The article is a response to Anna Vinogradova’s monograph “Eugene Onegin by P. I. Tchaikovsky: The Premiere Five Years (1879–1884) in the Mirror of the Press” (Moscow: State Institute for Art Studies, 2024). This is a new publication, where Tchaikovsky’s famous work is presented in various interpretations by con­tem­porary critics. Vinogradova clarifies the infor­mation on the work’s first performance at Moscow Con­ser­va­tory, and also for the first time introduces infor­mation about the first performer of the part of Olga, who was not A. N. Amfiteatrova-Levitskaya, as was previously believed, but T. S. Lyubatovitch. A large layer of criti­cism by contemporaries is devoted to the libretto of the opera, which belongs to P. I. Tchaikovsky. Thanks to the publication of Eugene Onegin, a powerful body of primary sources was introduced into musicological science—articles, reviews, notes by critics and publicists of the 1880s, including in French and German, as well as information about premieres in private enterprises in large provincial cities of the Russian Empire—Tiflis, Kharkiv, Odesa, Kyiv. The chapter about the St. Peters­burg premiere is supplemented by materials from the diaries of the chief director of the Imperial Theaters, G. P. Kondratiev.