Holten’s idea is to split the parts of Tatyana and Onegin between a singer and dancer, with the singers being the age of the pair when they are reunited in Act III, and the dancers being the teenagers at the time of their first meeting. With an almost completely new cast, and a significant rethink on how to delineate the production’s underlying concept, this first revival transforms something that first time around felt so problematic. Kasper Holten’s 2013 production of Eugene Onegin, the first piece he ever directed for the Royal Opera, definitely falls into the latter category. Others do not enjoy such great success initially, and yet come into their own with some fine-tuning. Some productions prove magnificent on their first outing, and then never quite repeat the magic in subsequent revivals.
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