Eugene Onegin at the Met
From left to right: Selected videos from the Metropolitan Opera’s production of Eugene Onegin.
Earlier this month, I went to the movie theater to see the Metropolitan Opera’s production of Tchaikovsky’s Eugene Onegin.
The title role was performed by Iurii Samoilov, and Asmik Grigorian portrayed Tatiana. Needless to say, it was a magnificent performance by world-class singers, and Deborah Warner’s direction was incredibly poetic and beautiful.
Following The Queen of Spades, which I was fortunate enough to see live last year, this was my second time experiencing a Tchaikovsky opera. Once again, I found myself completely captivated by his romantic, richly textured, and powerful orchestration.
The first thing that struck me was how richly and lyrically the subtle, internal emotions were portrayed, living up to the subtitle Tchaikovsky himself gave the work: “Lyrical Scenes.” The constantly shifting harmonies of the orchestra, combined with the singers’ vocal colors, gestures, and facial expressions, were deeply moving. It felt entirely distinct from Italian, German, or French opera—there is a unique, dark, melancholic undercurrent, with a certain earthiness, and the emotional layers feel incredibly dense. The atmosphere I felt might perhaps stem from the suppressed emotions deeply rooted in the social climate and harsh environment of Russia at that time.
Furthermore, perhaps because it is based on great literature, I noticed how dramatically the atmosphere shifts from scene to scene. The focus naturally transitions from one character to another, illuminating their inner worlds, which makes the progression feel deeply driven by storytelling.
During the highly emotional, sweeping aria sections, there were many moments when the singer and the orchestra seemed to carry the same melody in a tight stretto. This made me realize just how crucial the orchestra’s role is in mirroring and heightening the characters’ emotions.
Grigorian’s “Letter Scene” was absolutely breathtaking. Beyond the sheer beauty of the music, her portrayal of Tatiana’s transformation—from doubt and anxiety to absolute certainty and overwhelming passion—was masterful. It perfectly set up Onegin’s cold rejection that followed, as well as their reversal of roles at the end of the opera.
When watching a performance of this caliber, there are rare moments when the performer completely disappears into the character, and I believe that kind of artistry shows in the eyes. The eyes never lie. The contrast in Onegin’s eyes—from his initial look of disdain to his desperate, longing eyes in the final act—was equally stunning. I believe that the same is true in piano playing. Every work has its own distinct character and story, and allowing that character to inhabit you, as it does with great artists like those in this production is one of the things that creates truly sublime expression.
This has quickly become one of my favorite operas.
While nothing can truly match the magic of a live, in-person performance, the Live in HD experience is a luxury I am so grateful for. Having subtitles, seeing the subtle trembling of a hand and the singers’ tiniest facial expressions from a proximity you could never experience from a theater seat, watching their eye contact with the conductor, and getting a glimpse behind the scenes through the interviews—it is truly wonderful.
I am grateful for all of it.
