Eugene Onegin review – passion and pathos as Tchaikovsky’s opera is dragged into the oligarch era

Leeds Grand theatre
Patrick Nolan’s thoughtful staging for Opera North shifts Pushkin’s story forward to explore the transition from Soviet state to elitist excess

For an opera rooted in 19th-century Russian romanticism it’s surprising how effortlessly Eugene Onegin can be brought up to date. Patrick Nolan’s thoughtful staging for Opera North, a co-production with Irish National Opera and his own Opera Queensland, manages to capture the aching melancholy of Pushkin’s original while reflecting on the equally gloomy transition from the Brezhnev-era Soviet state to the reckless excess of the pre-Putin oligarchy.

For Tatyana and Onegin, Tchaikovsky’s opera is a case of the road not taken, subtly reflected in the gently elasticated timeframe adopted here. In Act I, Leslie Travers’ crumbling civic gymnasium is commandeered to rehearse a pageant in praise of Soviet agricultural policy. When Madame Larina and the housekeeper Filipyevna chatter on about times past, Lenin-emblazoned flags remind us they would have grown up in the shadow of Stalin. As the gaudy tracksuits and 80s bling (costume designer Elizabeth Gadsby having a field day) of Act II give way to formal evening wear and diamonds in the final act, it feels as though an entire way of life has been swept away, and with it any chance to correct the mistakes of the past.