Eugen Onegin bears the signature of director Carlos Wagner and set and costume designer Marnik Baert. They know better than anyone else to give the story a magical-realistic dimension based on the fairy-tale music of Tchaikovsky. Are we in the present or in the 19th century? Is it reality, a dream or a flash back?

Set designer Marnik Baert, however, came up with another inventive idea. The epic is set between the blueprints of the ship's plans. The various locations are cut-outs in a book, highlighted as if we can see the Titanic in the spirit of designer Andrews. Different parts of the blueprints open, so we zoom in on different locations of the ship.

The interpretation of the decor is ingenious and beautiful. The many masterpieces by Rubens are extensively discussed in a popping color festival. When he fights against a lesser period everything gets a gray, pale hue. The final image is simply beautiful, a decor like an art cabinet in a pure visual language.

Director Carlos Wagner and set and costume designer Marnik Baert turn this Summer Opera into a modern spectacle.

Set designer Marnik Baert delivered a fine example of craftsmanship with his ingenious decor. The scene is a street scene of Baltimore, with the Ford’s Theater in the center. All buildings can be opened and closed and entire sets come out of the façade. Because the performance takes place in three periods of time, it is a feast for the eyes in terms of decor.