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The important balance to be struck in any production of Tchaikovsky's Eugene Onegin is between, on the one hand, the long lyrical monologues (Tatiana's letter scene, Lensky's aria, Gremin's praise of his wife) and the crucial confrontations between Tatiana and Onegin with the more public scenes in which these private emotions evolve into tragedy and disillusion. In this European Union Opera production, Gennadi Rozhdestvensky finds this balance effortlessly. The chorus that dances its way through the small-town ball that ends in Lensky's challenge is as much a character in the tragedy as the principals. The principals are excellent, too. Orla Boylan is good both as the mature Tatiana and as the callow girl who first falls for Onegin, while Vladimir Glushchak's Onegin is a convincing object of her devotion as well as a self-pitying egoist who wrecks his own life and those of Olga and Lensky. The orchestral sound is convincing but unexciting. --Roz Kaveney
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