Royal Opera House Review: The Royal Ballet Blooms Into Its Spring Season With 'Onegin'

★★★★ | Last week, my friend and I met at the Royal Opera House for the opening night of the first ballet of the Royal Ballet's Spring Season: Onegin, a tale of unrequited love, jealousy, honour, and tragedy. She, familiar since childhood with Pushkin's novel, and I, familiar with the Tchaikovsky opera, were both looking forward to seeing the ballet adaptation of this story on the 60th anniversary of its creation.

I was new to John Cranko’s choreography, whose works are mainly performed at the Stuttgart Ballet (where he was Artistic Director). Mentored by Ninette de Valois and Frederick Ashton – key figures involved in the founding of the Royal Ballet – Cranko was educated in the English ballet style, but he was also inspired by legendary choreographer George Balanchine. Onegin perfectly shows his mixed influences of more traditional storytelling, as well as neo-classical choreography. 

Cranko’s respect for the ‘classical ballet’ and its storytelling can be seen through his use of the corps de ballet (ensemble). The peasant dance in the first act is particularly well done, mixing elements of Russian folk dance with classical ballet technique. The ballroom scenes in Acts 2 and 3 are a joy to watch, to the credit of the beautiful costumes and coordination of the dancers. This choreographer also uses miming, which is extremely common in classical ballets, in scenes such as the one between Tatiana and her nurse (Act 1) and the provocation of the duel (Act 2). 

Lukas B. Brændsrød (as Prince Gremin) and Marianela Nuñez (as Tatiana) in Onegin. Photo Credit: Andrej Uspenski

These elements stand in contrast to Cranko’s neo-classical influence, which he channels through the intimate pas de deuxs (duets) and variations (solos). In the opening scene, Lensky (William Bracewell) and Olga (Akane Takada) share a joyous pas de deux, perfectly expressing the youth and naivete of both characters. The style of this pas de deux diverges from ballet tradition due to its treatment of the male dancer as more than just the woman’s cavalier, allowing the character of Lensky to shine through. Elsewhere, this redistribution of power is particularly evident in the duets between Onegin and Tatiana, where both characters are equally important. Cranko’s excellent musicality is emphasised in the first act, when the low notes of the music are danced by Onegin and the flute accents are bouréed (small and quick runs en pointe) by Tatiana. 

From a dancer’s standpoint, this ballet is incredible in the depth of the characters and the freedom of interpretation given by the choreography. The main quartet of Onegin, Tatiana, Lensky, and Olga (danced by Reece Clarke, Marianela Nuñez, William Bracewell, and Akane Takada respectively) are complex and beautifully human characters, allowing the dancers to be completely immersed in their roles. Akane Takada is beautiful in the role of Olga; both her interpretation and the choreography do a good job of showing the young, carefree girl that Olga is.

I was happily surprised by William Bracewell’s debut in the role of Lensky. His solo in Act 2, the ballet version of the famous Lensky aria, truly floored me. He executes complex steps precisely while displaying great emotion; we bore witness to Lensky’s hesitation, fear, and sense of duty. The audience held their breath for every jump and turn he performed – living the moment with him – and felt deep sympathy for a character who stupidly decided to challenge his best friend to a duel. To me, Bracewell’s Lensky is the highlight of the ballet.

Akane Takada (as Olga) and William Bracewell (as Lensky) in Onegin. Photo Credit: Andrej Uspenski

Marianela Nuñez is beautiful as always. Her variation in the second act is particularly well executed, she shows extreme control in her movements and keeps her head lowered in her turns, showing the introvertedness of Tatiana. In a recent Instagram post, Nuñez described her attachment to the character of Tatiana, writing a letter where she addressed the character directly. “Every time we meet you touch my soul in the most beautiful way. You make me think, question myself, and feel connected with everything us humans go through in life,” she explained. As a member of the audience, it is always touching to see dancers enjoy the pieces they are delivering. Few dancers connect to their characters, and manage to share that connection with the audience, as deeply as Nuñez does.

As an adaptation, the story of Onegin translates very well to ballet. Cranko treats the novel and the opera with respect while adapting some elements for the ballet stage. I enjoyed how Tatiana’s letter professing her love to Onegin becomes a dream, with Onegin entering through a mirror to show that he is but a figment of Tatiana’s imagination. The pas de deux did not feel quite right though, as the letter is originally meant to express Tatiana’s love towards Onegin after meeting him, and not a fantasy of Onegin being in love with her. While this was not the original story, I think it fits the ballet context.

Even though the music was not originally meant for an Onegin ballet, these arrangements by Kurt-Heinz Stolze are excellent, mirroring the story with ease. While I am usually the first to criticise the lack of originality of adaptations, I think Cranko’s Onegin stands on its own as a complex and enticing ballet that honours the original work while adapting itself to the ballet format with great elegance. 

★★★★

Onegin plays at the Royal Opera House until 12 June, 2025.