Met Opera Revives Tchaikovsky's "Eugene Onegin" with Mixed Reviews

The Metropolitan Opera's revival of Tchaikovsky's "Eugene Onegin," directed by Deborah Warner, opened on April 17, 2026, and will run through May 16. This production marks a return of Warner's interpretation, which was first staged at the Met during the 2013-2014 season. The revival features a cast that includes soprano Asmik Grigorian as Tatiana, baritone Iurii Samoilov as Onegin, tenor Stanislas de Barbeyrac as Lenski, and bass-baritone Alexander Tsymbalyuk as Prince Gremin.

Review: Despite Stellar Cast, Met's ONEGIN Revival Refuses to Fly in Warner’s Misbegotten Production

Asmik Grigorian's portrayal of Tatiana has been widely praised for its emotional depth. Critics noted her ability to convey a complex character arc, transitioning from an adolescent yearning in Act 1 to a composed woman in Act 3. Grigorian's performance in the iconic Letter Scene was particularly highlighted, showcasing her vocal prowess and emotional resonance.

Asmik Grigorian lights up the Met’s Onegin

Stanislas de Barbeyrac's performance as Lenski received mixed reviews; while he struggled with high notes early on, he later delivered a poignant farewell that captured the character's despair. Alexander Tsymbalyuk's portrayal of Prince Gremin was noted for its compelling bass-baritone, adding depth to the production.

New York Classical Review

Warner's direction has drawn criticism for its perceived lack of emotional engagement and visual dynamism. Reviewers described the set design by Tom Pye as aging and uninspired, with projections of seasonal landscapes failing to compensate for the static nature of the staging. Critics argued that the lavishness of the production did not translate into an emotional connection with the characters, leaving the audience feeling distanced from the narrative.

New York Times

Conductor Timur Zangiev, in his Met debut, received a mix of accolades and critiques. While some praised his ability to shape Tchaikovsky's score with grace, others felt that the performance lacked the necessary emotional thrust. The Met Orchestra's playing was described as attentive, with particular praise for the horn and bassoon solos that enhanced the overall atmosphere.

Asmik Grigorian lights up the Met’s Onegin

Critics have pointed out that Warner's production may have failed to capture the essence of Tchaikovsky's work. Some described the staging as "misbegotten," suggesting that it did not do justice to the opera's emotional weight. The disconnect between the performers and the direction was noted as a significant factor in the production's shortcomings.

New York Times

• “She is a singing actress you can’t take your eyes or ears off.” — Susan Hall, Reviewer

Asmik Grigorian lights up the Met’s Onegin

• “In size and scale, Deborah Warner’s conceit was wrong, sending some of her singers into the lion’s den without protection.” — Broadway World Review

Review: Despite Stellar Cast, Met's ONEGIN Revival Refuses to Fly in Warner’s Misbegotten Production

• “The music doesn’t refuse emotion, but it renders feeling as something already lost or understood too late.” — New York Times Review

New York Times

The revival of "Eugene Onegin" at the Metropolitan Opera has sparked a range of responses, from admiration for the cast's performances, particularly Grigorian's, to criticism of the directorial choices and set design. As the production continues through May 16, it remains a topic of discussion among opera enthusiasts and critics alike.

Asmik Grigorian lights up the Met’s Onegin