故事发生于19世纪40年代，阿尔方斯妮（特蕾萨·斯特拉塔斯 Teresa Stratas 饰）本是出生在穷乡僻壤的贫穷女孩，注定会过上默默无闻了此一生的生活。然而，上帝却将她指引向了繁华的大都市巴黎。在那里，阿尔方斯妮见识到了上流社会的奢靡生活。随着时间的推移，阿尔方斯妮凭借着自己的美貌和智慧渐渐打入了社交圈，最终成为了人人仰慕的交际花，那些对她垂涎三尺的男人们称她为茶花女。
一次偶然中，阿尔方斯妮邂逅了名为小仲马（普拉西多·多明戈 Plácido Domingo 饰）的作家，两人坠入了爱河。然而，当小仲马得知了阿尔方斯妮的真实身份后，愤怒的觉得后者欺骗了自己，于是选择了离开。

2007年萨尔茨堡音乐节推出全新制作的柴科夫斯基歌剧《叶甫盖尼·奥涅金》，获得极大成功，演唱塔吉雅娜的俄罗斯女高音Anna Samuil获得最多喝彩，同时，该制作本身也赢得一致称赞。
“每一细节都掌控得无与伦比！”（《萨尔茨堡晚报》）；
“三个小时的激情、温柔和渴望，美妙的演出、伟大的歌唱！”（《联合通讯社》）。

Don Giovanni, a young, arrogant, and sexually promiscuous nobleman, abuses and outrages everyone else in the cast until he encounters something he cannot kill, beat up, dodge, or outwit.
Act 1
The overture begins with a thundering D minor cadence, followed by a short misterioso sequence which leads into a light-hearted D major allegro.
Scene 1 – The garden of the Commendatore
Leporello, Don Giovanni's servant, grumbles about his demanding master and daydreams about being free of him ("Notte e giorno faticar" – "Night and day I slave away"). He is keeping watch while Don Giovanni is in the Commendatore's house attempting to seduce or rape the Commendatore's daughter, Donna Anna. Don Giovanni enters the garden from inside the house, pursued by Donna Anna. Don Giovanni is masked and Donna Anna tries to hold him and to unmask him, shouting for help. (Trio: "Non sperar, se non m'uccidi, Ch'io ti lasci fuggir mai!" – "Do not hope, unless you kill me, that I shall ever let you run away!"). He breaks free and she runs off as the Commendatore enters the garden. The Commendatore blocks Don Giovanni's path and forces him to fight a duel. Don Giovanni kills the Commendatore with his sword and escapes with Leporello. Donna Anna, returning with her fiancé, Don Ottavio, is horrified to see her father lying dead in a pool of his own blood. She makes Don Ottavio swear vengeance against the unknown murderer. (Duet: "Ah, vendicar, se il puoi, giura quel sangue ognor!" – "Ah, swear to avenge that blood if you can!")
Scene 2 – A public square outside Don Giovanni's palace
Leporello tells Don Giovanni that he (Giovanni) is leading a rotten life; Don Giovanni reacts angrily. They hear a woman (Donna Elvira) singing of having been abandoned by her lover, on whom she is seeking revenge ("Ah, chi mi dice mai" – "Ah, who could ever tell me"). Don Giovanni starts to flirt with her, but it turns out he is the former lover she is seeking. The two recognize each other and she reproaches him bitterly. He shoves Leporello forward, ordering him to tell Donna Elvira the truth about him, and then hurries away.
Leporello tells Donna Elvira that Don Giovanni is not worth her feelings for him. He is unfaithful to everyone; his conquests include 640 women and girls in Italy, 231 in Germany, 100 in France, 91 in Turkey, but in Spain, 1,003 ("Madamina, il catalogo è questo" – "My dear lady, this is the catalogue"). In a frequently cut recitative, Donna Elvira vows vengeance.
Scene 3 – The open country
A marriage procession with Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Don Giovanni is immediately attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realizing that Don Giovanni means to remain behind with Zerlina, Masetto becomes angry ("Ho capito! Signor, sì" – "I understand! Yes, my lord!") but is forced to leave. Don Giovanni and Zerlina are soon alone and he immediately begins his seductive arts (Duet: "Là ci darem la mano" – "There we will entwine our hands").
