Mariinsky Theatre tickets 8 April 2025 - Eugene Onegin | GoComGo.com

Eugene Onegin

Mariinsky Theatre, Mariinsky Theatre, Saint Petersburg, Russia
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Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00
Intervals: 2
Duration: 3h 50min
Sung in: Russian
Titles in: English,Russian

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Cast
Performers
Orchestra: Mariinsky Orchestra
Chorus: Mariinsky Chorus
Creators
Composer: Pyotr Tchaikovsky
Choreographer: Dmitry Bryantsev
Poet: Alexander Pushkin
Set Director: Igor Ivanov
Musical Preparation: Irina Soboleva
Librettist: Konstantin Shilovsky
Stage Director: Yuri Temirkanov
Overview

Pushkin’s Eugene Onegin, as is well known, is not a poem but a novel in verse.

Tchaikovsky, too, gave his Onegin an unusual genre definition: not an “opera” but “lyrical scenes”. From an “encyclopaedia of Russian life” the composer selected the principal line of the plot, the one that was closest to himself as a lyrical artist. Though naming only one character in the title, Tchaikovsky subsequently went on to reveal the souls of three people to the audience: Tatiana (Act I), Lensky (Act II) and Onegin (Act III). In all three characters Tchaikovsky saw something of a reflection of his own self, and even Tatiana’s famous letter scene rhymes with an episode lifted from the life of the composer, who wrote the scene plan of the emergent opera in one night. The “lyrical scenes” were completed in 1878, having been begun in 1877, and one year earlier still Tchaikovsky had attended the opening of the Wagnerian theatre in Bayreuth. Regardless of all the anti-Wagnerian instincts of the Russian composer, his attention was also drawn to the inner “I”, the events played out in the drama being reduced to a minimum. Each elegiac breath taken by the orchestra, beginning with “Tatiana’s sequence” in the introduction, conveys the most incredibly subtle movements of the human soul. Following in Wagner’s footsteps, Tchaikovsky made use of leitmotifs – these being first and foremost neither heroes nor objects but rather emotions. And this is why Tatiana’s music sounds so natural both in the scenes with Lensky, and in the scenes with Onegin who has been transformed by love. The music historian Boris Asafiev appropriately called Eugene Onegin a “musical poem”. Tchaikovsky’s most famous opera, this is a “symphonic poem” of seven tableaux or chapters, a poem about hopes and their destruction, about love, about a happiness which “had been so possible, so close”. Eugene Onegin, performed at the historic Mariinsky Theatre, is a perfect example of the cultivation of musical and theatrical “soil” and was, in its day, awarded the State Prize of the USSR. The premiere of the production took place in 1982 at the theatre then still known as the Kirov. At the time the post of Artistic Director and Principal Conductor of the theatre was held by Yuri Temirkanov. Onegin was his child, moreover not merely with regard to the music: here the conductor also made his mark as a stage director. Being both the conductor and director of a production at the same time is a complex and demanding task, because “you have to consider what is happening in the orchestra, as well as building the production musically; like it or not, you are on the stage all the time, because each movement is something that you yourself have experienced” (from an interview with Yuri Temirkanov). The first Lensky of the legendary production, Yuri Marusin, recalled that the conductor-director personally showed the singers the plastique he desired, the gestures and the poses, creating an unbroken link between the audible and the visible, between the orchestra pit and the stage. The production was designed by Igor Ivanov, who in 1981 held the post of the theatre’s Principal Designer. Striving for historic realism, the set designer reproduced in detail Russian life in the first quarter of the 19th century. Anyone who has been to places connected with Pushkin in the Pskov Region will easily recognise the manor house with the semi-circular window and portico, as well as Onegin’s bench. The interior of Tatiana’s room is a quotation from Roman Tikhomirov’s opera film (1958). The “rich mansion in St Petersburg” in Act III recalls to mind the severe magnificence of the White Columned Hall in the Noble Assembly. And Ivanov’s set designs are far from being mere beautiful illustrations. In the final scene of Tatiana and Onegin’s explanations, behind these characters there is an immense longcase clock, indicating their principal foe – time which, once lost, knows no mercy.

