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Hiya, I went on Wednesday, and it was great to see Onegin again. The cast was as follows:

Eugene Onegin-Johan Kobborg

Tatiana-Alina Cojacaru

Olga-Caroline Duprot

Lensky-Federico Bonelli

Prince Gremin-Bennet Gartside

Overall I thought the performance lacked some sparkle, especially for a first night. As much as I love Johan Kobborg I didn't find him a great Onegin, because he was dwarfed by Bonelli. I think pairing the two of them wasn't the best choice because (for me anyway) Onegin should have more presence than Lensky. I also didn't get any feeling of friendship between them, so the betrayl didn't have as much impact as it could have.

However the scenes with him and Alina were superb especially the bedroom mirror/dream scene, thought some of the lifts make me wince because they look so terrifyingly difficult!

Caroline Duprot was also lovely in the role of Olga-she was very bouncy and flirty especially in the dance with Onegin.

Anyway, I'm looking forward to seeing/hearing about the other casts, thought there have been a few changes from the original line-up. I know both Jonathan Cope and Tamara Rojo are out, and Thaigo Soares (who replaced Jonathan) is also injured, though he is still down for his other performances. xx

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I'm sure these are already in the 'links' section but here are two other opinions of Wednesday's Onegin!


(Dancers: Bonelli, Cojocaru, Duprot, Kobborg)

by Debra Craine (The Times) :



(Dancers: Bonelli, Cojocaru, Duprot, Kobborg)

by Judith Mackrell (The Guardian):


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Thanks for posting those, Maria. I'm copying this one over from today's Links:

Ismene Brown reviews Irek Mukhamedov in Mayerling and Thiago Soares in Onegin with the Royal Ballet.

True, Mukhamedov no longer has the elasticity and pinpoint control to make the opening wedding solo look anything other than creaky, but such flaws were obliterated by the gargantuan chilliness of his characterisation, a tyrannical heir to an unstable empire, petrifying his underlings, mistresses and wives, repellently sexy.

With an instinct to find even such a monster understandable, he revealed a bleak, twisted obsessiveness with his unhappy mother, and then left us to guess the darkness beyond.

And there was that glorious, untiring partnering, the sureness with which his hands fended his ex-mistress Jaimie Tapper, groped for his unresponsive mother Genesia Rosato (wonderful), brutalised his young bride Iohna Loots (well done), and wove the eager, flexing, lovestruck body of Mara Galeazzi into his degrading death fantasy.

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