Donna Elvira arrives and thwarts the seduction ("Ah, fuggi il traditor" – "Flee from the traitor!"). She leaves with Zerlina. Don Ottavio and Donna Anna enter, plotting vengeance on the still unknown murderer of Donna Anna's father. Donna Anna, unaware that she is speaking to her attacker, pleads for Don Giovanni's help. Don Giovanni, relieved that he is unrecognised, readily promises it, and asks who has disturbed her peace. Before she can answer, Donna Elvira returns and tells Donna Anna and Don Ottavio that Don Giovanni is a false-hearted seducer. Don Giovanni tries to convince Don Ottavio and Donna Anna that Donna Elvira is insane (Quartet: "Non ti fidar, o misera" – "Don't trust him, oh sad one"). As Don Giovanni leaves, Donna Anna suddenly recognizes him as her father's murderer and tells Don Ottavio the story of his intrusion, claiming that she was deceived at first because she was expecting a night visit from Don Ottavio himself, but managed to fight Don Giovanni off after discovering the imposture (long recitative exchange between Donna Anna and Don Ottavio). She repeats her demand that he avenge her and points out that he will be avenging himself as well (aria: "Or sai chi l'onore Rapire a me volse" – "Now you know who wanted to rob me of my honour"). In the Vienna version, Don Ottavio, not yet convinced (Donna Anna having only recognised Don Giovanni's voice, not seen his face), resolves to keep an eye on his friend ("Dalla sua pace la mia dipende" – "On her peace my peace depends").
Leporello informs Don Giovanni that all the guests of the peasant wedding are in Don Giovanni's house and that he distracted Masetto from his jealousy, but that Zerlina, returning with Donna Elvira, made a scene and spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organize a party and invite every girl he can find. (Don Giovanni's "Champagne Aria": "Fin ch'han dal vino calda la testa" – "Till they are tipsy"). They hasten to his palace.
Scene 4 – A garden outside Don Giovanni's palace
Zerlina follows the jealous Masetto and tries to pacify him ("Batti, batti o bel Masetto" – "Beat, O beat me, handsome Masetto"), but just as she manages to persuade him of her innocence, Don Giovanni's voice from offstage startles and frightens her. Masetto hides, resolving to see for himself what Zerlina will do when Don Giovanni arrives. Zerlina tries to hide from Don Giovanni, but he finds her and attempts to continue the seduction, until he stumbles upon Masetto's hiding place. Confused but quickly recovering, Don Giovanni reproaches Masetto for leaving Zerlina alone, and returns her temporarily to him. Don Giovanni then leads both offstage to his ballroom. Three masked guests – the disguised Don Ottavio, Donna Anna, and Donna Elvira – enter the garden. From a balcony, Leporello invites them to his master's party. They accept the invitation and Leporello leaves the balcony. Alone, Don Ottavio and Donna Anna pray for protection, Donna Elvira for vengeance (Trio: "Protegga il giusto cielo" – "May the just heavens protect us").
Scene 5 – Don Giovanni's ballroom
As the merriment, featuring three separate chamber orchestras on stage, proceeds, Leporello distracts Masetto by dancing with him, while Don Giovanni leads Zerlina offstage to a private room and tries to assault her. When Zerlina screams for help, Don Giovanni drags Leporello onstage from the room, accuses Leporello of assaulting Zerlina himself, and threatens to kill him. The others are not fooled. Don Ottavio produces a pistol and points it at Don Giovanni, and the three guests unmask and declare that they know all. But despite being denounced and menaced from all sides, Don Giovanni remains calm and escapes – for the moment.
Act 2
Scene 1 – Outside Donna Elvira's house
Leporello threatens to leave Don Giovanni, but his master calms him with a peace offering of money (Duet: "Eh via buffone" – "Go on, fool"). Wanting to seduce Donna Elvira's maid, and believing that she will trust him better if he appears in lower-class clothes, Don Giovanni orders Leporello to exchange cloak and hat with him. Donna Elvira comes to her window (Trio: "Ah taci, ingiusto core" – "Ah, be quiet unjust heart"). Seeing an opportunity for a game, Don Giovanni hides and sends Leporello out in the open wearing Don Giovanni's cloak and hat. From his hiding place Don Giovanni sings a promise of repentance, expressing a desire to return to her and threatening to kill himself if she does not take him back, while Leporello poses as Don Giovanni and tries to keep from laughing. Donna Elvira is convinced and descends to the street. Leporello, continuing to pose as Don Giovanni, leads her away to keep her occupied while Don Giovanni serenades her maid with his mandolin. ("Deh, vieni alla finestra" – "Ah, come to the window").
