After watching “Eugene Onegin” at a Minnesota multiplex, Garrison Keillor joins the chorus of bravos greeting the Metropolitan Opera’s live broadcasts: “I’m not an opera critic so I can’t compare this ‘Onegin’ to the 1948 Bolshoi production or comment on Miss Fleming’s use of sprezzatura in the Letter Aria, but I can say how joyful it is to see great artists take big chances on the big screen and rip loose from the moorings of cool and sing with red-blooded passion.”