Chicago Sun Times - Highly Recommended
"...Talk about kindred spirits. Although the novelist and poet Alexander Pushkin died just a few years before the birth of composer Peter Illyich Tchaikovsky, the two men clearly were made of the same cloth. For proof that they shared a unique melding of Russian soul you need look no further than Lyric Opera of Chicago's exquisite production of "Eugene Onegin," the Tchaikovsky opera based on Pushkin's verse novel - a work widely considered among the greatest achievements in Russian literature."
Chicago Reader - Highly Recommended
"...The story turns on life-blighting social conventions from arranged marriages to pistol duels-exactly like the one that killed Pushkin himself, and not so different from the revenge shootings that bloody the streets of Chicago today. Alejo Perez conducts the Lyric Opera orchestra and chorus; in Russian with English subtitles."
Chicago Stage Review - Highly Recommended
"...As we have come to expect over the past several Lyric seasons, the principal vocalists are bolstered by a rock-solid supporting cast including Dmitry Belosselskiy in a stand-out performance as Tatiana's eventual husband Prince Gremin, the incomparable Jill Grove as the nanny Filipyevna, and the honeyed tones of Katherine Goldner as Mme. Larina, the girls' mother. The very fine Lyric Opera chorus takes on the task of creating the world of Eugene Onegin in a minimal stage environment and they do so splendidly, with the aid of marvelously detailed costumes and subtle set design by Michael Levine. The Lyric Opera Orchestra, for whom each brilliant performance has eclipsed the last this season, bring exceptional vibrancy to Tchaikovsky's score, beneath the baton of Argentine conductor Alejo Perez, in his premiere Lyric Opera appearance. Lyric's Eugene Onegin is the consummate production with which to wrap up an exceedingly creative and artistically successful season. It is opera in its purest form: a backdrop for complex emotions and staggering musical virtuosity, impeccably and passionately performed; a journey into the past from which we most reluctantly must return."
Chicago On the Aisle - Highly Recommended
"...Robert Carsen’s production of “Eugene Onegin,” designed by Michael Levine, has been around since 1997, revived here by Paula Suozzi. It fits Kwiecień like a glove. The production was first introduced at the Metropolitan Opera in a conceptual pivot away from overstuffed period-style extravagance in favor of modernism’s spare lines."
Stage and Cinema - Recommended
"...Having brought seven new productions to Chicago this year, perhaps it was inevitable that Lyric Opera would bring an old one out of the woodwork. But what an excellent one to choose. Tchaikovsky’s Eugene Onegin was last heard nearly ten years ago, so this would seem not a season too soon to bring it back. Although I didn’t see that production the first time, it still seems to be remarkably fresh. Part of that must be due to the combination of Michael Levine’s simple sets and traditional costumes with Christine Binder’s ambient lighting design."
ChicagoCritic - Highly Recommended
"...Eugene Onegrin is a romantic love story about a selfish hero who is his own worst enemy. The opera is powerful, emotional and stunning with a Tchaikovsky in the hands of world-class artists becomes an artistic success. As the characters are fully developed, we empathize with the woman and question the men. Tchaikovsky's opera did boldly enrich a popular work from a beloved poet/novelist. Tchaikovsky's creative skill with both the libretto and the music added new to Pushkin's work. The world is the winner as Eugene Onegrin is a delightfully engrossing opera."
Around The Town Chicago - Highly Recommended
"...There's still the annual musical yet to go, but Pyotr Tchaikovsky's Eugene Onegin is now playing at the Lyric Opera, and it's the perfect conclusion to the 2016/2017 season. Unlike other shows this season, Tchaikovsky's 1879 adaptation of Alexander Pushkin's verse novel isn't about magic or royalty, nor does it end with a climactic death, despite containing a fatal duel. The composer's music never overwhelms the character-driven story, but instead serves to reinforce the tragedy resulting from a refusal to accept that "routine is the substitute God gives us for happiness," as the opening quartet puts it."
Chicago Theatre Review - Highly Recommended
"...Onegin calls for three first-class mezzo-sopranos, and here we are in the singing god’s good graces. Making her American operatic debut as Olga, Alisa Kolosova is heartbreakingly effervescent and vulnerable. The voice has a whiskey-undertone that makes her a completely believable sister-match for Martínez’s Tatiana. Katherine Goeldner draws on every expressive opportunity as Mme. Larina, and Jill Grove tears at our hearts as Filipyevna, revealing all the hurt of a mother-figure who stands powerless to save her child."
Chicagoland Musical Theatre - Recommended
"...His overall concept proves that, sometimes, the simplest direction is the best direction. There's an enclosure-a circle cleared of autumn leaves, or a square of parlor chairs, or a dueling ground-and no one strays outside of it. With some exceptions. Onegin (Mariusz Kwiecien) can stray because he holds himself as an outsider. His winsome admirer Tatiana (Ana María Martínez) can stray because her flights of passion free her. Her fated husband, Prince Gremin (Dmitry Belosselskiy), notably does not stray; he is an uncommon man who is humble."
Picture This Post - Highly Recommended
"...At the conclusion of this performance you too might find yourself debating with your companion if this was the best Lyric production ever. Luckily, the Lyric gives us so much to fuel this ongoing debate. This production of Eugene Onegin definitely is on the shortlist. Expect to leave the grand Civic Opera house exhilarated."
