Is this ballet for you?

Go If: You like story ballets with grand designs and plenty of pashmina Pas de Deux. You have read and wept through “unhappily ever after” novels like Anna Karenina, Gone with the Wind and well… Onegin.

Skip if: You are expecting to hear the famous score from Tchaikovsky’s opera Eugene Onegin. The ballet does use Tchaikovsky’s music but not a single bar of the opera.

Dream Casts

Johan Kobborg offers an unforgettable portrayal of the proud & cynical cad who discovers love too late.

Alina Cojocaru is perfect as Tatiana, the girl who evolves from naive romantic into the confident wife who rejects love for marital duty.

And this being a signature Stuttgart Ballet piece, we asked our friend and Onegin enthusiast Naomi Mori to send us her dream cast.  Not to be missed, she says, are: Evan McKie as Onegin, Sue Jin Kang as Tatiana and Marijn Rademaker as Lensky

Alina Cojocaru as Tatiana and Johan Kobborg as Onegin in Cranko's Onegin. Photo: Dee Conway / ROH ©


John Cranko first had the idea for a ballet based on Alexander Pushkin‘s verse novel when he choreographed dances for Tchaikovky’s opera Eugene Onegin in 1952. He pitched this to the ROH board at Covent Garden but it was rejected. After a string of successful pieces for Sadler’s Wells Ballet (Pineapple Poll 1951, The Lady and the Fool 1956 and The Prince of Pagodas, 1957), Cranko left London for Stuttgart. There he created one of the most successful ballet adaptations of Romeo & Juliet (1962) and confirmed his flair for dramatic narrative, in the same vein as his contemporary and close friend Kenneth MacMillan (whose own choreographic language would be influenced by Cranko’s).

In Stuttgart he received full support from Walter Erich Schäfer – General Manager of the opera and dance companies – to revisit his Onegin project, with the caveat that the opera score should not be used. Instead it fell to Kurt-Heinze Stolze, ballet Kapellmeister, to assemble various little known Tchaikovsky pieces into a ballet score. Cranko developed a libretto closely following the novel and the ballet premiered 13 April 1965 with Marcia Haydée as Tatiana and Ray Barra as Onegin. Forty five years on, Onegin is considered Cranko’s definitive masterpiece and remains in the repertory of over 20 ballet companies around the world. At the time of its premiere Onegin was hailed a success with audiences and performers, but there was some controversy with opera purists and other personalities (for instance George Balanchine) who did not approve of the opera score having been discarded.

Johan Kobborg as Onegin. Photo: Dee Conway / ROH ©

Between 1965 and 1967 Cranko revised Onegin several times. He scrapped the original ending of Tatiana kissing her children good night, as this lessened the drama of her last encounter with Onegin. He also removed the prologue where Onegin was seen at his uncle’s deathbed, and had the score re-edited accordingly. The version we are now familiar with was first performed by Stuttgart Ballet in October 1967.


The fact that Cranko began his career as a dancer in a highly theatrical company – the Sadler’s Wells Ballet (which later became The Royal Ballet) – played an important part in the development of his style and preference for narrative pieces.

In Onegin we see movement filled with dramatic intention, solos and duets which advance the narrative. In the Act I Pas de Deux unrestrained lifts and swift throws represent the heroine’s wild imagination. This contrasts with movements in Act III which are more suggestive of Tatiana’s hesitation in the face of Onegin’s confessed feelings. Solos are also used to communicate something about the character; Lensky’s dance before the duel conveys melancholy but also determination, whereas the series of throws and lifts in the subsequent scene with Olga and Tatiana hint at their state of despair. Group dances serve a dual purpose; either as entertainment device or as backdrop for scenes between the main characters.

Johan Kobborg as Onegin. Photo: Dee Conway / ROH ©

One of Cranko’s choreographic traits is “still pose” inserted into the dance, as if to heighten its emotional impact. Though these poses are not ballet mime per se, they express specific emotions or ideas. For instance, Tatiana signaling to Onegin that he must leave (end of the third act) or the arm gestures in the last Pas de Deux. These elements give  to  the interpreters of Cranko choreography – of Onegin in particular – rare opportunities for self-expression and complex character development.


Act I

Scene 1: Madame Larina’s Garden, Russia early Nineteenth century

Madame Larina, her youngest daughter Olga and the nurse Filipevna are seen gossiping and embellishing party dresses, while Tatiana, Larina’s eldest daughter, does not seem at all interested in what she will wear at her own upcoming birthday party. She prefers to keep reading her book.

