When Tchaikovsky was offered to use Eugene Onegin as a material for a new opera, he took it as savagery, – but soon he took up the work with excitement. The composer was well aware that within the limits of one opera it was impossible to unfold the "encyclopedia of Russian life", as Pushkin's novel is called, and to convey the entire scope of Pushkin's lyrical digressions. He focused on the intimate side of the narrative, presenting a close-up of Tatyana, Lensky and Onegin, one by one, in each of the three acts.
The Russian opera tradition that began from Glinka assumed an epic scale and a powerful historical background. Tchaikovsky put the private life above the public one and above the "Russian life" - he created a chamber composition palatable to the listener. He tried to overcome the distance between the stage and the audience: he abandoned pastiche in favour of the modern musical language: in the first performance he appealed to the conservative students, who were the peers of the fictional characters, and defined the genre of Eugene Onegin as lyrical scenes, giving up the word "opera".
The Ural Opera production producers followed the same idea – not to build a wall between themselves and the viewer with an "authentic"; historical entourage, but to bring the action closer to the public, among which, perhaps, still sit the same young and inexperienced Tatiana and Lenskiy. It is difficult to indicate the exact time and place of the performance. It is not so important. The performers highlighted the human core that remained important and unchanged in the Pushkin era, in the time of Tchaikovsky and nowadays – the trembling of the first love and its disappointment, the desire to hear the other and not to give in to prejudice, the power of illusions and habit that "is given to us from above".