Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Eugen Onegin

Die Premiere von Tschaikowskys Oper wurde zwar am Libretto vorbei inszeniert, bot aber musikalisch dafür umso Hochkarätigeres.

Bei diesem Repertoireabend in der Wiener Staatsoper entschädigte das auf höchstem Niveau agierende Sängerensemble für eine Inszenierung, die außer Schnee und Eis nicht sonderlich viel zu bieten hat.

Das junge Ensemble des Theater an der Wien konnte in einer gekürzten, kammermusikalischen Fassung des Eugen Onegin zwar nicht restlos überzeugen, bot aber einen interessanten Blick auf Tschaikowskis Meisterwerk.

Étienne Dupuis et Nicole Car ont remporté tous les suffrages dans les deux rôles principaux de l'opéra Eugène Onéguine à l'Opéra de Montréal, dans une production à peu près sans faille.

Every July, Buxton’s charming opera house hosts an international festival of opera, literature and the arts. This year the festival opened with a strong familiar favourite, Tchaikovsky’s Eugene Onegin.

Robert Carsen's Eugene Onegin was binned by the Met but works wonderfully in its revival by the Canadian Opera Company COC with high class singing and acting from a young, engaging cast.

Director Oliver Mears turns Scottish Opera’s Eugene Onegin into a memory play, with fine singing from a strong cast starring Natalya Romaniv as a thrilling Tatyana.  

Young soprano Cornelia Beskow impresses as Tatyana in an all-Swedish performance of Tchaikovsky’s masterpiece.

Tchaikovsky's opera packs a powerful emotional punch in the Komische Oper's concentrated and dreamlike production.

The cavernous Mayflower pit eats singers for breakfast and only Natalya Romaniw’s full-blooded Tatyana escaped its jaws unmarked

Barrie Kosky’s atypically conservative production of the Russian classic was marked by musical direction and vocal performances of the highest order.

En invitant la prestigieuse troupe du Bolchoï de Moscou pour une représentation d’Eugène Onéguine de Tchaïkovski, la direction du Festival d'Aix-en-Provence a permis la réalisation d’un miracle.

Director Vasily Barkhatov’s production of Eugene Onegin travels to Darmstadt. 

In April, Peter Mattei and Anna Netrebko were starring together in Eugene Onegin at the Metropolitan Opera. Less than a month later and they are reunited in Paris in Willy Decker's staging.

Co-opera is a remarkable opera company currently taking an attractive performance of Eugene Onegin to large cities and small towns throughout Australia.

The evening was dominated by Anna Netrebko, who reprised the role of Tatiana with fresh insights and vocal charisma.  Robin Ticciati led the Met Orchestra to probe a new depth of the score.

The finale was the dramatic and musical high of the night, when both Ana María Martínez and Mariusz Kwiecień let themselves cut loose, laying waste to the bare stage.

Deep in Dorset, Anna Patalong gives a powerful Tatyana, ably supported by a well-taught chorus in an English translation of Tchaikovsky's opera of hearts and friendships broken.

A disappointing staging for the Jette Parker Young Artists' annual showcase at the Royal Opera House. 

Michael Boyd's stylish new production is broadly traditional, apart from beyond-the-grave appearances by Lensky. 

Barrie Kosky's new production of Eugene Onegin at the Komische Oper Berlin is delicious for the eyes, ears and emotions. 

Would a younger soprano taking the role of Tatyana blur Kasper Holten's "dancing doubles" vision of Eugene Onegin at the Royal Opera House?

Re-imagining this opera with Prince Gremin as the show-stealer was no doubt a happy accident.

Tchaikovsky’s passionate drama is put into the deep-freeze by chilly stage designs.

Stephen Medcalf's meticulous staging of Tchaikovsky's bitter masterpiece is lit up by Jung Soo Yun's Lensky, giving a direct injection of emotions: verismo before its time.

Warlokowski's staging of Eugene Onegin for the Bayerische Staatsoper works from a bold premise: Onegin is gay. Strong musical and dramatic performances keep the concept coherent and interesting, but it ultimately doesn't convince.

Une production sans risques, portée par de belles interprétations.  

Eugene Onegin: regrets, broken dreams and sorrow are perfectly rendered in this staging, as the callous dandy's icy heart eventually melts.

Kasper Holten's innovative production of Tchaikovsky's Eugene Onegin comes to Sydney, with Nicole Car outstanding as Tatyana.

From Studio to Stage was the name of this year’s summer performance by young artists on the Jette Parker programme at the Royal Opera House. The programme includes not only singers but also conductors/répétiteurs, a pianist, a lighting designer and stage director Pedro Ribeiro, who surely wins the prize for best headshot.

The scene in Tchaikovsky’s Eugene Onegin where the peasants, weary from gathering in the harvest, sing and dance for the woman who owns the estate (and, for that matter, owns them) is perhaps not the best example of gritty social realism in opera.

For an opera school production, it's a good idea to choose a classic: something that will focus the audience on the quality of the singers and orchestra rather than on innovation in the piece or programming.

Tchaikovsky’s Eugene Onegin is one of the most beautiful scores in the operatic repertoire, and I don’t blame people who come to it looking forward to immersing themselves in the warm bath of the familiar story and music.

Eugene Onegin, a lyric opera by Pyotr Tchaikovsky, is based on Pushkin’s novel of the same name, converted into an operatic libretto by Konstantin Shilovsky. It tells the tale of a selfish hero, Onegin, who rejects the outburst of love from the young Tatyana and instead flirts with her older sister, Olga, who is engaged to his best friend, Lensky. This leads to a duel, in which Lensky is killed.

Eugene Onegin is one of the greatest of all operas, both musically and dramatically: Tchaikovsky's temperament and compositional proclivities find in the libretto the perfect characters and subject matter such that his particular genius is allowed to flourish and bloom, more fully and voluptuously than he ever managed before or after in the genre of opera.

Young man spurns the love of a good woman. Time passes. Man realises the error of his ways, but it is too late. It's not exactly the most taxing of plot lines, but in Eugene Onegin, Alexander Pushkin turned it into a masterpiece.