Tchaikovsky’s quintessential Russian opera, Eugene Onegin, was originally performed by students. Though these students were based at the Moscow Conservatory, the students of the University of Cambridge showed themselves no less talented with a musically entrancing and visually stunning performance.

The scene is set in the wintry Russian countryside as trees bare of their leaves reflect the sombre mood of the unravelling plot. The set itself is an imaginative design as it unfolds to create new spaces. Folding after the famous duel scene, it acts as closing door on the past and transitions us forwards in time. This set, however, sometimes seemed to leave too little space for the dances which often incorporated almost all the members of the extensive cast. The choreography itself was well planned and executed from peasant country dances to smooth waltzes and lively entr’acte.

The unmistakably Tchaikovsky score was masterfully conducted by Quintin Beer and was a powerful tour de force. A strong chorus complimented the soloists who were each a pleasure to watch and hear. Tatiana (Nina Kanter) did real justice to Pushkin’s potential to portray heart-wrenching human emotion. In a climax of her love-sickness, she paints Onegin’s name and a heart on a piece of the set, totally reinforcing the emotional intensity of the scene alone on stage. Onegin’s disgust at this act is evident and he unsuccessfully attempts to scrub it off but, though faded, it lingers poignantly on stage until the closing notes. As the story develops, this particularly clever piece of staging and set design becomes a beautiful metaphor for Tatiana and Onegin’s lost romantic opportunity and a persistent visual reminder of Onegin’s original rejection of Tatiana’s love.

Kanter’s acting is matched by her vocal talent, a quality also demonstrated by Laurence Williams who plays opposite her in his title role of Onegin, an unimpressed city man in the country. He, along with Lensky (Xavier Hetherington) and Gremin (Theo Platt) delivered very strong male performances. Hetherington deserves a special mention for his moving performance as the tragic love poet.

Though a great performance, the opera itself loses some of the power of Pushkin’s original novel and lacks some of the panache and musical flair to be found in the more famous examples of the genre. Nevertheless, Cambridge University Opera Society’s large scale production of the quintessential Russian opera did not fail to impress. The vocal power and control were exceptional from all the leads which combined with the original set, evocative costuming and lively chorus.