The libretto for Tchaikovsky's "lyric scenes" consists of large and small extracts from 56 stanzas of Pushkin's verse-novel, with a few additions by the composer and more than a few changes of emphasis. A lot was left out, particularly the imagery of Tatiana's dreams, and it's this that the late Steven Pimlott tried to restore in his highly original 2006 staging for the Royal Opera. The images chosen by him and his designer, Antony McDonald, hint at a young woman's inner world - everything from flamboyant costumes and radiant colours to friendly animals and romantic encounters, all specified by Pushkin - in a way intended also to reflect and illuminate the musical cross-references of Tchaikovsky's score.

So much of Pimlott's concept has been drained from this first revival, directed by Elaine Kidd, that the point and heart of his always fragile vision has been lost. What we're left with is a standard Onegin with a few unexplained quirks. The cross-referencing might as well never have been there. It's a disappointing memorial to a fine director.

The change in pallor brings another equally crucial penalty: none of the principals brings the sort of dramatic conviction that, in its original incarnation, justified the boldness of Pimlott's approach. The one consolation is that, in purely musical terms, Tchaikovsky is well served.

The temperature of Jiri Belohlávek's conducting may be low (and the chorus sounds flaccid), but at least he draws nuanced playing from the orchestra. Gerald Finley establishes himself as the Onegin of choice with a performance of poise and vocal grace, as well as stage personality. Neither Marina Poplavskaya nor Piotr Beczala touches the heart - a different director might have extracted more intensity - but Poplavskaya's Letter Scene is immaculately schooled and paced (she and her Russian compatriot Hibla Gerzmava alternate as Tatiana during the run). As for Beczala's Act Two aria, it's baffling how a Lensky of such sweet timbre and elegant vocal address should fail to stir the audience. Robin Leggate contributes an unhackneyed Triquet - here's another underrated tenor - and Brindley Sherratt's Gremin is dignity personified. For all their finesse, this revival shows the level of polished routine to which a hard-working, consumer-obsessed opera factory is prone to descend. *** Tel 020 7304 4000