Before Don Giovanni can complete his seduction of the maid, Masetto and his friends arrive, looking for Don Giovanni in order to kill him. Don Giovanni poses as Leporello (whose clothes he is still wearing) and joins the posse, pretending that he also hates Don Giovanni. After cunningly dispersing Masetto's friends (Don Giovanni aria: "Metà di voi qua vadano" – "Half of you go this way. the others, go that way"), Don Giovanni takes Masetto's weapons away, beats him up, and runs off, laughing. Zerlina arrives and consoles the bruised and battered Masetto ("Vedrai carino" – "You'll see, dear one").
Scene 2 – A dark courtyard
Leporello abandons Donna Elvira. (Sextet: "Sola, sola in buio loco" – "All alone in this dark place"). As he tries to escape, he bumps into Don Ottavio and Donna Anna. Zerlina and Masetto also enter the scene. Everyone mistakes Leporello for Don Giovanni, whose clothes he is still wearing. They surround Leporello and threaten to kill him. Donna Elvira tries to protect the man who she thinks is Don Giovanni, claiming that he is her husband and begging the others to spare him. Leporello takes off Don Giovanni's cloak and reveals his true identity. He begs for mercy and, seeing an opportunity, runs off (Leporello aria: "Ah pietà signori miei" – "Ah, have mercy, my lords"). Don Ottavio is now convinced that Don Giovanni is the one who murdered Donna Anna's father (the deceased Commendatore). He swears vengeance ("Il mio tesoro" – "My treasure" – though in the Vienna version this was cut).
In the Vienna production of the opera, Zerlina follows Leporello and recaptures him. Threatening him with a razor, she ties him to a stool. He attempts to sweet-talk her out of hurting him. (Duet: "Per queste tue manine" – "For these hands of yours"). Zerlina goes to find Masetto and the others; Leporello escapes again before she returns. This scene, marked by low comedy, is rarely performed today. Also in the Vienna production, Donna Elvira is still furious at Don Giovanni for betraying her, but she also feels sorry for him. ("Mi tradì quell'alma ingrata" – "That ungrateful wretch betrayed me").
Scene 3 – A graveyard with the statue of the Commendatore.
Don Giovanni wanders into a graveyard. Leporello happens along and the two are reunited. Leporello tells Don Giovanni of his brush with danger, and Don Giovanni laughingly taunts him, saying that he took advantage of his disguise as Leporello by trying to seduce one of Leporello's girlfriends. The voice of the statue interrupts and warns Don Giovanni that his laughter will not last beyond sunrise. At the command of his master, Leporello reads the inscription upon the statue's base: "Here am I waiting for revenge against the scoundrel who killed me" (Dell'empio che mi trasse al passo estremo qui attendo la vendetta). The servant trembles, but Don Giovanni scornfully orders him to invite the statue to dinner, and threatens to kill him if he does not. Leporello makes several attempts to invite the statue to dinner but is too frightened to complete the invitation (Duet: "O, statua gentilissima" – "Oh most noble statue"). Don Giovanni invites the statue to dinner himself. Much to his surprise, the statue nods its head and responds affirmatively.
Scene 4 – Donna Anna's room
Don Ottavio pressures Donna Anna to marry him, but she thinks it is inappropriate so soon after her father's death. He accuses her of being cruel, and she assures him that she loves him, and is faithful ("Non mi dir" – "Tell me not").
