English Touring Opera's revival of the 2007 production of Eugene Onegin opens with a stage covered in apples and slashed diagonally with a framework covered in reflective mesh. Boughs heavy with fruit hang low. The women sing as they gather the crop. Larina, sweet-voiced Harriet Williams, reminisces with Filipyevna, her daughters' nanny (Frances McCafferty) as they hear the girls in their singing lesson. The bucolic tranquillity is shattered when Olga's intended, Lensky, arrives with his friend Onegin who has just inherited a neighbouring estate.

Despite being a late substitution for the unwell Niamh Kelly, Martha Jones is an excellent Olga, a jolly, down-to-earth contrast to her dreamy, romantic sister Tatyana (Sarah-Jane Davies) who, inevitably, falls for the elegant and sophisticated Onegin - Nicholas Lester devilishly handsome in black.

Rich-voiced McCafferty is a fond nurse, torn between protecting her precious nurseling from herself and giving her the chance of happiness. In the letter song, Davies convincingly portrays Tatyana as an over-excitable teenager. The remorse of the morning after the night before is only made worse by Onegin's quite reasonable and considerate pointing out of her lack of conduct, and his undertaking of confidentiality.

The party scene is well played - fun rather than elegant, with giggly girls gossiping through M'sieur Triquet's (Andrew Glover) paean to Tatyana. The quarrel explodes easily from Onegin's decision to tease his friend to alleviate the tedium of the evening.

The following morning, it is snowing when Lensky arrives for the duel - Guy Hoare's snowflakes projected on the mesh fall in flurries, drift down in large flakes or form momentary whiteouts. Jaewoo Kim's big aria as Lensky contemplates his life and possibly imminent death is impressive - one can almost forgive him the petty jealousy which brought him to this place.

But life goes on, and Lester is a well-jaded traveller by the time he attends Prince Gremin's ball. The formality of this dance, with the white gowns of the women and the evening dress of the men, marks the contrast with the jollity of the party at Larins'. As Gremin, Stephen Holloway's aria in praise of Tatyana and late-flowering love is full of warmth and sincerity.

The tables turned, Onegin importunes Tatyana with letters, finally forcing his way into her house to confront her. Davies' distress is palpable, as she is torn between duty to the man who loves her and her attraction to the man who broke her heart (and, possibly, spirit). Onegin's distress is no less real and Lester wins our sympathy for a man who has brought such grief upon himself.

Director James Conway and designer Joanna Parker give us an uncluttered staging which allows the music - and characters - to sing, to reach out and win our sympathy for a group of individuals trying to make the best of what life and their own decisions have given them. Michael Rosewell - also recently coaching on TV in conducting reality show MAESTRO - and the orchestra provide a full, rounded sound in the confines of the Perth pit.