Eugene Onegin

Staged in 1996, Tchaikovsky’s opera Eugene Onegin in Evgeny Kolobov’s interpretation is a classical manifestation of and the ultimate in the author’s theatre, which the Novaya Opera was in the lifetime of its founding father. Kolobov engaged a remarkable creative team to work on the project. It was the conductor that became the chief invisible director of the production, defining its focal points and drama orientation.

Evgeny Kolobov:“Eugene Onegin is virtually a tragedy. Anyway, that’s how I hear this opera, how I feel it. This is why, for me, this opera is a Duel, with the capital “D”, between Onegin and Lensky, Lensky and Olga, Onegin and Tatyana, Tatyana and Gremin. It is no coincidence that in the first version of the Tchaikovsky opera, the last words of the protagonist were: “O death, I’m looking forward to you!”, and with these words I finish my production.” In addition, in Kolobov’s version the final words are followed by the music of the fifth, “duel” scene (excerpts from the introduction and the theme of Lensky’s last aria). 

Evgeny Kolobov about the production. 

“I can’t understand how it could be possible to make a Russian tall tale from this opera, to make jam, when Life is being murdered…”

“…When Gremin sings his aria, he is not alone; all the chorus is there and all the generals sing one of the stanzas instead of him and as if together with him. Because this is a tragic aria, and not what is usually sung: “All men surrender to Love's power” (meaning that I’m quite a man, I can love - such a self-conceited, youthy man’s man). But this is a tragic aria - why have I fallen in love with this girl? He is a man who has gone through the war and has lived a long life; he understands that she doesn’t love him! She is faithful to him, but she doesn’t love him! This is the tragedy that “all men surrender to” — that’s the point! This is a heart cry, not boasting!“

‘”No one understands me” — this is what the production is about …’

The production was awarded the Golden Mask national theatrical prize as the best musical performance of the 1996/97 season

Press

I have pondered over Kolobov’s version one more time. True, he made some reductions. He changed something. And he even added a small epilogue. But he did it all to underline the sense of Tchaikovsky’s opera. 

Golos Publiki
22 August 2015

In this production the orchestra is slightly elevated, whichmakes it possible to watch with one’s own eyes the birth of overlapping motifs and cross-talk of instruments which abound in this opera. The fact that the orchestra is not in the pit gives soft sounding with large piano. In general, making the orchestra part of the stage design is the unique merit of the production which I appreciate every time.

Golos Publiki
21 August 2014

Kolobov’s Onegin is a revelation. It is a breakthrough towards the main point, towards the core of the composition which hasfor so long deceived the world with its lyrical simplicity.

Obschaya Gazeta,
24-30 October 1996

The most remarkable thing is that it is not an ordinary opera with its bulky routine pomp, but exactly what Tchaikovsky wanted: lyrical scenes, only with very deep tragic undertones and a large-scale music background. 

Kultura newspaper,
16 November 1996

It would seem that there is nothing new to be heard in all too familiar Eugene Onegin. And then you suddenly realize that you hear for the first time this well-known and so unrecognizable music, which shrills you through, making you feel pinching sadness, delight, pleasure and purification.

Vek newspaper,
22-28 November 1996

One should observe and listen to this productionvery carefully, looking not for any particulars, but for the artist’s state of mind.

Muzykalnaya Zhizn Magazine,
Number 2, 1997