Interludes

THE HANGOVER REPORT – In a number of notable debuts, a wonderfully game young cast takes on Tchaikovsky’s EUGENE ONEGIN at the Met

• By drediman
• April 22, 2026
• No Comments

Earlier this week, the Metropolitan Opera brought back its production of Tchaikovsky’s Eugene Onegin, a revival distinguished by a handful of notable Met debuts. Overall, the performance seethed of Russian character, which isn’t surprising given that a good majority of the (young) artists involved were of Russian, Lithuanian, or Ukrainian descent. Overall, Deborah Warner’s detailed production — which was brought over from the English National Opera in 2013 — continues to exude tastefully stylized naturalism, although I do continue to miss Robert Carsen’s strikingly minimalist production that Warner’s staging replaced. It’s arguably bland, but certainly not offensive.

Luckily, the central performances — a trio of wonderfully game Met role debuts — were largely excellent, charging the opera with the depth of their portrayals. Chief among these was Lithuanian soprano Asmik Grigorian, whose simmering introspection as Tatiana was the emotional nexus around which the drama revolved. A natural and subtle actress, she brought convincing grit and vulnerability to the role, which was manifested in the incisive way she used her full, emotive soprano in complete service of the character’s emotional journey. In the title role, Ukrainian baritone Iurii Samoilov — in even and forceful voice — brought just the right amount of haughtiness without deeming the character totally unlikeable. Suffice to say, their scenes together were psychologically nuanced and ultimately gripping. In the smaller roles of Lenski and Olga, mezzo-soprano Maria Barakova and tenor Stanislas de Barbeyrac, respectively, were predictably attractive in performances that didn’t quite have the shading of Grigorian or Samoilov’s portrayals.

Another notable and confident company debut was in the pit, where young Russian conductor Timur Zangiev led the mighty Met Orchestra. In short, his account of Tchaikovsky’s luscious score seethed with thrilling vitality. At only 32 years of age, he exhibited innate dramatic instincts and an extraordinary ability to passionately be in the moment at all times, driving the storytelling with the score’s orchestral coloring/texturing every bit as the aforementioned cast’s performances. As ever, the Met Chorus showcased their excellence throughout (their expert work was especially sensitively wrought during the opera’s organic and more leisurely-paced pastoral first act).

RECOMMENDED

EUGENE ONEGIN
Opera
The Metropolitan Opera
3 hours, 40 minutes (including two intermissions)
In repertory through May 16