Staatsballett Berlin: Onegin

Staatsoper Unter den Linden, Berlin
May 13, 2023

Eugene Onegin, a novel in verse by Alexander Pushkin published in serial form between 1825 and 1832 is considered a classic of Russian literature. Its protagonist has been used as the model for a number of Russian literary heroes based on the superfluous man. And Onegin is indeed just such: privileged and talented but cynical; bored, unmindful, indifferent and not at all empathetic with people or society’s issues.

In John Cranko’s three-act ballet, incredibly now 56 years old, Onegin (Alexei Orlenco) is an handsome and wealthy man, who appears quite mysterious in look and approach. He is well mannered and charming but at the same time thoughtful, restless, troubled, austere. A sense of deep solitude and distrust,  a psychological anguish and incapacity to open up emotionally accompanies him throughout the performance. 

He is emotionally unavailable, made visible by his resistance to open up to Tatjana (Elisa Carrillo Cabrera) who writes a letter and shows him her truthful feelings. Although it is clear he is taken by her, he cannot let go to love. He cannot fully relish what is happening. The contained struggle in him feels like a sky charged with thunder, close to burst in a massive storm but unable to do so. She is fascinated by the concealed man who, while clearly interested in her, is detached and impenetrable.

The alchemy between Onegin and Tatjana is palpable despite his austerity. Their duets are delicate and captivating. Particularly so that in the second scene of the first act when she is in her bedroom and he appears in her dreams. Their dance is beautiful, full of ardour and yearning. Her dream becomes a desired vision, a projection of ecstatic rapture.

Things work out rather less delightfully, Onegin tearing up a letter Tatjana writes, before writing back denying his love. She becomes profoundly upset and jealous when he dances with her sister, Olga (Evelina Godunova), hurting her feelings with his insensitive intentionality. This absurd behaviour even leads to the fatal end of his friend Lenski (Daniil Simkin), in love with Olga, and who, out of revenge, challenges Onegin to a duel that leads to his own death.

Cranko’s choreography is musically framed by superb compositions by Peter Tchaikovsky, adapted by Kurt-Heinz Stolze, played by the Staatskapelle Berlin directed by Jonathan Stockhammer. The music pervades the whole evening with dramatic pathos. The costumes, by Elisabeth Dalton, discreetly and appropriately embody the social status and, at times, the emotional state of the protagonists.

Ballets are marvellous, not only because they uplift the soul thanks to their general beauty, gracious behaviours, strong emotions depicted and sublime music, but also for the educational message they contain. Onegin is a story of strong but unfulfilled love, of regrets based on past mistakes, and on metaphorically short-sighted views in regard to intentions, commitment, belonging and true feelings. 

What I see in Cranko’s ballet is a call to action and to be in the present, a reproach for those who postpone and do not commit, and a message for the ones who deny real feelings and avoid emotional candour. Onegin is punished because of his unavailability when he should and could have been available. It is a work that makes one reflect upon the unfulfilled and the delicate balance which goes off kilter when people act too late.

All the dancers were wonderful but standing tall were Orlenco in the title role and Carrillo Cabrera as Tatjana. Simkin and Godunova as Lenski and Olga respectively are zealous but less compelling. The only moment I particularly sympathised with Lenski was when he shows resentment and anger towards Onegin who has made him uncontrollably jealous. 

In the beautiful third act we see Tatjana’s husband, Gremin (Yevgeniy Khissamutdonov). He is a kind and caring man who gives her attention, reliance and love, together with high social status. She clearly loves him back but her true love remains Onegin, as we see at the end. The dance between Tatjana and Gremin is wonderful. She is radiant next to her loving husband who lets her shine as they dance an exquisite duet. But the real dramatic pearl is at the end when Onegin goes to see her, having written her a letter where he discloses his true feelings. The memorable that follows is full of desire, passion and pathos. The poignant love is still present in both but, with determination and great sufferance, she pleads with him to leave as she has pledged fidelity to her husband.

It was a magnificent return for the ballet. The Staatsballett Berlin dancers imbued the Staatsoper Unter den Linden with wonder and emotion, garnering much admiration and enthusiastic recognition as made clear in a loud and prolonged standing ovation by all.