Ever since she broke out in Salome at the Salzburg Festival in 2018, the soprano Asmik Grigorian has been notching premiere after gala premiere in a galaxy of roles canonical and obscure that make the head spin. But only in Europe (this summer, she’s the Salzburg Festival’s new Carmen). Whatever Grigorian does, it’s an event. So far, she has favored American audiences with a Metropolitan Opera revival of Puccini’s Madama Butterfly in 2024 (five shows), plus a handful of concert dates. For next season, the company has announced a new production of Jenůfa for her, directed by Claus Guth, back for an encore after his recent hit debut with Salome. Meanwhile, there’s her Tatiana in the Met’s Eugene Onegin to look forward to, Like her Met Butterfly, it will go out live in HD to movie houses around the world (May 2). No, hype is not a factor. Grigorian is the rare interpreter who is as revelatory in standard repertory as in works you’ve never heard of before; she’s not a diva but an original. As often as you’ve seen Tatiana’s journey from impulsive letter-writing to hard-won restraint, Grigorian’s traversal may touch you in ways you can’t anticipate. The baritone Igor Golovatenko is Onegin, the dandy whose sophistication is skin-deep. Stanislas de Barbeyrac, back at the Met for the first time since his debut in Don Giovanni nearly a decade ago, catches Onegin’s bullet in one of the saddest duels in all opera, but not before bringing the action to a halt in one of the most poignant soliloquies it’s given to tenors to sing. Bring a hanky. Here’s a tenor who tugs the heartstrings without even trying. The talented Muscovite Timur Zangiev conducts in his house debut. —Matthew Gurewitsch