Tchaikovsky wrote Eugene Onegin in 1878, using a libretto by Konstantin Shilovsky and himself, based on the epic poem by Pushkin. The composer was first drawn to the project by the famous "letter scene" (Act One, Scene Two), in which Tatyana declares her affections for Onegin. Tchaikovsky provided music for this scene—at least the latter part of it—first and built the rest of the work around it, ultimately producing his most popular opera.

If the libretto supplies many opportunities for dramatic scenes, Tchaikovsky's music certainly rises to almost every occasion. As Tatyana writes the letter, for instance, the music suggests her innocence, and seems to convey the act of writing, as well: the oboe singing an animated and typically Tchaikovskian motif, with the clarinet, flute, and horn providing subtle commentary, invokes a feeling of both intimacy and action, a private venting of one's thoughts and passions. Tatyana is given a beautiful and moving theme here, and the whole scene is set afire emotionally. Near the end a horn motif appears, which permeates much of the opera, serving as a sort of motto theme.

Lensky's aria preceding the duel is another highlight of the opera. In fact, his music is probably more attractive than that of Onegin, a character Tchaikovsky rather despised. That is one reason he made Tatyana the central figure in the opera, despite Onegin's protagonist status in Pushkin's poem. There is a fair amount of excellent folk-inspired music here, all, however, in the first act. The first chorus and chorus of the girls collecting berries, as well as the Dance of the Reapers, are all fine examples. It should be noted that Tchaikovsky added an ecossaise for the penultimate scene in the opera in 1885.

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