As young girls from the nearby estates arrive, Olga and Tatiana invite them to play a game with a mirror. They believe if a girl looks into the mirror at a specific time, she will see the image of her future husband reflected. Lensky, a young poet betrothed to Olga, arrives with Onegin, his friend from St. Petersburg who has come has come in search of countryside distractions.

While introductions are still being made, Tatiana looks into the mirror and sees Onegin’s face. This fuels her romantic fantasies. They meet and Onegin invites her to take a stroll, while Lensky and Olga are left alone to declare their love for each other. Onegin starts losing interest after finding her universe very provincial; he sees in Tatiana a naive country girl who reads too many love stories. Tatiana on the other hand is completely infatuated with this elegant and sophisticated stranger who is so different from the countrymen she knows.

Johan Kobborg as Onegin, Alina Cojocaru as Tatiana and Caroline Duprot as Olga in Cranko's Onegin. Photo: Dee Conway / ROH ©

Scene 2: Tatiana’s Bedroom

Alone in her bedroom Tatiana fantasises about her encounter with Onegin and decides to write a love letter, opening her feelings to him. She falls asleep and dreams of him. In dreams her earlier premonition comes alive; here Tatiana and Onegin dance the famous “mirror Pas de Deux

Act II

Scene 1: Madame Larina’s House

Guests arrive to celebrate Tatiana’s birthday. The room is full of gossip, not only about Olga’s engagement to Lensky, but also about a blossoming romance between Tatiana and the newcomer. Among the guests is Prince Gremin, a distant relative. He is in love with Tatiana and Madame Larina hopes for a match, but Tatiana barely notices him.

Onegin finds the event tedious and struggles to maintain civility; he is irritated with Tatiana’s letter which he regards as a product of adolescent infatuation. He seeks out Tatiana. Telling her he cannot possibly love her he tears up the letter. Instead of feeling sympathy towards Tatiana’s obvious distress, he leaves irritated. For his own amusement Onegin decides to provoke Lensky and flirts openly with Olga. She responds jokingly to his attentions but Lensky takes offence. In a fit of jealousy he challenges Onegin for a duel.

Scene 2: The Duel

Lensky stands alone, meditating on the incident. He dances a solo, where he expresses his sadness. Tatiana and Olga arrive to try and reason with him, but his high romantic ideals have been destroyed. He is devastated and regards Onegin’s foolish behaviour as a betrayal. Onegin arrives and attempts a reconciliation but Lensky is adamant. The duel takes place and Lensky ends up being shot. For the first time in his life, Onegin is aghast at the events and with deep remorse, he leaves.


Scene 1: Prince Gremin’s Palace in St. Petersburg

Many years have passed and Onegin has just returned to St. Petersburg from his travels around the world. He is received at a ball in Prince Gremin’s palace. Gremin has recently married and Onegin is shocked to discover that his elegant young wife is none other than Tatiana who now looks grown up and transformed. There and then he realises his mistake and how his life has been wasted. He decides to seek out Tatiana to confess his love for her.

Alina Cojocaru as Tatiana and Bennet Gartside as Prince Gremin in Cranko's Onegin. Photo: Dee Conway / ROH ©

Scene 2: Tatiana’s Room.

Tatiana reads a love letter from Onegin. He is standing before her, awaiting her answer. For a moment Tatiana reminisces about the past and her fantasies but, regaining composure, she tells him that it’s too late; she used to love him but now she must remain faithful to her husband. Onegin insists and in despair, she tears up the letter and commands him to leave. He obeys at last. Alone again, Tatiana collapses with grief.


  • Manuel Legris rehearses Onegin on the eve of his retirement from POB [link]
  • Mathias Heymann dances Lensky’s solo [link]
  • Evan McKie and Myriam Simon in the “Mirror” Pas de Deux [link]
  • Alina Cojocaru and Johan Kobborg in the “Mirror” Pas de Deux [link]
  • Elena Tentschikova dances Tatiana’s solo from Act II  [link]
  • Artists of the National Ballet of Canada perform in the Act I  [link]
  • Hervé Moreau and Isabelle Ciaravola dance the Act III Pas de Deux [link]
  • Evan McKie and Myriam Simon dance the Act III Pas de Deux [link]
  • Alina Cojocaru and Johan Kobborg dance the Act III Pas de Deux [Part I] and [Part II]
  • Trailer for The Royal Ballet’s production [link]


Working with Cranko, Kurt-Heinze Stolze put together a score from various Tchaikovsky compositions. Stolze thought short musical numbers would be easier to work with. He connected them to create a flow and match the underlying dramatic structure. The basis for the score is formed by piano compositions, which are used as character leitmotifs or arranged for the ensemble dances. In orchestrating the music Stolze stayed close to Tchaikovsky’s typical  patterns reserving full orchestral power exclusively for climaxes.