Scene 5 – Don Giovanni's chambers
Don Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays music from popular (at the time) late-18th-century operas: "O quanto un sì bel giubilo" from Vicente Martín y Soler's Una cosa rara (1786), "Come un agnello" from Giuseppe Sarti's Fra i due litiganti il terzo gode (1782) and finally, "Non più andrai" from Mozart's own The Marriage of Figaro (1786). Leporello complains that he is sick and tired of hearing Mozart's aria everywhere all the time. (Finale "Già la mensa preparata" – "Already the table is prepared"). Donna Elvira enters, saying that she no longer feels resentment against Don Giovanni, only pity for him. ("L'ultima prova dell'amor mio" – "The final proof of my love"). Don Giovanni, surprised, asks what she wants, and she begs him to change his life. Don Giovanni taunts her and then turns away, praising wine and women as the "support and glory of humankind" (sostegno e gloria d'umanità). Hurt and angry, Donna Elvira gives up and leaves. Offstage, she screams in sudden terror. Don Giovanni orders Leporello to see what has upset her; when he does, he also cries out, and runs back into the room, stammering that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Don Giovanni opens it himself, revealing the statue of the Commendatore. With the rhythmic chords of the overture, now reharmonized with diabolic diminished sevenths accompanying the Commendatore ("Don Giovanni! A cenar teco m'invitasti" – "Don Giovanni! You invited me to dine with you"), the statue offers a last chance to repent, but Don Giovanni adamantly refuses. The statue disappears and Don Giovanni cries out in pain and terror as he is surrounded by a chorus of demons, who carry him down to Hell. Leporello, watching from under the table, also cries out in fear.
Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for the villain. They find instead Leporello hiding under the table, shaken by the supernatural horror he has witnessed. He assures them that no one will ever see Don Giovanni again. The remaining characters announce their plans for the future: Donna Anna and Don Ottavio will marry when Donna Anna's year of mourning is over; Donna Elvira will withdraw from society for the rest of her life; Zerlina and Masetto will finally go home for dinner; and Leporello will go to the tavern to find a better master.
The concluding ensemble delivers the moral of the opera – "Such is the end of the evildoer: the death of a sinner always reflects his life" ("Questo è il fin di chi fa mal, e de' perfidi la morte alla vita è sempre ugual"). As mentioned above, the final ensemble was customarily omitted from productions for over a century beginning with the original run in Prague, but it started to be performed again frequently in the 20th century and is now is usually included in productions of the opera. The return to D major and the innocent simplicity of the last few bars conclude the opera.

Time: Early 19th century
Place: Rome
Overture
The music is suggestive of a comic opera; bright and lively, it starts with plenty of percussion and brass instruments. After a while, the ambience changes to suggesting a party, and the overture ends with a finale.
Act 1
Scenes 1–3: A room in the home of Don Pasquale, at 9 o'clock
Ernesto has refused the woman that his uncle Don Pasquale had found for him, and as a result is to be disinherited. Ernesto declares his devotion to the young – but poor – widow Norina. In view of Ernesto's determination, Don Pasquale decides to marry in old age to produce his own heir, and anxiously awaits the arrival of his physician, Dr. Malatesta, who is determined to teach Don Pasquale how foolish he is being, but has been pretending to search for a suitable bride. Malatesta, confronted with Pasquale's impatience, mutters that he is a buffoon, but proceeds to describe the attributes of the bride-to-be (Bella siccome un angelo – "Beautiful like an angel"). Honest, modest and sweet – when pressed, Malatesta reveals she is in fact his sister. Overcome with joy, Pasquale demands to meet her at once, and sends Malatesta to fetch her, before singing of the love that has gripped him (Ah, un foco insolito – "A sudden fire").
Ernesto comes back and pleads with the Don to consult with his friend Malatesta – when he hears that Malatesta supposedly supports Pasquale, he is amazed at this apparent betrayal (Mi fa il destino mendico – "Fate has made a beggar of me"). Ernesto determines to elope and writes to tell Norina that all is lost.
Scenes 4–5: An apartment in the home of Norina
Norina sits alone, reading a book. She recites a passage, before laughing at the situation described and reflecting on her own temperament (So anch'io la virtù magica – "I too know your magical virtues"). She is in cahoots with Dr. Malatesta and impatiently waits for him to come and explain his plan at which he had only hinted. A servant delivers the letter from Ernesto, which she quickly reads and is instantly dismayed.
