“Ukraine-born baritone Yuriy Yurchuk, a former Jette Parker young artist at the Royal Opera, returned to the company (he was Giorgio Germont in La Traviata) to sing the title role: rich-toned and offering a stylish line in callous disdain.”
“In the title role, the charismatic Ukrainian baritone Yuriy Yurchuk cuts an imposing, debonair figure, who revels in breaking hearts and causing conflict. When the tables unexpectedly turn, it is agonising to watch him disintegrate into a lost man, broken on the wheel of his own vanity.”
“Ukraine-born Yuriy Yurchuk has a lovely, lyrical baritone and captures Onegin's journey from haughty superiority to the brokenness of the final duet”
“The Ukrainian baritone Yuriy Yurchuk is an ideal Eugene Onégin, assuming a supercilious and smarmy persona, before understanding the error of his ways, only to get his comeuppance. The voice is ideal, with warm even tone, great quality and an assured easy production.”
“Baritone Yuriy Yurchuk cut a suave and confident impression as Onégin. He characterized him as a gentleman with a strong sense of entitlement, his treatment of Tatyana in the first act was brutal, as he delivered his rejection with an air of cold indifference and a slight hint of sadistic delight. Certainly, his calculated flirting with Olga, which he knew would upset Lensky, fitted neatly into his portrayal. This was supported by his carefully crafted vocal rendition, which was lyrically refined, confident, beautifully controlled and, at times, emotionally distant, giving Onégin an aloof, egocentric quality, and regardless of fault, he would obviously never have apologized to Lensky.
The reversal of his feelings towards Tatyana in Act three was made all the more powerful by the indifference and emotional detachment he had displayed up to this point. In typical Romantic style, his emotions now exploded as he prostrated himself on the floor before Tatyana and begged that she accept his love. Possibly, it went a little too far; maybe the contrast was too much, but Yurchuk’s singing was excellent, as he furnished the voice with a passionate intensity that hitherto had been kept in check. It made for a stunning finale.”
“Ukrainian baritone, Yuriy Yurchuk, captured the charm and haughty arrogance of Onegin to perfection in the early scenes. There was a striking contrast with the distraught, disheveled character who we saw languishing at Tatyana’s feet in the final scene. His voice was powerful and imposing at various points rising above big orchestral forces, but he was also sensual and lyrical and blended beautifully with the other performers in the ensemble scenes. His final duet with Mary McCabe’s Tatyana was thrilling both dramatically and musically and his final cries were devastating.”
“Yuriy Yurchuk, one of the best baritones around whose trademark role this is, delivered it with the right amount of scorn and maybe a bit of genuine concern for the young lady’s honor. For example, vocally, he was very good.”
"The Ukrainian-born baritone Yuriy Yurchuk had the commanding physical stature and the compelling voice to portray superbly the haughty arrogance of the eventually hapless Onegin, and his final scene tore at the heartstrings with the soprano Mary McCabe who was particularly impressive as the agonizing Tatyana in her delivery and dramatic presence."
“Ukrainian-born baritone Yuriy Yurchuk is back reinterpreting a familiar role. His Eugene Onégin towers above most of the rest of the cast and conveys a self-absorbed aloofness.”