Eugene Onegin – review

Tchaikovsky's most famous opera turns on an ironic reversal of roles between its two central characters. Near the beginning, the impetuous Tatyana's over-hasty love letter to her more sophisticated new neighbour meets with a cold rebuke; but by the final scenes, the subsequently socially isolated Onegin has belatedly fallen in love with the now married woman, who feels duty-bound to reject him.

In Stephen Medcalf's production for Grange Park Opera, neither Susan Gritton as Tatyana, nor Brett Polegato as Onegin convincingly suggests the crucial youth of their character, though the baritone sings vividly and acts with energy. Gritton, suffering from a bug, negotiates Tchaikovsky's vocal writing with her lyric soprano scarcely impaired, yet Tatyana's painful vulnerability is only partially realised.

The opera's second doomed romantic couple – Onegin's friend Lensky, whom he callously despatches in a duel, and Tatyana's more down-to-earth sister, Olga – also work hard at their roles. Even so, Robert Anthony Gardiner needs a stronger top register as he stares death in the face, while Frances Bourne offers warmth and immediacy as Olga.

Standing out from the rest of the cast is Clive Bayley as Tatyana's elderly husband Prince Gremin, his last-act aria a high point of immaculate singing and focused acting. Medcalf unnecessarily brings the Prince back at the end, carrying a pistol, as if ready to shoot his crestfallen rival. It's one of several moments in the show where the director's surefooted approach feels absent. Visually, Francis O'Connor's late‑19th-century designs are handsome, with glamorous costumes for the ball scenes, which make regular use of a balcony above the main set.

Conductor Martyn Brabbins also has a mixed night; he draws confident playing from the Bournemouth Symphony Orchestra, though there's the odd moment of dodgy ensemble, and the smouldering passion of Tchaikovsky's music only intermittently ignites.