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The Royal Ballet
Director
Kevin O'Hare CBE
Founder
Dame Ninette de Valois OM CH DBE
Founder Choreographer
Sir Frederick Ashton OM CH CBE
Founder Music Director
Constant Lambert
Prima Ballerina Assoluta
Dame Margot Fonteyn DBE

Onegin

BALLET IN THREE ACTS

Cast sheet

Thursday 13 February 2025

|

7.30pm

The 110th performance by The Royal Ballet at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Exceptional philanthropic support from Royal Ballet and Opera Principal Julia Rausing Trust

With the generous support of Aline Foriel-Destezet Season Principal

Generous philanthropic support from The Jean Sainsbury Royal Opera House Fund, Lindsay and Sarah Tomlinson, Royal Ballet and Opera Friends and an anonymous donor

The 2024/25 Royal Ballet Season is generously supported by Aud Jebsen

The role of Onegin is generously supported by Ida Levine

The role of Tatiana is generously supported by Sue Butcher and Stuart and Jill Steele

The role of Lensky is generously supported by Rachel Stearns

Approximate timings

The performance lasts approximately 2 hours 30 minutes, including two intervals
Act I
40 minutes
Interval
25 minutes
Act II
30 minutes
Interval
25 minutes
Act III
35 minutes
Credits

Choreography

John Cranko

Music

Kurt-Heinz Stolze after Pyotr Il’yich Tchaikovsky

published by Adrian Thomé Musikverlag, Bodensee

Conductor

Wolfgang Heinz

Designer

Jürgen Rose

after original 1967 designs for Stuttgart Ballet

Lighting designer

Steen Bjarke

Artistic Supervision and Copyright

Reid Anderson-Graefe

Staging

Jane Bourne

Senior Répétiteur

Gary Avis

Répétiteur

Sian Murphy

Principal Coaching

Alexander Agadzhanov, Stuart Cassidy, Alessandra Ferri, Jillian Vanstone

Senior Benesh Choreologist and Assistant Répétiteur

Gregory Mislin

Cast

Eugene Onegin

Reece Clarke

Lensky

Onegin’s friend

William Bracewell

Madame Larina

A widow

Elizabeth McGorian

Tatiana

Madame Larina's elder daughter

Marianela Nuñez

Olga

Madame Larina's younger daughter

Akane Takada

Nurse

Lara Turk

Prince Gremin

A friend of the Larina family

Lukas Bjørneboe Brændsrød

Relatives, countryfolk, members of the nobility

Artists of The Royal Ballet

Students of The Royal Ballet School appear by kind permission of the Artistic Director, Iain Mackay
Music credits

Orchestra

Orchestra of the Royal Opera House

Principal Guest Concert Master

by arrangement with Trittico

Vasko Vassilev

Director

Kevin O’Hare CBE

Music Director

Koen Kessels

Resident Choreographer

Sir Wayne McGregor CBE

Artistic Associate

Christopher Wheeldon OBE

Administrative Director

Heather Baxter

Rehearsal Director

Christopher Saunders

Clinical Director Ballet Healthcare

Shane Kelly

Madame Larina, Olga and the nurse are finishing the party dresses and gossiping about Tatiana’s coming birthday fes...

ACT I

Scene 1: Madame Larina’s garden

Madame Larina, Olga and the nurse are finishing the party dresses and gossiping about Tatiana’s coming birthday festivities. Madame Larina speculates on the future. Girls from the neighbourhood arrive and play an old folk game: whoever looks into the mirror will see her beloved.

Lensky, a young poet engaged to Olga, arrives with a friend from St Petersburg.

He introduces Eugene Onegin, who, bored with the city, has come to see if the country can offer him any distraction. Tatiana, full of youthful and romantic fantasies, falls in love with the elegant stranger, so different from the country people she knows. Onegin on the other hand sees only a coltish girl who reads too many romantic novels.

Scene 2: Tatiana’s bedroom

Tatiana, her imagination aflame with impetuous first love, dreams of Onegin and writes him a passionate love letter, which she gives to the nurse to deliver.

INTERVAL
ACT II

Scene 1: Tatiana’s birthday

The provincial gentry have come out to celebrate Tatiana’s birthday. Onegin finds the company boring. Stifling his yawns, he finds it difficult to be civil; furthermore, he is irritated by Tatiana’s letter, which he regards merely as an outburst of adolescent love. In a quiet moment he seeks out Tatiana and, telling her that he cannot love her, tears up her letter. Instead of awakening pity, Tatiana’s distress only increases his irritation. Prince Gremin, a distant relative, appears. He is in love with Tatiana, and Madame Larina hopes for a brilliant match; but Tatiana, troubled by her own heart, hardly notices her kind relative.

Onegin, in his , decides to provoke Lensky by flirting with Olga, who lightheartedly joins in the teasing. But Lensky takes the matter with passionate seriousness. He challenges Onegin to a duel.

Scene 2: The duel

Tatiana and Olga try to reason with Lensky, but his high romantic ideals have been shattered by the betrayal of his friend and the fickleness of his beloved; he insists that the duel take place. Onegin kills his friend.

INTERVAL
ACT III

Scene 1: St Petersburg

Years later, Onegin, having travelled the world in an attempt to escape from his own sense of futility, returns to St Petersburg. He is received at a ball in the palace of Prince Gremin, who has now married. Onegin is astonished to recognize in the stately and elegant Princess Tatiana, the uninteresting little country girl whom he once turned away. The enormity of his mistake and loss engulfs him; his life seems even more aimless and empty.

Scene 2: Tatiana’s boudoir

Onegin has written to Tatiana, revealing his love and asking to see her, but she does not wish to meet him. She pleads in vain with her unsuspecting husband not to leave her alone this evening. Onegin comes and declares his love for her. In spite of her emotional turmoil, Tatiana realizes that Onegin’s change of heart has come too late. Before his eyes, she tears up his letter and orders him to leave her forever.

Guidance
Parental guidance recommended
There is a gunshot in Act II.

Language

Some performances also include Captions that give more details about the sound.
Further information

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

We rely on your support to make world-class ballet and opera for everyone. With your donations we can ensure a bright future for the Royal Ballet and Opera, bringing communities together and inspiring future generations up and down the country.

For people, not profit.

rbo.org.uk/donate

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