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© Julien Benhamou / OnP
Onegin
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First part
Act 1 – In the country
Scene 1 – MADAME LARINA’S GARDEN
Madame Larina receives the friends of her daughters Tatiana and Olga. While cheerful Olga is focused on her new dress, the more romantically inclined Tatiana remains absorbed by her book. Madame Larina glances nostalgically at the mirror on the table. It is said that whoever looks into it will see the face of their beloved.
The myth becomes reality when Olga peers into the mirror and sees the reflection of her recently-arrived fiancé, the poet Vladimir Lensky. However, when it is Tatiana’s turn to look into the mirror, she discovers the face of a stranger. His name is Eugene Onegin and he has come from Saint Petersburg to visit his friend Lensky. Onegin is a rather jaded man who casts an ironic eye on everything and everyone. He does not really pay attention to Tatiana, but after he leaves, Tatiana is left profoundly unsettled.
Scene 2 – TATIANA’S BEDROOM
The usually reserved Tatiana writes an impassioned letter to Onegin, which she then rips up and then rewrites. Exhausted, she drifts into slumber. As she sleeps, she dreams of the man whoappeared in the mirror and inspired love in her.
Second part
Act 2
Scene 1 – MADAME LARINA’S HOUSE
Tatiana’s birthday is being celebrated. Lensky and Onegin are among the guests. Maintaining a certain aloofness, Onegin asks Tatiana to dance, but quickly abandons her to sit at a gaming table. Disconcerted, Tatiana, who was waiting for a sign in response to her letter, tries to talk to him.
When Onegin returns her letter to her Tatiana bursts into tears. Irritated by her reaction, Onegin rips up the letter in front of her. The arrival of Prince Gremin, a family friend, serves as a distraction. However, when a cynical Onegin starts flirting with Olga, he arouses Lensky’s jealousy which results in the latter challenging his former friend to a duel.
Scene 2 – A DESERTED PARK
Lensky is the first to arrive at the scene of the duel. Olga and Tatiana beg him to abandon the confrontation. Onegin also seems ready to make amends, however, the romantic poet, his self-esteem injured, demands that redress be made. Onegin aims his pistol. A shot rings out and Lensky falls to the ground.
Third part
Act 3 – Saint Petersburg
Scene 1 – a ball at Prince Gremin’s home
Ten years have passed. Eugene Onegin has travelled far and wide but he returns to Saint Petersburg without any illusions. Invited to the ball given by Prince Gremin, he recognises Tatiana and discovers that she is now the Prince’s wife. The romantic adolescent has become an elegant young woman.
He rushes towards her but Tatiana turns away. Shaken, he sees his past unfold before his eyes and is left with the feeling he has wasted his life by forsaking his one great love.
Scene 2 – Tatiana’s boudoir
Onegin writes a letter to Tatiana announcing his imminent arrival. Tatiana dreads the encounter and in vain pleads with her husband not to leave her alone that evening. Onegin arrives and reveals his feelings for her. Tatiana tries to resist while recognising she has never stopped loving him.
However, her conscience commands her to conceal her passion. Repeating the same hurtful gesture, she rips up Onegin’s letter in front of him.
Program and cast
Ballet in three acts
After Alexandre Pouchkine
Creative team
John Cranko - Choreography
Piotr Ilyitch Tchaïkovski - Music
John Cranko - Libretto
Vello Pähn - Conductor
John Cranko - Director
Jürgen Rose - Set design
Steen Bjarke - Lighting design
With the Paris Opera Étoiles, Premières Danseuses, Premiers Danseurs and Corps de Ballet
The Paris Opera Orchestra
Duration : 2h20 with 2 intervals
Opening
First part - 40 minutes
Intermission 20 minutes
Second part - 30 minutes
Intermission 20 minutes
Third part - 30 minutes
End
Paris Opera Palace Garnier
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The Paris Opera (French: Opéra de Paris, or simply the Opéra) is the primary opera company of Paris. It was founded in 1669 by Louis XIV as the Académie d'Opéra and shortly thereafter was placed under the leadership of Jean-Baptiste Lully and renamed the Académie Royale de Musique. Classical ballet as we know it today arose within the Paris Opera as the Paris Opera Ballet and has remained an integral and important part of the company. Currently called the Opéra national de Paris, it primarily produces operas at its modern 2700-seat theatre Opéra Bastille which opened in 1989, and ballets and some classical operas at the older 1970-seat Palais Garnier which opened in 1875. Small scale and contemporary works are also staged in the 500-seat Amphitheatre under the Opéra Bastille.
The company's annual budget is in the order of 200 million euros, of which 100 million come from the French state and 70 million from box office receipts. With this money, the company runs the two houses and supports a large permanent staff, which includes the orchestra of 170, a chorus of 110 and the corps de ballet of 150
Each year, the Opéra presents about 380 performances of opera, ballet and other concerts, to a total audience of about 800,000 people (of which 17% come from abroad), which is a very good average seat occupancy rate of 94%In the 2012/13 season, the Opéra presents 18 opera titles (two in a double bill), 13 ballets, 5 symphonic concerts and two vocal recitals, plus 15 other programmes. The company's training bodies are also active, with 7 concerts from the Atelier Lyrique and 4 programmes from the École de Danse.
The Palais Garnier is a 1,979-seat opera house, which was built from 1861 to 1875 for the Paris Opera. It was originally called the Salle des Capucines because of its location on the Boulevard des Capucines in the 9th arrondissement of Paris, but soon became known as the Palais Garnier in recognition of its opulence and its architect, Charles Garnier. The theatre is also often referred to as the Opéra Garnier, and historically was known as the Opéra de Paris or simply the Opéra, as it was the primary home of the Paris Opera and its associated Paris Opera Ballet until 1989, when the Opéra Bastille opened at the Place de la Bastille. The Paris Opera now mainly uses the Palais Garnier for ballet.
The Palais Garnier is "probably the most famous opera house in the world, a symbol of Paris like Notre Dame Cathedral, the Louvre, or the Sacré Coeur Basilica." This is at least partly due to its use as the setting for Gaston Leroux's 1910 novel The Phantom of the Opera and, especially, the novel's subsequent adaptations in films and Andrew Lloyd Webber's popular 1986 musical. Another contributing factor is that among the buildings constructed in Paris during the Second Empire, besides being the most expensive, it has been described as the only one that is "unquestionably a masterpiece of the first rank." This opinion is far from unanimous however: the 20th-century French architect Le Corbusier once described it as "a lying art" and contended that the "Garnier movement is a décor of the grave".
The Palais Garnier also houses the Bibliothèque-Musée de l'Opéra de Paris (Paris Opera Library-Museum). Although the Library-Museum is no longer managed by the Opera and is part of the Bibliothèque nationale de France, the museum is included in unaccompanied tours of the Palais Garnier.
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