Natural and harmonious in all its component parts, Temirkanov’s ground-breaking Eugene Onegin not only appeals to the Russian “cultural code” – it is such masterpieces as this that shape it.

Khristina Batyushina

History
Premiere of this production: 29 March 1879, Maly Theatre, Moscow

Eugene Onegin is an opera ("lyrical scenes") in 3 acts (7 scenes), composed by Pyotr Ilyich Tchaikovsky. The libretto, organised by the composer himself, very closely follows certain passages in Alexander Pushkin's novel in verse, retaining much of his poetry.

Synopsis

The garden on the Larins’ estate. In the distance, Tatiana and Olga can be heard singing. Listening to them, Mrs Larina and Filippievna the nanny recall their own younger days. Visitors appear unexpectedly: Vladimir Lensky, the Larins’ neighbour and Olga’s fiancé, has brought with him his friend Onegin – a young man recently come down to the country from the capital. While Lensky declares his love to Olga, the new visitor chats with Tatiana. The nanny notes how excited Tatiana is at the meeting.

Tatiana’s bedroom. Tatiana cannot sleep. Filippievna tries to dispel her anxiety with the tale of her own maidenly status. Once alone, Tatiana writes a letter to Onegin. With the arrival of dawn, she asks the nanny to deliver the letter.

The Larins’ garden. Tatiana anxiously awaits a reply. Eugene appears – he is touched by her declaration but is unable to return her love.

The Larins’ house. A ball in honour of Tatiana’s name day. Lensky has convinced his friend to visit the Larins, but the party and the guests serve to irritate Onegin. In revenge, he begins to play court to Olga. The readiness with which the young woman accepts his attentions drives Lensky to despair. He starts a quarrel with Onegin and challenges him to a duel.

An abandoned mill. Lensky and his second await the arrival of Onegin. Lensky mournfully and nostalgically contemplates the former “golden days” of his youth. At last the rival comes. The former friends are willing to forget any offence caused, but ideals of honour gain the upper hand. A shot rings out and Lensky drops down dead.

A room in a luxurious mansion in St Petersburg. Following a lengthy absence, Onegin returns to live in the capital. He finds Tatiana a married woman, now at the centre of attention having taken her place in high society. Her husband Prince Gremin speaks to Onegin of his happiness. The transformation of the young woman he knew awakens feelings of love in Onegin’s heart.

The drawing-room in Gremin’s house. Weeping, Tatiana reads Onegin’s letter. Suddenly he himself appears. With passionate prayer, Onegin succeeds in extracting a confession that she still loves him. But Tatiana’s decision is resolute: she will remain faithful to her husband.

Time: The 1820s

Place: St Petersburg and surrounding countryside

Act 1

Scene 1: The garden of the Larin country estate

Madame Larina and the nurse Filippyevna are sitting outside in the garden. They can hear Madame Larina's two daughters, Tatyana and her younger sister Olga, singing a love song. Madame Larina begins to reminisce about her own courtship and marriage. A group of peasants enter, and celebrate the harvest with songs and dances. Tatyana and Olga watch. Tatyana has been reading a romantic novel and is absorbed by the story; her carefree sister, on the other hand, wants to join in the celebrations. Madame Larina tells Tatyana that real life is very different from her novels. Filippyevna announces that visitors have arrived: Olga's fiancé Lensky, a young poet, and his friend Eugene Onegin, visiting the area from St Petersburg. The pair are shown in and Lensky introduces Onegin to the Larin family. Onegin is initially surprised that Lensky has chosen the extrovert Olga rather than her more subtle elder sister as his fiancée. Tatyana for her part is immediately and strongly attracted to Onegin. Lensky expresses his delight at seeing Olga and she responds flirtatiously. Onegin tells Tatyana of his boredom in the country and describes the death of his uncle and his subsequent inheritance of a nearby estate. Filippyevna recognizes that Onegin has had a profound effect on Tatyana.

