Ralph Fiennes Brings Cinematic Vision to Opera Directing Debut with Eugene Onegin
In a remarkable artistic crossover, three-time Academy Award nominee and Tony Award winner Ralph Fiennes has made his highly anticipated opera directing debut. The prestigious event unfolded at the ornate Palais Garnier, home of the Paris Opera, where Fiennes presented his vision of Pyotr Ilyich Tchaikovsky's classic opera, Eugene Onegin.
A Film Director's Approach to the Opera Stage
Fiennes, renowned for his cinematic work, applied techniques from film directing to the operatic production. He employed strategic lighting, using bright illumination near the proscenium while allowing other characters to fade into the background. This method created a focused, almost close-up perspective for the audience, a deliberate choice that drew immediate attention.
"It became clear that his priorities are quite cinematic as if everything is kind of in close up," observed mezzo-soprano Susan Graham, who performed in the production. This approach marked a distinct departure from traditional opera staging, emphasizing intimate storytelling over grand spectacle.
Deep Roots in Pushkin's Masterpiece
The production is based on Alexander Pushkin's 1833 novel in verse, which Tchaikovsky adapted into an opera with librettist Konstantin Shilovsky. For Fiennes, the connection to Eugene Onegin is profoundly personal. He first encountered Pushkin's work as an acting student when a teacher recommended the novel, and the character captivated him immediately.
"I read it. I was completely transfixed by the poem and the character," Fiennes recalled during a public discussion. This early exposure later influenced his portrayal of the title character in the 1999 film Onegin, directed by his sister Martha Fiennes.
Collaboration and Casting Excellence
The production features an accomplished cast with baritone Boris Pinkhasovich in the title role, soprano Ruzan Mantashyan as Tatyana, and tenor Bogdan Volkov as Lensky. Their performances have been praised for creating genuine emotional tension, with Volkov reportedly moved to tears during Lensky's second-act aria.
Conductor Semyon Byckov, recently announced as the Paris Opera's future music director, personally selected Fiennes for the directing role. Byckov expressed confidence in Fiennes' artistic sensibilities, noting his "profound connection to Russian culture."
Artistic Choices and Staging Decisions
Fiennes made several deliberate artistic choices for the production. He set the opera in the 1830s, the period of Pushkin's original work, resisting the temptation to create a modern parallel. "If I tried to find a 20th or 21st century parallel, I felt I would be contriving something," he explained. "I didn't go through some long analysis or philosophical dissection. I followed my gut."
The production emphasizes naturalistic acting over traditional operatic gestures. Fiennes worked closely with the singers, even having them speak the libretto during rehearsals to connect more deeply with the text. "It's strange for a singer to do, but I think during that you discover some new possibilities or new colors that you could use in your acting," noted Mantashyan.
Design Elements and Visual Storytelling
Michael Levine's set design employed simplicity and versatility, using trees on a backdrop and leaves on the ground to represent the Larin country estate. The same setting transformed seamlessly as the story moved to snowy outdoors for the duel scene. For the third act, the backdrop shifted to Prince Gremin's ballroom in St. Petersburg.
Costume designer Annemarie Woods created outfits that weren't strictly period-accurate, allowing for contemporary body language while maintaining historical essence. In Tatyana's pivotal letter scene, Mantashyan used a quill, with Alessandro Carletti's lighting design highlighting her intense emotional expressions.
Accelerated Production Timeline
The production came together remarkably quickly, with rehearsals beginning on December 1 and moving to the stage on January 9, just two and a half weeks before the opening night. "The process is very fast and very, very messy and some people are very surprised by that," admitted Levine, who provided reassurance throughout the intense schedule.
Powerful Final Image
Fiennes' directorial vision culminates in a poignant final image: a shattered Onegin, collapsed and sobbing while clutching the shawl he took from Tatyana during their confrontation. This symbolic prop represents their initial meeting and the emotional journey that follows, bringing the production full circle in a deeply moving conclusion.
The entire 11-performance run through February 27 has sold out completely, demonstrating significant audience interest in this unique production. For those unable to attend in person, France TV will broadcast the opera on February 9, making Fiennes' cinematic interpretation of this Russian classic accessible to a wider audience.
