In 1962, the China National Opera House in Beijing presented Tchaikovsky’s Eugene Onegin, the first time it had been performed in China.
With a stellar cast of renowned Chinese artists, the performance opened the door for Russian operas to be interpreted in Chinese, laying the foundation for future artistic exchanges between the two giant neighbors.
Now, 63 years later, the China National Opera House is carrying this historical legacy forward, drawing on both its rich traditions and the changing tides of international art. In a remarkable collaboration between Chinese and Russian artists, the operatic production of Eugene Onegin has been reimagined through a contemporary lens, and was staged at the China National Opera House from April 29 to May 1.
Eugene Onegin is a monumental work that brings together the lyrical depth of Alexander Pushkin’s narrative poetry and the emotional power of Tchaikovsky’s music. The timeless themes of love, regret, and societal roles in Pushkin’s novel are beautifully conveyed through Tchaikovsky’s compositions.
This latest production represents a significant collaboration between China and Russia, drawing on the talents of both countries’ finest artists. It is a joint production by the China National Opera House and the Russian State Academic Drama Theatre, also known as the Volkov Theatre, which was named after Fyodor Volkov and founded in 1750.
The production features Russian artists including conductor Vasilii Valitov; Alexander Sozonov, chief director of the Volkov Theatre; and acclaimed set and costume designer Olga Kuznetsova.
According to Sozonov, at its heart, Eugene Onegin explores universal human emotions — unrequited love, regret, the passage of time and the pain of missed chances. These are not bound to any single era, but are timeless concepts.
"We broke the linear narrative, with the story unfolding through a series of flashbacks, as the characters reflect on their past, piecing together the truth of their lost youth," Sozonov said.
"This modernized structure and the use of multimedia and dynamic stage designs bring a fresh perspective to a story that has had such a profound impact on Russian literature and opera. The core philosophy behind this reimagined Eugene Onegin is not to change a note but to reinterpret the soul. This concept is reflected in the innovative use of theater technology and storytelling, bringing the opera into a contemporary context while maintaining the integrity of the original work."
What makes this production unique is the integration of projections that unfold as the story progresses. When Tatyana opens her diary, her poetry and thoughts appear as projections, creating a dreamlike atmosphere that blurs the line between reality and memory. These fragmented memories come alive on stage, weaving together the past and present, transforming the opera into an immersive and multilayered experience for the audience.
Sozonov said this was his first time working with Chinese artists and that he was impressed by how passionate they are about the opera.
"For Russians, Eugene Onegin is more than an opera — it’s a piece of national identity. The passionate reaction of the Chinese artists made me very excited and proud. What was particularly unforgettable for me was that during rehearsals the Chinese actors not only memorized their own lines, but also understood the entire flow of the script, including the lines of other characters," Sozonov said, adding that "they care about the entire production, not just their roles".
The production features a dual cast, highlighting the cultural exchange between the two countries. The role of Onegin was portrayed by the baritone Alexander Sukhanov and the tenor Yuan Chenye, a professor at the Central Conservatory of Music in Beijing. The role of Tatyana was shared by the soprano Ekaterina Morozova and the China National Opera House’s soprano Cai Nan.
"When we had our first meeting with Sozonov, I was impressed by his vision for this opera — fresh, bold, and creative," Yuan said. "I grew up reading classic Russian novels and listening to Russian music, especially Tchaikovsky. I was honored to be a part of this collaborative production."
"Even though it’s a very Russian story, the emotional dynamics — falling for someone who doesn’t love you back, realizing what you had only when it’s gone — are completely universal. Tchaikovsky’s music allows the audience to feel the characters’ inner turmoil almost instinctively," Yuan added.
The collaborative operatic production is part of the "2024-25 China-Russia Years of Culture" and also marks the 185th anniversary of Tchaikovsky’s birth.
"As this collaborative production of Eugene Onegin opens a new chapter in the two countries’ cultural exchange, it proves that the power of great art can transcend borders, creating a universal language that speaks to the heart of all people," Sozonov said.
原文地址：http://en.people.cn/n3/2025/0508/c90000-20311946.html