Eugen Onegin - Schedule, Program & Tickets

Eugen Onegin

musical direction
Tomáš Hanus
Staging and stage
Dmitri Tcherniakov
Costumes
Maria Danilova
light
Gleb Filshtinsky
Co-costume designer
Elena Zaytseva
Larina
Helene Schneiderman
Tatiana
Nicole Car
Olga
Anna Goryachova
Filipievna
Larissa Diadkova
Eugene Onegin
Andrè Schuen
Lenski
Bogdan Volkov
Prince Gremin
Dimitry Ivashchenko
Saretzki
Dan Paul Dumitrescu

With his »lyrical scenes in three acts«, premiered by a student ensemble at Moscow's Maly (di Small) Theater in 1879, Tchaikovsky abandoned the »grand style« that was largely binding for the opera of his time: »I don't need tsars, tsaresses, popular uprisings, battles, marches ... I am looking for an intimate but strong drama that is based on the conflicts that I have experienced or seen myself, which can affect me deeply. "

The composer found such an intimate drama in Alexander Pushkin's verse novel Eugene Onegin (1833), which went down in cultural history as the »Encyclopedia of Russian Life«. In it, Pushkin masterfully depicts the life of the then contemporary society in all its diversity. With his titular hero, he designed the later so-called »superfluous people« for the first time, a recurring archetype of Russian literature.

The fame of its model initially stood in the way of the opera's reception for some time - especially in Russia itself. Despite the immediate appreciation of its music, it was perceived as a corruption of a cultural monument of national literature. Among the writers, the rejection of Ivan Turgenev's horrified letter to Tolstoy from the year of the premiere ("Imagine: Pushkin's verses about the characters put them in your mouth!") To Vladimir Nabokov, who in the 1964 commentaries His translation of Pushkin's novel never tires of scourging Tchaikovsky's "slapdash opera" ("Opernschmarrn"). The success of what is currently the most famous Russian opera - alongside Boris Godunow - was initially delayed as a result. Today we are able to live up to its aesthetic and dramaturgical autonomy, which is not exhausted in its certainly extraordinary musical beauties ...

Subject to changes.

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