Malatesta arrives to explain the stratagem, but Norina cuts him off and hands him the letter, which he reads aloud: Ernesto has announced his intention to leave Rome, and Europe altogether. Malatesta reassures her, saying that he has adapted his plan: Norina shall play the part of Malatesta's sister. Having arranged for his cousin to act as a notary, they will easily deceive the Don. Norina consents to play her part in the deception, and they discuss her strategies in a lively duet (Pronta son; purch'io non manchi – "I am ready; if I do not miss").
Act 2
A salon in the home of Don Pasquale
Ernesto is alone: lamenting his fate, he considers his decision to leave Rome (Cercherò lontana terra – "I shall seek a distant land"). He leaves the room just as Pasquale enters, dressed in his outdated finery, along with his servants, to whom he gives instructions to admit Malatesta on his arrival. He parades around in his grand costume, hoping it will conceal his advancing years.
Malatesta arrives with Norina in tow, and introduces her to Pasquale as his sister, Sofronia, fresh out of the convent. Pasquale is smitten, and Norina plays the part of a dutiful, modest and submissive lady, to Pasquale's satisfaction. Norina consents to the proposed marriage, which delights Pasquale. He wants to send for the notary to conduct the ceremony straight away – conveniently, Malatesta has brought one along, who waits in the antechamber.
Malatesta fetches the supposed notary, as servants arrange a table. Taking his seat, the "notary" writes out a marriage contract as dictated by Malatesta and Pasquale (Fra da una parta – "Between, on one hand"), where the Don bequeaths all his estate to be administrated by Sofronia. The contract is quickly drawn up: Pasquale signs but, before Norina can affix her signature, Ernesto bursts in. Intending to say a final farewell, he is amazed to see Norina about to marry Pasquale. However, Malatesta persuades him not to say anything (Figliol non mi far scene – "Son, don't make a scene"), and he is forced to act as the final witness much to Don Pasquale's delight.
As soon as the contract is signed, Norina abandons her pretence of docility, and refuses Pasquale's embrace. She announces her intention to teach him manners, and to have Ernesto as a gallant to accompany her on evening strolls. Pasquale is horrified at this transformation, while Malatesta and Ernesto can barely conceal their amusement (È rimasto là impietrato – "He stands there, petrified"). Summoning the household staff, Norina recites a long list of demands – more servants (young and handsome at that), carriages and horses, furniture – and instructs them to spare no expense doubling all their wages. Pasquale is stricken at his misfortune, so Malatesta urges him to go to bed.
Act 3
Scenes 1–5: A room in the home of Don Pasquale
Pasquale sits in a room, surrounded by piles of newly purchased jewels, dresses and the like, as the servants bustle in and out of Norina's apartment (I diamanti presto presto – "The diamonds, quickly, quickly"). Dismayed by the piles of bills and invoices, the Don summons the courage to confront his tyrannical new wife. Norina emerges, dressed to go out. He attempts to reason with her, but she pays little heed (Signorina, in tanta fretta – "Madam, where are you off to in such a hurry"). He suggests that if she leaves, he may not allow her to return, an idea that she meets with patronising insincerity (Via, caro sposino – "There, there, dear little husband") but the discussion ends in her slapping him. As she exits, she drops a note which Pasquale picks up and reads. The note is addressed to Sofronia, arranging a meeting in the garden with its unnamed, admiring author. Pasquale calls for a servant to summon Malatesta, before leaving the room.
The servants return and, amongst themselves, at once complain at the amount of work they are being made to do, and reveal how much they are enjoying the farcical drama developing between Pasquale and his new wife (Che interminabile andirivieni! – "Such endless coming and going!"). At the approach of Malatesta and Ernesto, however, they exit, assured of more entertainment to come. Malatesta reminds Ernesto of the finer points of their plan, and the latter leaves. The doctor moves forward to greet Don Pasquale, who tells him of Norina's intended assignation, and his own plan to expose her unfaithfulness before a magistrate. Malatesta persuades him to moderate his plan and Pasquale, believing him an ally, consents to his conditions, while plotting his revenge on Norina (Aspetta, aspetta, cara sposina – "Wait, wait, dear little wife").