The most often employed passages come from The Seasons as well as the opera Cherevichki (The Tsarina’s Slippers, 1885). A duet from Tchaikovsky’s Romeo and Juliet serves as basis for Tatiana and Onegin’s Act I Pas de Deux. The second movement of Francesca da Rimini can be heard in the Act III Pas de Deux.

An essential iPod / Spotify list should include the following tracks:

  • The Seasons, Op. 37
  • Nocturne n°4, Op. 19
  • Three pieces for piano, Op. 9
  • Six Pieces for piano, Op. 19
  • Six Pieces for piano, Op. 51
  • 18 Pieces for piano, Op. 72
  • Cherevichki, The Caprices of Oxana (aria)
  • Francesca Da Rimini, Op.32
  • Romeo and Juliet Fantasie Overture. Scene for Soprano, Tenor and Orchestra.

Johan Kobborg as Onegin and Alina Cojocaru as Tatiana in Cranko's Onegin. Photo: Dee Conway / ROH ©

In Repertory

Onegin is currently danced by the following companies:

  • POB, The Tokyo Ballet, Houston Ballet, The Royal Ballet, American Ballet Theatre, Boston Ballet, Hamburg Ballet, Royal Swedish Ballet, Australian Ballet, Bayerisches Staatsballett – using designs by Jürgen Rose
  • Berlin Staatsballett, Vienna Staatsoper, Dutch National Ballet, Royal Danish Ballet – using designs by Elizabeth Dalton
  • Ballet de Rome, La Scala – using designs by Pier Luigi Samaratini and Roberta Guidi di Bagno
  • National Ballet of Canada – using designs by Santo Loquasto


Choreography and Libretto: John Cranko (after Alexander Sergeyevich Pushkin)
Music: Pyotr Ilyich Tchaikovsky, arranged and orchestrated by Kurt-Heinz Stolze
Designs & Costumes: Jürgen Rose (Munich, 1972)
Original Cast: Marcia Haydée as Tatiana, Ray Barra as Onegin, Egon Madsen as Lensky and Ana Cardus as Olga
Premiere: April 13, 1965 at the Wuerttembergische Staatstheatre, Stuttgart

Sources and Further Information

  1. Fine Smooth and Seamless by Horst Koegler. Programme Notes for Onegin, Royal Opera House, 2007
  2. Music Note by Kurt-Heinze Stolze. Programme Notes for Onegin, Royal Opera House, 2007
  3. Onegin, an Introduction by Giannandrea Poesio, Bert Gillian and the ROH Education. Royal Opera House
  4. Wikipedia Entry for Onegin Ballet [link]
  5. Wikipedia Entry for Eugene Onegin [link]
  6. Wikipedia Entry for Alexander Pushkin [link]
  7. Ballet Notes for Onegin. The National Ballet of Canada, June 2010 [link]
  8. Onegin Page, The Stuttgart Ballet [link]
  9. Oneguine, John Cranko. Danser En France [link]

Her favourite ballets feel like good books – one can see them 1,000 times and they always feel fresh. Linda loves Giselle, all full-length MacMillan plus Song of the Earth, Robbins’s Dances at a Gathering, Balanchine’s Serenade and Agon, Ashton’s Scènes de Ballet and Symphonic Variations.


  • April 9, 2013

    Nancy Dennis

    I was fortunate enough to see the Stuttgart Ballet dance this at the Metropolitan Opera House in NYC. The cast was Marcia Haydee, Richard Cragun, and Egon Madsen. I don’t remember the other cast members. I do remember how fabulous the ballet was, especially the last scene. The most passionate dancing I’ve ever seen. I went to see it as often as possible, and I’m sure I still have one or more programs. It was simply unforgettable. I keep trying to find a YouTube of the final pas de deux, but haven’t yet been successful. If anyone knows of one, I’d be grateful for information.

  • November 5, 2012


    Just got back from Budapest and watched the premier of Onegin at the Royal Opera House. amazing performances, amazing venue.

  • May 17, 2012


    Onegin is currently being performed by the Australian Ballet

  • November 15, 2011

    Min (@cria01)

    좀 더 자세한 프로덕션 역사와 시놉시스 등이 the ballet bag에 올라와 있음. 원하면 구경.

  • October 29, 2011

    The Lady of the Camellias

    [...] If: You have seen both Cranko’s Onegin and MacMillan’s Manon and were left [...]

