Eugene Onegin Opera North: Review

Tchaikovsky’s music is instantly recognisable from his popular ballets which are frequently seen on many touring schedules. His operas are less well-known. Even Eugene Onegin, considered by many to be an operatic masterpiece, is not often staged.

Indeed, this is Opera North’s first production of the opera in 25 years and the first time the company has performed it in Tchaikovsky’s native Russian with English subtitles.

While the unfamiliar title and the three-hour-15-minute run time, might put some off, I would urge even first-time operagoers to give it a try. It is a real treat to see this opera live, especially given the quality of this production. It has a strong, relatable story that is easy to follow. And although there aren’t advert jingle arias, the sweeping romanticism of Tchaikovsky’s score will appeal to any fan of his work. Under the baton of Garry Walker, Opera North’s resident orchestra bring a filmic dimension to the score, which feels like a soundtrack as much as an accompaniment to the singers.

The opera is based on the novel of the same name by Alexander Pushkin. Although Eugene Onegin is the title character, it largely follows the story of Tatyana who lives in a rural community with her sister Olga. Olga is more vivacious and carefree than Tatyana, and she is showy and passionate in her love for their neighbour Lensky. When Lensky arrives one day with his friend Onegin, Tatyana falls hopelessly in love and is devastated to have her declaration rejected. This is a sliding doors moment for the two characters who we follow for a decade into adulthood along with the complexities those years bring. Of course, with this being opera there is heightened dramatic moments, but for the most part it is the relatable human emotions that draw us in.

Director Patrick Nolan moves this 19^th century opera to the late 20^th century, opening in 1980 in a gymnasium where villagers are preparing for the Summer Olympics to be held in Russia later that year. Leslie Travers’ sparse and inventive set gives the audience reminder of the political context by flying the hammer and sickle flag of the former Soviet Union and hanging images of Lenin. As the years progress these fade and the raked sports’ seating spin to create an elaborate staircase welcoming the era of oligarchs where wealthy guests party in the aftermath of the collapse of the Soviet Union.

Throughout there is a starkness of grey concrete. In contrast Malcom Rippeth’s lighting bursts through with natural world hope that mirrors the lifting of Tatyana’s young heart.

John Brancy makes for a chillingly cold Onegin, whose lack of empathy only serves to heighten the everyday emotions of those around him. Verity Wingate is outstanding as Tatyana, bringing both a purity of tone to her singing and convincing depth to her acting that is mesmerising. Even when there was an unexpected crash in the auditorium during her “Letter Scene” aria she didn’t miss a beat and kept the audience wrapped in the moment.

The whole company is excellent, although tenor Kamil Bien deserves special mention for the playfulness and passion he brings to Lensky. His aria ‘Where have you gone, O golden days of my Spring’ was so beautifully sung that I heard some in the audience say they felt an urge to stand up and shout ‘No!’ at the untimely fate of his character.

It is an absorbing watch that I hope we’ll not have to wait 25 years to experience again.

Opera North Eugene Onegin was at Lowry, Salford on 13 November 2026 as part of their Autumn Season tour, which includes Verdi’s Rigoletto on 12 and 14 November.