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A Timeless Tale of Love and Regret: the Royal Ballet’s 2025 Onegin

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From the very first strains of Tchaikovsky’s evocative melodies to the final moment when Tatiana decisively walks away from Eugene Onegin, the Royal Ballet’s 2025 revival of John Cranko’s Onegin at Covent Garden proves to be a production of rare emotional power. Celebrating the 60th anniversary of its 1965 premiere, Cranko’s adaptation of Alexander Pushkin’s classic verse novel brims with the elements that have made it an enduring masterpiece: breathtaking choreography, skillful storytelling, sumptuous design, and a cast whose heartfelt performances illuminate one of ballet’s most poignant tales.


John Cranko was renowned for translating literature into compelling dance dramas, and Onegin stands as a testament to his distinctive genius in that regard. Though the ballet forgoes spoken words, it conveys Pushkin’s themes of unrequited love, pride, and self-discovery through a continuous flow of movement. The duets—particularly the letter-writing dream sequence in Act I and the emotionally charged final encounter in Act III—distill the intensity of the characters’ relationships into pure dance.


Cranko’s choreography enthralls the audience through an exquisite blend of classical technique and expressive modern nuances. The lifts, swirling turns, and tightly woven partnering reflect not just technical prowess but also the characters’ inner turmoil as they navigate 19th-century Russian society’s constraints. Nowhere is this more striking than in Tatiana’s first imagined pas de deux with Onegin: the fluid lifts and fleeting moments of stillness powerfully convey her romantic idealism, while the abrupt changes in direction mirror the instability of her youthful emotions.


Although Onegin is not set to a single, unified Tchaikovsky score like Swan Lake or The Sleeping Beauty, Kurt-Heinz Stolze’s arrangement weaves together lesser-known piano pieces alongside selections from The Tsarina’s Slippers and Francesca da Rimini. The result is a carefully curated tapestry of melodies that underscores the ballet’s shifting moods—from the rustic optimism of Tatiana’s rural home to the grand, glittering salons of St. Petersburg.


Under the baton of guest conductor Wolfgang Heinz, the Royal Opera House Orchestra played with a warmth and dramatic flair that complemented the dancers’ performances. Delicate string passages gave the romantic scenes a gentle poignancy, while bold brass flourishes heightened the tension in moments of confrontation—most notably before Lensky’s fateful duel.


Jürgen Rose’s enduring set and costume designs create a rich visual world that firmly situates the story in Imperial Russia. Act I’s countryside is rendered with soft, hazy backdrops and simple wooden furnishings, evoking an idyllic yet subtly foreboding ambiance. By contrast, the ballroom scene in Act II and the opulent salons of Act III bring viewers into the heart of St. Petersburg society, complete with velvet draperies and grand staircases.


Rose’s costumes likewise trace each character’s evolution: Tatiana begins in modest pastel gowns, reflecting her innocence, and appears in an elegant, jewel-toned dress by the final act—emphasizing her transformation into a self-assured aristocrat. Steen Bjarke’s lighting design further enhances these shifts, employing soft pinks for dreamlike moments and dramatic shadows for the ballet’s darker turns.


Whilst the cast varys somewhat depending on performance date, Onegin demands a rare blend of dramatic intensity and technical excellence, and this cast meets the challenge superbly. Marianela Nuñez (Tatiana): Nuñez captures Tatiana’s journey from bookish country girl to poised society figure with striking emotional depth. Her every gesture in the final act brims with newfound self-possession, a stark contrast to the vulnerability of Act I. Reece Clarke (Onegin): Clarke conveys Onegin’s aloofness and eventual remorse through subtle shifts in body language. His partnership with Nuñez—especially in the final pas de deux—crackles with tension as Onegin realizes too late the depth of his feelings. William Bracewell (Lensky): Lensky’s Act II solo, performed just before the duel, is a lyrical depiction of youthful anguish. Bracewell invests each step with longing and regret, culminating in a moment that foreshadows the tragedy to come. Akane Takada (Olga): By turns playful and remorseful, Takada delivers a nuanced performance that provides a lively counterpoint to Tatiana’s introspective nature.


What sets this production apart is its deep psychological insight. The characters’ unrequited love, shifting loyalties, and prideful missteps feel all too human—even to a modern audience. Tatiana’s evolution from a hopeful dreamer into a principled woman highlights Onegin’s central message: heartbreak and regret can shape us, but they can also forge newfound strength.


On a personal note, the letter-writing scene resonated strongly with anyone who has ever laid bare their feelings in a letter that went unreturned. Cranko’s choreography, coupled with Nuñez’s sensitive portrayal, wordlessly captures the pangs of hope, fear, and longing—a reminder of how universal these emotions are.


Since its debut in 1965, Cranko’s Onegin has become a fixture in the repertoires of major ballet companies worldwide. Its lasting appeal owes much to its ability to convey rich literary themes—unrequited love, impulsive mistakes, and the bittersweet nature of second chances—through movement alone. This 2025 revival by the Royal Ballet underscores why Onegin remains relevant: its timeless story and choreographic elegance speak to the heart as powerfully today as they did decades ago.


The Royal Ballet’s 2025 Onegin is, in short, a triumphant revival that celebrates the enduring power of John Cranko’s vision. The choreography, design, and musical arrangements coalesce into a captivating theatrical experience—one that resonates long after the curtain falls. For ballet enthusiasts and newcomers alike, this production offers a profound meditation on love, regret, and the complexities of the human heart.






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