Scenes 6–7: The garden, adjoining Pasquale's house
In the garden, as night draws in, Ernesto sings of his love for Norina, as he waits for her arrival (Com'è gentil – "How lovely"). At last, Norina emerges, and they express their love: (Tornami a dir che m'ami – "Tell me once more that you love me"). Don Pasquale and Malatesta have observed and, as they reveal themselves, Ernesto covers himself with a cloak and runs to the house. Pasquale tries to confront Norina – he has caught her in flagrante – but this only provokes a fight that leaves the Don spluttering. She refuses to leave at his demand, so Malatesta, as per his agreement with Pasquale, takes over. Pretending to negotiate with Norina/Sofronia, he tells Pasquale that the only way to make her leave will be to allow Ernesto to marry his beloved, whom "Sofronia" apparently despises. Pasquale consents, and calls out to the house, from which Ernesto and the servants emerge. He instructs Ernesto to send for his would-be bride, but Malatesta reveals that Norina is in fact the woman Pasquale thinks he married, while the real Sofronia remains in a convent. All are reconciled, and the moral of the story – not to marry in old age – is revealed in a playful quartet (La moral di tutto questo – "The moral of all this").

Place: Seville, Spain
Time: 18th century
Act 1
The square in front of Bartolo's house
In a public square outside Bartolo's house a band of musicians and a poor student named Lindoro are serenading, to no avail, the window of Rosina ("Ecco, ridente in cielo"; "There, laughing in the sky"). Lindoro, who is really the young Count Almaviva in disguise, hopes to make the beautiful Rosina love him for himself – not his money. Almaviva pays off the musicians who then depart, leaving him to brood alone. Rosina is the young ward of the grumpy, elderly Bartolo and she is allowed very little freedom because Bartolo plans to marry her once she is of age and thus appropriate her not inconsiderable dowry.
Figaro approaches singing (Aria: "Largo al factotum della città"; "Make way for the factotum of the city"). Since Figaro used to be a servant of the Count, the Count asks him for assistance in helping him meet Rosina, offering him money should he be successful in arranging this. (Duet: "All'idea di quel metallo"; "At the idea of that metal"). Figaro advises the Count to disguise himself as a drunken soldier, ordered to be billeted with Bartolo, so as to gain entrance to the house. For this suggestion, Figaro is richly rewarded.
A room in Bartolo's house with four doors
The scene begins with Rosina's cavatina, "Una voce poco fa" ("A voice a little while ago"). (This aria was originally written in the key of E major, but it is sometimes transposed a semitone up into F major for coloratura sopranos to perform, giving them the chance to sing extra, almost traditional, cadenzas, sometimes reaching high Ds or even Fs.)
Knowing the Count only as Lindoro, Rosina writes to him. As she is leaving the room, Bartolo and Basilio enter. Bartolo is suspicious of the Count, and Basilio advises that he be put out of the way by creating false rumours about him (this aria, "La calunnia è un venticello" – "Calumny is a little breeze" – is almost always sung a tone lower than the original D major).
When the two have gone, Rosina and Figaro enter. Figaro asks Rosina to write a few encouraging words to Lindoro, which she has actually already written. (Duet: "Dunque io son...tu non m'inganni?"; "Then I'm the one...you're not fooling me?"). Although surprised by Bartolo, Rosina manages to fool him, but he remains suspicious. (Aria: "A un dottor della mia sorte"; "To a doctor of my class").
Count Almaviva, disguised as a soldier and pretending to be drunk, enters the house and demands to be quartered there. In fear of the drunken man, Berta the housekeeper rushes to Bartolo for protection. Bartolo tells the "soldier" that he (Bartolo) has an official exemption which excuses him from the requirement to quarter soldiers in his home. Almaviva pretends to be too drunk and belligerent to understand, and dares Bartolo to brawl. While Bartolo searches his cluttered desk for the official document which would prove his exemption, Almaviva whispers to Rosina that he is Lindoro in disguise, and passes a love-letter to her. Bartolo suspiciously demands to know what is in the piece of paper in Rosina's hands, but she fools him by handing over her laundry list. Bartolo and the Count argue loudly. Basilio enters; then Figaro, who warns that the noise of the argument is rousing the whole neighborhood. Finally, the noise attracts the attention of the Officer of the Watch and his troops, who crowd into the room. Bartolo demands that the Officer arrest the "drunken soldier". The Officer starts to do so, but Almaviva quietly reveals his true identity to the Officer, and he (the Officer) backs off and stands down. Bartolo and Basilio are astonished and mystified; Figaro laughs quietly at them. (Finale: "Fredda ed immobile, come una statua"; "Cold and still, just like a statue"). The confusion intensifies and causes everyone to suffer headaches and auditory hallucinations ("Mi par d'esser con la testa in un'orrida fucina; dell'incudini sonore l'importuno strepitar."; "My head seems to be in a fiery forge: the sound of the anvils deafens the ear.")