  • October 24, 2011


    She is certainly a dancer we admire, especially in this role. But at the time of writing this cheat sheet, the biggest issue was sourcing photos from other companies (something that we have since addressed) and that is why there are so many pictures of her.

  • October 24, 2011


    It looks like Alina Cojocaru is the only dancer on earth

  • [...] Evan McKie as a very dapper Onegin [...]

  • May 30, 2011


    Just to add – Jiri Jelinek (formerly of the Stuttgart Ballet, now with the National Ballet of Canada) dances one of the best Onegin’s that I’ve ever seen. He gives a remarkably powerful performance, unmatched in my mind.

  • May 9, 2011


    I have been lucky enough to have seen Nicholas Le Riche and Aurelie Dupont of tThe Paris Opera Ballet, and also Johan Kobborg and Alina Cojocartu of The Royal Ballet dance these roles
    and was very impressed by them all. Two of my favourite Ballerina’s, and two excellent Male partners. I think the Royal Ballet had the edge on the two performances for its dramictic imputt.
    and certainly the Orchestra of the ROH rendering of the score was best, far more depth and
    emotion in the music. I often feel the POB Orchestra lets the dancers down with it’s failure to be consistant with the tempo and does not sound as good as ROH. This is a really imotive Ballet one
    that leaves you touched to tears as the curtain closes.

  • [...] that night – Onegin. If you’re really wondering if this is the ballet for you, read this. We really didn’t know what the story was about nor did we find out until intermission when [...]

  • [...] versatile performers, with a CV that includes not only the company’s biggest dramatic jewels (Onegin, The Lady of the Camellias) but also edgy performances in modern ballets by Wayne McGregor, Marco [...]

  • [...] idea for a feature to coincide with the Royal Ballet revival of John Cranko’s Onegin involved producing group shots and individual portraits of the four principal dancers cast as [...]

  • [...] century classics (think Swan Lake and The Sleeping Beauty) in favour of more realistic works. With Onegin Cranko set out to do just that. Seeking an effective way to translate the dramatic climaxes from [...]

  • September 21, 2010


    Onegin is also danced by Universal Ballet, using designs of Thomas Mika and Maren Fischer. I heard that National ballet of China is using the same designs.
    I have few pics of the production here :)

  • [...] This post was mentioned on Twitter by The Ballet Bag, Alice Lagnado, Sheri Leblanc, Laura / Bella Figura, Zachary Sniderman and others. Zachary Sniderman said: Everything you needed to know about the #Onegin #ballet, if you're into that kind of thing: [via @theballetbag] [...]

  • September 19, 2010


    Thanks for your comments everyone. Onegin is one of our favorite narrative ballets and May’s description reminded us that we’d also love to see POB’s staging in due course.

    @Angela – yes, most definitely! Perhaps we should have clarified in the post that when we refer to “backdrop” we don’t wish in any way to diminish the corps role in the story. We’d say that beyond a reflection of Tatiana, they are a representation of society at that time, the same society whose rules ultimately guide her choice at the end of the ballet.

  • September 19, 2010


    What a very sad and tragic story. I would see it as sometimes life is like this.

  • September 18, 2010


    “Group dances serve a dual purpose; either as entertainment device or as backdrop for scenes between the main characters.”

    Cranko uses the group dances to describe the society of the diffferent locations – in the first and second act we see happy young lovers in the country, innocent and fresh. In the third act we see an earnest, cold, almost condescening St. Petersburg society (NOT with the usual Sleeping Beauty birthday grin on their faces, somebody should tell the Royal Ballet). The corps de ballet mirrors Tatiana’s fate, growing up and painfully losing her youthful illusions about love. Don’t underestimate Cranko.

  • September 18, 2010


    Thank you for the detailed information on wonderful ballet. Can I also share my first experience of this great piece of ballet, danced by Opera national de Paris last year? I watch it in Paris, was danced by Nicolas de Riche as Onegin partnering with Aurelie Dupont as Tatiana. And this performance was just powerful and brought tears in my eyes. Since then, I just fall in love with this ballet. I find that this ballet is not only how good it is on the technical note, but also the drama in the ballet, the dramatic and artistic abilities on the dancer for this production are enormous. I found that I have seen this production by these two great dancers in National de Opera Paris was my privilege and I know I will not want miss this coming production in Royal Opera House in October.

  • September 18, 2010

    Tina Ivano

    Onegin was performed by The Tokyo Ballet in May 2010. It was premiere for the company.
    Sets and Costumes are designed by Jürgen Rose.