Director, Falk Richter, uses the term "timeless" when describing his new Onegin production at the Vienna State Opera (co-produced with Tokyo where it debuted a year ago).

The protagonists and their issues can easily slip into any epoch and remain valid. And indeed, the backdrop of falling snow (irritatingly monotonous in intensity and tempo), blue-overalled workers, ice-blue neon-lit sets (among them, a proscenium structure for Tatyana's letter scene, and a rolling catwalk bar) not only offer scope to this Pushkin drama, but could probably serve two-thirds of the standard operatic repertoire. The base line here is pedestrian. Indeed the entire proceedings rather lend the impression of a work in progress rather than a polished individualized production.

An unexpected highlight comes from the ballet whose highly effective acrobatics add a quirky spark to the proceedings in the party scenes (choreography Joanna Dudley).

The scale of the sets (designer Katrin Hoffmann) on this vast stage also expose the dimensions of the artists - with the exception of Ain Anger, whose physical and vocal presence easily fill the house. A refreshing, if unusually youthful, Gremin.

As Tatyana, Tamar Iveri looks charming and develops the character convincingly and sympathetically. Her singing is well paced and reliable, but somewhat lacking in imagination and personality.

Simon Keenlyside's Onegin is a ribald, contemporary boy-next-door who could have stepped out of a prime-time Soap. As expected, he displayed well-schooled fine singing, but his was hardly an Onegin to knock you for six.

Also not eclipsing memories of predecessors, Ramon Vargas produced some attractive lyrical phrases but lacked the necessary bite for Lensky's more dramatic moments. He also tends to pitch a shade above the tone and gives the impression of focusing on his vocal production more than on the stage character.

Nadia Krasteva's Olga is a true vamp. Somewhat larger-than-life and towering over both Onegin and Lensky, she seems slightly inappropriate in the quartet of suitors - but nevertheless sings a polished performance.

Aura Twarowska (Larina) and Margareta Hintermeier (Filipyevna) gave solid if unexceptional portrayals. The other more minor roles were adequately filled.

The previous State Opera production of Eugene Onegin at the State Opera was Seiiji Ozawa's choice for his house debut in 1988. On this evening the reading can only be described as erratic in delivery, augmented by fluffs from various sections of the pit throughout the proceedings.