Recommended for Grades 6-12
In this resource, you will:
- Learn the opera’s background and synopsis
- Meet the opera’s composer
Eugene Onegin
by Pyotr Ilyich Tchaikovsky
Eugene Onegin
by Pyotr Ilyich Tchaikovsky
A quick overview of Tchaikovsky’s 1879 opera based on Alexander Pushkin’s novel about regret.
Premiered
1879
Music by
Pytor Ilyich Tchaikovsky
Libretto by
Pytor Ilyich Tchaikovsky
and Konstantin Shilovsky
Language
Russian
Background
When a singer friend of Pyotr Ilyich Tchaikovsky suggested the composer write an opera based on Eugene Onegin, the iconic Russian novel by Alexander Pushkin, Tchaikovsky thought it was a curious but risky idea. Yet once he read the book, he found himself inexplicably drawn to Pushkin’s innocent heroine and the novel’s straightforward themes of young life and love—so much so, that he decided to get composing right away. This was perhaps in part because, only weeks before, Tchaikovsky had himself received a love letter much like the one Tatiana writes to Onegin in the story. And, like Onegin, Tchaikovsky had chosen to distance himself from his young admirer, Antonina.
Similar to Onegin, Tchaikovsky changed his mind. His courtship with Antonina was complicated and tumultuous, and yet—perhaps inspired by his deep respect for Tatiana’s character—Tchaikovsky eventually proposed marriage. The date of Tchaikovsky’s proposal and the composition of Tatiana’s famous “Letter Scene” came within days of each other. Antonina accepted. The marriage didn’t last long, but the opera remains a success to this day.
Outside of the opera house, Eugene Onegin lives a whole other life as one of the most celebrated pieces of Russian literature of all time. Written over a span of eight years by the eminent national author Alexander Pushkin, the unusual novel-in-rhyming-verse is equal parts satirical social commentary and pure, unadulterated nostalgia. Its central tragic love story (boy meets girl, boy snubs girl only to discover, too late, he actually loves her) is about as good as dramatic irony gets. Additionally, its heroine, Tatiana, is viewed by many as the ultimate moral ideal—a perfect example of grace and dignity under pressure.
Pushkin’s sweeping novel comes to vivid life in Tchaikovsky’s masterpiece. Young Tatiana confesses her devotion to the worldly Onegin, but his cold refusal devastates her. Years later, when Tatiana matures, it is Onegin who begs for her love. Will Tatiana embrace the man she once longed for? Or will Onegin forever be the victim of his own bitter decision?
Synopsis
Act I
The Russian countryside: Larin Estate, early 1800s.
Meet the Larin sisters. These two ladies couldn’t be more different—Tatiana (tah-tee-YA-nah) is dreamy and loves to read, Olga (OHL-gah) is feisty and likes to dance…you get the idea—but neither of them can resist a good song. Together with their mother, Madame Larina (lah-REE-nah), they celebrate the fall season along with a chorus of servants preparing for harvest.
Enter Eugene Onegin and his friend, a poet named Vladimir Lensky (LEHN-ski). At just under 20 years old, former city dweller Onegin is the new owner of a nearby estate (thanks to an inheritance). But Onegin is bored. With everything. Books, parties, polite society…nothing seems to please him. Least of all, women. Still, he agrees to visit the Larin sisters with Lensky, who’s happily engaged to Olga.
Onegin does Lensky the favor of entertaining Tatiana while the lovebirds flirt among the Larin woods. And while Onegin thinks Tatiana is somewhat interesting, he doesn’t find her captivating enough to give up his bachelor ways.
But here comes the first twist: After just one conversation, Tatiana is instantly and permanently smitten with the cynical and distant Onegin. (Yup, you read that right.)
A short time later, a sleepless Tatiana impulsively decides to write an impassioned letter to Onegin, pouring out her heart on paper and confessing her undying love, claiming her future is now in his hands.
Tatiana asks her nanny, Filippyevna (fee-LEEP-nyehv-nah), to help her deliver the letter to Onegin and, for days, waits anxiously for his reply.
When he finally does respond, things don’t go well.
Deciding to break the news to her face to face, Onegin returns to Tatiana’s estate and does his best to let her down gently. But his “It’s not you, it’s me” approach falls short when he implies that, though he’s attracted to her, he’d soon grow tired of her. Arrogantly dismissing her love as youthful folly, he cautions her to control her emotions. (Yeah, it’s pretty brutal.)
Act II
A few months later, Onegin unwisely lets Lensky drag him to a dance in honor of Tatiana’s name day (a Russian Orthodox tradition that’s sort of like a birthday party). Onegin equally unwisely asks Tatiana to dance, and as soon as they’re spotted together, gossipy whispers are heard among the crowd.
As the guests wonder aloud if the conceited Onegin is good enough for Tatiana, Onegin decides he’s had it. Annoyed at Lensky for bringing him in the first place, Onegin resolves to flirt shamelessly with Olga for revenge.
Olga and Onegin get a bit too close during the next few waltzes, and Lensky is frustrated and confused. He demands Olga save the next dance for him, but she announces she plans to dance with Onegin one more time to punish Lensky for being overly jealous.
The flirting between Olga and Onegin continues during a French poet’s performance of a song for Tatiana, and Lensky is beside himself. In front of the entire ballroom, he denounces Onegin as an evil seducer of women and challenges him to a duel (…yikes). Realizing he’s gone too far but still wanting to save face, Onegin accepts.
Just before dawn, the two men meet in the snowy countryside. After briefly recollecting how close they once were and how angry and bitter they’ve become, they take aim and fire… and Lensky falls to the ground dead.
Act III
Moscow: some years later.
Onegin, haunted by the memory of Lensky, has tried to bury his sorrows in travel. Wandering aimlessly, he’s arrived in Moscow hoping for some distraction (good luck with that, buddy).
At a ball in the city—much more upscale than the country dance at the Larin Estate—he runs into Prince Gremin (GREH-min), a relative of Onegin’s who’s recently been married to…wait for it…Tatiana. Onegin is shocked to discover Tatiana isn’t at all like he remembers; where she once seemed simple and naive, she now appears regal and mature. Even more strange? She barely seems to remember him.
And here’s the second twist: Onegin finds this newer, more self-possessed Tatiana irresistible. That’s right, now that she’s avoiding him, he’s fallen hard…and he’s completely aware of the cruel irony.
Determined to take one final stab at happiness, Onegin decides to write Tatiana his own letter in the hopes of winning her back.
But will his words be enough to undo the damage he’s done? Can Tatiana forget what’s passed and run away with him? Will first love triumph over honor?
Meet the Artists
Listen to the Story
Ilya Repin (1844–1930), Eugene Onegin and Vladimir Lensky’s duel, watrercolor, white lead and India ink on paper, 1899 [].
Presented by Washington National Opera, host Saul Lilienstein takes you through the musical world of Tchaikovsky’s 1879 opera based on Alexander Pushkin’s novel about regret, Eugene Onegin.
Watch an Excerpt
The final scene from Tchaikovsky’s Eugene Onegin with Renee Fleming and Dmitri Hvorostovksy. Production by Robert Carsen.
-
Written by
Eleni Hagen
-
Edited by
Lisa Resnick
-
Photo by
Scott Suchman
for Washington National Opera -
Produced by
Kennedy Center Education
DIgital Learning
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