Act 2
A room in Bartolo's house with a piano
Almaviva again appears at the doctor's house, this time disguised as a priest who is also a singing tutor and pretending to act as substitute for the supposedly ailing Basilio, Rosina's regular singing teacher. Initially, Bartolo is suspicious, but does allow Almaviva to enter when the Count gives him Rosina's letter. He describes his plan to discredit Lindoro whom he believes to be one of the Count's servants, intent on pursuing women for his master. While Almaviva pretends to give Rosina her singing lesson, Figaro arrives to shave Bartolo. Bartolo demurs, but Figaro makes such a scene he agrees, but in order not to leave the supposed music master alone with Rosina, the doctor has Figaro shave him right there in the music room. When Basilio suddenly appears, he is bribed by a full purse from Almaviva and persuaded to leave again, with much discussion of how ill he looks. (Quintet: "Don Basilio! – Cosa veggo!"; "Don Basilio! – What do I see?"). Figaro begins to shave Bartolo, but Bartolo overhears the lovers conspiring, and angrily drives everybody away.
The scene returns to the location of act 1 with a grill looking out onto the square. Bartolo orders Basilio to have the notary ready to marry him to Rosina that evening. He also explains his plot to come between the lovers. Basilio leaves and Rosina arrives. Bartolo shows Rosina the letter she wrote to "Lindoro", and persuades her that this is evidence that Lindoro is merely a flunky of Almaviva and is toying with her at Almaviva's behest. Rosina believes him and agrees to marry him.
During an instrumental interlude, the music creates a thunder storm to indicate the passage of time. The Count and Figaro climb up a ladder to the balcony and enter the room through a window. Rosina shows Almaviva the letter and accuses him of betraying her. Almaviva reveals his identity and the two reconcile. While Almaviva and Rosina are enraptured by one another, Figaro keeps urging them to leave. Two people are heard approaching the front door, who later turn out to be Basilio and the notary. However, when the Count, Rosina, and Figaro attempt to leave by way of the ladder, they discover it has been removed. The marriage contract requires two witnesses; Figaro is one, but another is needed. The Count makes Basilio an offer he can't refuse: the choice of accepting a bribe and being a witness to his marriage or receiving two bullets in the head (an easy choice, Basilio says). He and Figaro witness the signatures to a marriage contract between the Count and Rosina. Bartolo barges in, accompanied by the Officer and the men of the watch, but too late; the marriage is already complete. The befuddled Bartolo (who was the one who had removed the ladder) is pacified by being allowed to retain Rosina's dowry. The opera concludes with an anthem to love ("Amor e fede eterna, si vegga in noi regnar!").

Time: The 1820s
Place: St Petersburg and surrounding countryside
Act 1
Scene 1: The garden of the Larin country estate
Madame Larina and the nurse Filippyevna are sitting outside in the garden. They can hear Madame Larina's two daughters, Tatyana and her younger sister Olga, singing a love song. Madame Larina begins to reminisce about her own courtship and marriage. A group of peasants enter, and celebrate the harvest with songs and dances. Tatyana and Olga watch. Tatyana has been reading a romantic novel and is absorbed by the story; her carefree sister, on the other hand, wants to join in the celebrations. Madame Larina tells Tatyana that real life is very different from her novels. Filippyevna announces that visitors have arrived: Olga's fiancé Lensky, a young poet, and his friend Eugene Onegin, visiting the area from St Petersburg. The pair are shown in and Lensky introduces Onegin to the Larin family. Onegin is initially surprised that Lensky has chosen the extrovert Olga rather than her more subtle elder sister as his fiancée. Tatyana for her part is immediately and strongly attracted to Onegin. Lensky expresses his delight at seeing Olga and she responds flirtatiously. Onegin tells Tatyana of his boredom in the country and describes the death of his uncle and his subsequent inheritance of a nearby estate. Filippyevna recognizes that Onegin has had a profound effect on Tatyana.