Scene 2: Tatyana's room

Tatyana is dressed for bed. Restless and unable to sleep, she asks her nurse Filippyevna to tell her about her youth and early marriage. Tatyana confesses that she is in love. Left alone, Tatyana pours out her feelings in a letter to Onegin. She tells him that she loves him and believes that she will never feel this way about anyone else, and begs him to understand and help her. She finishes writing the letter at dawn. A shepherd's pipe is heard in the distance. Filippyevna enters the room to wake Tatyana. Tatyana persuades her to send her grandson to deliver the letter to Onegin.

Scene 3: Another part of the estate

Servant girls pick fruit and sing as they work. Tatyana waits anxiously for Onegin's arrival. Onegin enters to see Tatyana and give her his answer to her letter. He explains, not unkindly, that he is not a man who loves easily and is unsuited to marriage. He is unworthy of her love and can only offer her brotherly affection. He warns Tatyana to be less emotionally open in the future. The voices of the servant girls singing are heard again. Tatyana is crushed and unable to reply.

Act 2

Scene 1: The ballroom of the Larin house

A ball is being given in honour of Tatyana, whose name day it is. Onegin is dancing with her. He grows irritated with a group of neighbours who gossip about him and Tatyana, and with Lensky for persuading him to come to the ball. He decides to avenge himself by dancing and flirting with Olga. Lensky is astounded and becomes extremely jealous. He confronts Olga but she cannot see that she has done anything wrong and tells Lensky not to be ridiculous. Onegin asks Olga to dance with him again and she agrees, as "punishment" for Lensky's jealousy. The elderly French tutor Monsieur Triquet sings some couplets in honour of Tatyana, after which the quarrel between Lensky and Onegin becomes more intense. Lensky renounces his friendship with Onegin in front of all the guests, and challenges Onegin to a duel, which the latter is forced, with many misgivings, to accept. Tatyana collapses and the ball ends in confusion.

Scene 2: On the banks of a wooded stream, early morning

Lensky is waiting for Onegin with his second Zaretsky. Lensky reflects on his life, his fear of death and his love for Olga. Onegin arrives with his manservant Guillot. Both Lensky and Onegin are reluctant to go ahead with the duel, reflecting on the senselessness of their sudden enmity. But it is too late; neither man has the courage to stop the duel. Zaretsky gives them the signal and Onegin shoots Lensky dead.

Act 3

Scene 1: The house of a rich nobleman in St Petersburg

Five years have passed, during which Onegin has travelled extensively around Europe. Standing alone at a ball, he reflects on the emptiness of his life and his remorse over the death of Lensky. Prince Gremin enters with Tatyana, his wife, now a grand, aristocratic beauty. She is greeted by many of the guests with great deference. Onegin is taken aback when he sees Tatyana, and deeply impressed by her beauty and noble bearing. Tatyana, in turn, is overwhelmed with emotion when she recognizes him, but tries to suppress it. Gremin tells Onegin about his great happiness and love for Tatyana, and re-introduces Onegin to his wife. Onegin, suddenly injected with new life, realizes that he is in love with Tatyana. He determines to write to her and arrange a meeting.

Scene 2: A room in Prince Gremin's house

Tatyana has received Onegin's letter, which has stirred up the passion she felt for him as a young girl and disturbed her. Onegin enters. Tatyana recalls her earlier feelings and asks why Onegin is pursuing her now. Is it because of her social position? Onegin denies any cynical motivation: his passion is real and overwhelming. Tatyana, moved to tears, reflects how near they once were to happiness but nevertheless asks him to leave. He asks her to have pity. Tatyana admits she still loves Onegin, but asserts that their union can never be realized, as she is now married, and determined to remain faithful to her husband despite her true feelings. Onegin implores her to relent, but she bids him farewell forever, leaving him alone and in despair.

