To say the opening night of the Royal’s new acquisition of Onegin was keenly awaited would be a huge understatement. After a less than stellar opening to the season with the initial Don Q, we are all hoping for a brilliant debut for a new full length narrative work at Covent Garden, one which should exploit the dramatic talents of the company to the full. It would be the first production of a Cranko work in many years, a welcome acknowledgement of one of the choreographers who developed here under the wing of de Valois. And it included the return of the ever popular Adam Cooper, probably Britain’s best known male dancer, as a guest to the company where he trained.

Much work had gone into this: a mixed bill which should have originally taken place before Christmas was scrapped in order to spend more time getting the two new productions right. But, as Monica Mason observed at an earlier Insight Evening, introducing a work which is wholly new to a company is a difficult business, and it takes time to get the details right and for the production to settle. So it seems to have proved. There is much to admire in this production, and it will be a fine addition to the Royal’s repertoire. It hasn’t quite come together yet. Most of the ingredients are there, but at present it is beautiful and impressive rather than the searingly involving experience that it could be. But it should get there: it just needs time and greater familiarity of the dancers with their roles and with each other.

The role of Onegin, the darkly attractive sophisticate who callously brushes off the youthful adoration of the young Tatiana with tragic consequences, ought to be a natural for Adam Cooper, who made such an impact as the dark, sexy Stranger in AMP’s Swan Lake. When he was with the Royal, he was notable for the detail of his characterisation, even of minor characters. But he seemed uncharacteristically distant and muted in the first act, and his Onegin only slowly came to life. The pas de deux at the close of the first act, where he steps through the mirror in a dream sequence as Tatiana’s imagined lover, seemed to present a few problems both for him and Tamara Rojo as Tatiana. A few more performances should see this looking much more smooth and effortless, and allow the pair to concentrate less on the steps and more on their projection. Cooper and Rojo have not appeared together before, and their partnership became much more potent in the course of the performance – the final pas de deux in the last act gave a real intimation of the intensity and power they are capable of, where the conflict of emotions surges through the steps with a desperate force.

Rojo and Cojocaru make a very young and charming pair of sisters. Cojocaru’s Olga is beautifully danced, but unfortunately there wasn’t much sense of connection or involvement with her fiancé Lensky. This wasn’t down to any technical failings on Steifel’s part – her partnered her with great consideration, but somehow their relationship didn’t quite seem credible. His jealousy of her flirting with Onegin looked like a contrivance of the plot rather than wholly natural. These dancers haven’t appeared as a couple before. Lensky’s solo before the duel was very beautifully danced by Steifel, but the emotion didn’t project to where I was (front of amphitheatre – I suspect this performance may have been much more involving from stalls and stalls circle).

Overall, this is an attractive acquisition by the Royal, and Cranko’s choreography seems close enough to their own roots to present few stylistic problems. There are some really plum leading roles here – the corps don’t get much to do, other than decorate the stage nicely. There are more interesting casts to come, but the blinding obvious conclusion from this viewing is what a Tatiana Sylvie Guillem could make, and what a pity it is we shan’t see it.

Yes, it was in July this year.

(I wish we had the ability to merge threads but unfortunately we don't)

> totally agree about Olga looking younger
> (programme said she is supposed to be older).

> I thought her softer and more radiant presence was wrong
> against Rojo's much stronger more sophisticated looking Tatiana

I mentioned before that Rojo's mannerisms made her seem very young. And I thought that Cojocaru's flirtatious nature made her appear older and certainly more experienced with men than Tatiana. But I do agree from a physical perspective that Rojo as the younger sister - or that they were sisters at all - was unconvincing. They look as different as night and day.

I'm more than curious to see how Alina dances Tatiana - reviews please! I'm looking forward to seeing her myself next week.

Does anybody here share the same feeling with me that Sarah Wildor could be a Tatiana of Seymour's quality?
I had this strong feeling of regret as I watched the ballet last night because, wonderful as Tamara Rojo was last night, I couldn't help but musing what a delight it would be to see Sarah Wildor as Tatiana!

Already Ross Stretton has perhaps given more the RB in the first 3 months of his term in office then Dowell has done in over a decade.

We get from Stretton - Onegin
We get from Dowell - Mr Worldly Wise

Need I say more?

Way to go, Ross!!!!

I enjoyed it but it definately wasn't the 3 hankie weepie I was expecting!

You may say 'Way to go, Ross!!!!' but one swallow doesn't make a summer.

I would say "There is still a long way to go Ross" lets have some decent Ashton and regular MacMillan in the rep and then we can start getting excited. I too think we need a lot more swallows...

Sorry I think I might have created confusion on the Olga age thing - not being up on Pushkin - just assumed as she was engaged (too much Austen) and the programme notes talked about Tatiana being youthful.

I'd have loved to see Wildor and Benjamin have a go at the two girls roles.

I'd have loved to see Wildor and Benjamin as the sisters and it would have been something to have Cope in there as well. Oh well, disappointed but can't really complain - I'm really looking forward to hearing how Cojocaru does tonight.