Scene 2: Tatyana's room
Tatyana is dressed for bed. Restless and unable to sleep, she asks her nurse Filippyevna to tell her about her youth and early marriage. Tatyana confesses that she is in love. Left alone, Tatyana pours out her feelings in a letter to Onegin. She tells him that she loves him and believes that she will never feel this way about anyone else, and begs him to understand and help her. She finishes writing the letter at dawn. A shepherd's pipe is heard in the distance. Filippyevna enters the room to wake Tatyana. Tatyana persuades her to send her grandson to deliver the letter to Onegin.
Scene 3: Another part of the estate
Servant girls pick fruit and sing as they work. Tatyana waits anxiously for Onegin's arrival. Onegin enters to see Tatyana and give her his answer to her letter. He explains, not unkindly, that he is not a man who loves easily and is unsuited to marriage. He is unworthy of her love and can only offer her brotherly affection. He warns Tatyana to be less emotionally open in the future. The voices of the servant girls singing are heard again. Tatyana is crushed and unable to reply.
Act 2
Scene 1: The ballroom of the Larin house
A ball is being given in honour of Tatyana, whose name day it is. Onegin is dancing with her. He grows irritated with a group of neighbours who gossip about him and Tatyana, and with Lensky for persuading him to come to the ball. He decides to avenge himself by dancing and flirting with Olga. Lensky is astounded and becomes extremely jealous. He confronts Olga but she cannot see that she has done anything wrong and tells Lensky not to be ridiculous. Onegin asks Olga to dance with him again and she agrees, as "punishment" for Lensky's jealousy. The elderly French tutor Monsieur Triquet sings some couplets in honour of Tatyana, after which the quarrel between Lensky and Onegin becomes more intense. Lensky renounces his friendship with Onegin in front of all the guests, and challenges Onegin to a duel, which the latter is forced, with many misgivings, to accept. Tatyana collapses and the ball ends in confusion.
Scene 2: On the banks of a wooded stream, early morning
Lensky is waiting for Onegin with his second Zaretsky. Lensky reflects on his life, his fear of death and his love for Olga. Onegin arrives with his manservant Guillot. Both Lensky and Onegin are reluctant to go ahead with the duel, reflecting on the senselessness of their sudden enmity. But it is too late; neither man has the courage to stop the duel. Zaretsky gives them the signal and Onegin shoots Lensky dead.
Act 3
Scene 1: The house of a rich nobleman in St Petersburg
Five years have passed, during which Onegin has travelled extensively around Europe. Standing alone at a ball, he reflects on the emptiness of his life and his remorse over the death of Lensky. Prince Gremin enters with Tatyana, his wife, now a grand, aristocratic beauty. She is greeted by many of the guests with great deference. Onegin is taken aback when he sees Tatyana, and deeply impressed by her beauty and noble bearing. Tatyana, in turn, is overwhelmed with emotion when she recognizes him, but tries to suppress it. Gremin tells Onegin about his great happiness and love for Tatyana, and re-introduces Onegin to his wife. Onegin, suddenly injected with new life, realizes that he is in love with Tatyana. He determines to write to her and arrange a meeting.
Scene 2: A room in Prince Gremin's house
Tatyana has received Onegin's letter, which has stirred up the passion she felt for him as a young girl and disturbed her. Onegin enters. Tatyana recalls her earlier feelings and asks why Onegin is pursuing her now. Is it because of her social position? Onegin denies any cynical motivation: his passion is real and overwhelming. Tatyana, moved to tears, reflects how near they once were to happiness but nevertheless asks him to leave. He asks her to have pity. Tatyana admits she still loves Onegin, but asserts that their union can never be realized, as she is now married, and determined to remain faithful to her husband despite her true feelings. Onegin implores her to relent, but she bids him farewell forever, leaving him alone and in despair.