In her 21 years with the company, Lehmann sang more than fifty different roles at the Vienna State Opera, including Marie/Marietta in Die tote Stadt, the title-roles in La Juive by Fromental Halévy, Mignon by Ambroise Thomas, and Manon by Jules Massenet, Charlotte in Werther, Marguerite in Faust, and Tatiana in Eugene Onegin.
In a short period she prepared the roles of Tatyana in Eugene Onegin, Liza in Queen of Spades, and Cio-Cio-San in Madame Butterfly.
in Comparative Literature from UNC, Chapel Hill, Arndt was well known for his metric translations, which included versions of Goethe's Faust, Aleksandr Pushkin's Eugene Onegin, a number of poems by Rainer Maria Rilke, as well as works by Busch, Morgenstern, and others.
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In opera, he sang Rudolfo in a 1984 production of La bohème, directed by Harry Kupfer; in 1988 Wilhem Meister in Thomas's Mignon; in 1990 the role of Lenski in Tchaikovsky's Eugene Onegin.
In Berlin she continued to expand her repertoire with leading roles in Mozart's The Marriage of Figaro and Così fan tutte, Verdi's Aida, Puccini's Tosca, Tchaikovsky's Eugene Onegin, Wagner's Tannhäuser and Lohengrin, and Strauss's Ariadne auf Naxos and Der Rosenkavalier.
Her dancing is the subject of a brilliant stanza in Eugene Onegin, which was described by Vladimir Nabokov as the most mellifluous lines in the whole of Russian poetry.
In 1946, Shlonsky received the Tchernichovsky Prize for exemplary translation, for his translations of the novel Eugene Onegin by Alexander Pushkin and the play Hamlet by Shakespeare.
She has also sung in many other key Russian operas: Tatiana in Eugene Onegin, Lisa in The Queen of Spades, Iolanta, Mazeppa, Ruslan and Lyudmila.
An award-winning director, Fiennes is best known for her films Onegin (1999) (which starred her elder brother, Ralph) and Chromophobia (2005).
In addition to Susanin, Mikhailov was a renowned interpreter of other bass and basso profundo roles in Russian opera: Pimen in Boris Godunov, the miller in Dargomyzhsky's Rusalka, Khan Konchak in Prince Igor, the Viking merchant in Sadko, Gremin in Eugene Onegin.
The soprano's Metropolitan Opera debut was as Mimì in La bohème (in 1983, with Patricia Craig, Dano Raffanti, Richard Stilwell, Mario Sereni, James Morris, and Italo Tajo, conducted by James Levine), subsequently performing Tatiana in Eugene Onegin (opposite Leo Nucci and Paul Plishka) and Emma in the new production of Khovanschina (with Martti Talvela) at the house.
Its repertoire today reflects Sats educational philosophy and, alongside new versions of fairytales such as Puss in Boots, Snow White and The Frog Princess, there are also productions of “adult” operas like Madama Butterfly and Eugene Onegin and new ballets like the Snow Maiden.
He also continued an interest in Russian and other Slavic literature (mainly Serbian) which had begun during the first world war, and published further translations, notably of Pushkin's Eugene Onegin (1937).
Before joining Opera North in 2004, Farnes had conducted The Secret Marriage, The Marriage of Figaro, Joan of Arc, La Traviata, Eugene Onegin, Gloriana and Tosca for the company, as well as the world première of The Nightingale's to Blame by Simon Holt.
However, he says that Charles Johnston's translation of Aleksandr Pushkin's Eugene Onegin, Richard Wilbur's translation of Molière's Tartuffe and Robert Fitzgerald's translation of the Iliad have helped him enter worlds without which would have been out of his reach.
Among the productions he has directed are: Macbeth, Falstaff, Intermezzo, Volpone, Don Pasquale, Don Carlos, Resurrection, Aida, Don Giovanni, Roméo et Juliette, La traviata, L'elisir d'amore, Carmen (on Boston Common) Eugene Onegin, The Aspern Papers, Cosi fan tutte, Il barbiere di Siviglia, and Peter Grimes.
Among Mazurok's recordings are Eugene Onegin (with Galina Vishnevskaya and Vladimir Atlantov, conducted by Mstislav Rostropovich, 1970; then with Tamara Milashkina and Atlantov, led by Mark Ermler, 1979), and Il trovatore (opposite Katia Ricciarelli, José Carreras, and Stefania Toczyska, conducted by Sir Colin Davis, 1980).