gergiev was dismissed for not condemning Russia’s invasion of Ukraine. Zangiev’s work on dynamics and rhythms was remarkable, highlighting the various dances and orchestral moments of the score. However, his conducting with the voices, while academic and efficient, lacked the paroxysmal intensity the work demands. The orchestra responded well, though with less brilliance than usual, while the chorus, under Alberto Malazzi, was precise and emotive despite some minor tuning issues. Their rendition of the solemn chants and the effervescent, rhythmic dance sections was commendable.
In the title role, Alexey Markov delivered an Onegin with a warm voice and beautiful timbre, combined with a seductive stage presence and a touch of melancholy. However, the baritone’s interpretation at times lacked articulated phrasing and dynamic nuance. His character came across as distant and haughty, without fully exploring the emotional complexity of Onegin.
Aida Garifullina, physically ideal for Tatiana, exhibited a homogeneous and secure voice, though her middle and lower registers lacked color. Her stage interpretation, despite her commitment, failed to convey Tatiana’s emotional evolution, particularly in the crucial letter scene, which remained a generic melancholy without the required intensity and depth. Worth mentioning is her elegant and silky high register.
After receiving acclaim in “Rusalka” and “Guillaume Tell,” Dmitry Korchak returned to La Scala to once again be the most applauded performer of the night. He shaped a Lensky filled with poetic idealism and youthful passion, and though his technique showed minor flaws, his performance was intense and moving. His aria “Kuda, kuda vi udalilis (Where, where have you gone?),” one of the opera’s highlights, earned him a well-deserved ovation for his refined and expressive interpretation.
Despite its brevity, two moments stood out: the nostalgic aria of Prince Gremin, “Lyubvi vsye vozrasti pokorni (At all ages, love is supreme),” in which bass Dmitry Ulyanov conveyed profound emotion; and the delightful song “Que le sort comble ses désirs” by Triquet, passionately performed by tenor Yaroslav Abaimov. Among the other singers, notable performances came from mezzo-sopranos Elmina Hasan as Olga, Alisa Kolosova as Larina, and Julia Gertseva as Filippeevna. It is worth noting that 100% of the cast was Russian, ensuring impeccable pronunciation and stylistically authentic interpretations.
As an epilogue, I quote Mario Martone from the program notes: “After my production of ‘Khovanshchina’ in 2019, I met with Gergiev in Moscow to plan more Russian operas. Then the war came, and with it, darkness. It is not my stance on the Russia-Ukraine war that is at stake, but rather the dismay—so similar to what Tchaikovsky’s audiences feel when witnessing the absurd quarrel between Onegin and Lensky and the deadly duel that follows.”