Venue Info

Mariinsky Theatre - Saint Petersburg
Location   1 Theatre Square

The Mariinsky Theatre is a historic theatre of opera and ballet in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres. Through most of the Soviet era, it was known as the Kirov Theatre. Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra. Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.

The theatre is named after Empress Maria Alexandrovna, wife of Tsar Alexander II. There is a bust of the Empress in the main entrance foyer. The theatre's name has changed throughout its history, reflecting the political climate of the time.

The theatre building is commonly called the Mariinsky Theatre. The companies that operate within it have for brand recognition purposes retained the Kirov name, acquired during the Soviet era to commemorate the assassinated Leningrad Communist Party leader Sergey Kirov (1886–1934).

The Imperial drama, opera and ballet troupe in Saint Petersburg was established in 1783, at the behest of Catherine the Great, although an Italian ballet troupe had performed at the Russian court since the early 18th century. Originally, the ballet and opera performances were given in the wooden Karl Knipper Theatre on Tsaritsa Meadow, near the present-day Tripartite Bridge (also known as the Little Theatre or the Maly Theatre). The Hermitage Theatre, next door to the Winter Palace, was used to host performances for an elite audience of aristocratic guests invited by the Empress.

A permanent theatre building for the new company of opera and ballet artists was designed by Antonio Rinaldi and opened in 1783. Known as the Imperial Bolshoi Kamenny Theatre the structure was situated on Carousel Square, which was renamed Theatre Square in honour of the building. Both names – "Kamenny" (Russian word for "stone") and "Bolshoi" (Russian word for "big") – were coined to distinguish it from the wooden Little Theatre. In 1836, the Bolshoi Kamenny Theatre was renovated to a design by Albert Cavos (son of Catterino Cavos, an opera composer), and served as the principal theatre of the Imperial Ballet and opera.

On 29 January 1849, the Equestrian circus (Конный цирк) opened on Theatre Square. This was also the work of the architect Cavos. The building was designed to double as a theatre. It was a wooden structure in the then-fashionable neo-Byzantine style. Ten years later, when this circus burnt down, Albert Cavos rebuilt it as an opera and ballet house with the largest stage in the world. With a seating capacity of 1,625 and a U-shaped Italian-style auditorium, the theatre opened on 2 October 1860, with a performance of A Life for the Tsar. The new theatre was named Mariinsky after its imperial patroness, Empress Maria Alexandrovna.

Under Yuri Temirkanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of both modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic Director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity. Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Israeli Opera, the Washington National Opera and the San Francisco Opera. Today, the Opera Company regularly tours to most of these cities.

Gergiev has also been innovative as far as Russian opera is concerned: in 1989, there was an all-Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s. Operas by non-Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trends. The annual international "Stars of the White Nights Festival" in Saint Petersburg, started by Gergiev in 1993, has also put the Mariinsky on the world’s cultural map. That year, as a salute to the imperial origins of the Mariinsky, Verdi's La forza del destino, which received its premiere in Saint Petersburg in 1862, was produced with its original sets, costumes and scenery. Since then, it has become a characteristic of the "White Nights Festival" to present the premieres from the company’s upcoming season during this magical period, when the hours of darkness practically disappear as the summer solstice approaches.

Presently, the Company lists on its roster 22 sopranos (of whom Anna Netrebko may be the best known); 13 mezzo-sopranos (with Olga Borodina familiar to US and European audiences); 23 tenors; eight baritones; and 14 basses. With Gergiev in charge overall, there is a Head of Stage Administration, a Stage Director, Stage Managers and Assistants, along with 14 accompanists.

Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00
Intervals: 2
Duration: 3h 50min
Sung in: Russian
Titles in: English,Russian
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