Diane Kruger at the opening gala for Tchaikovsky's 'Eugene Onegin' Jimi Celeste/Patrick McMullan

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The Metropolitan Opera's opening gala for Tchaikovsky's "Eugene Onegin" on Monday night was a glamorous affair, with some 4,000 guests showing off jewels, sequined jackets and glittering gowns. Outside, a group of about 35 gay rights activists stirred behind a rainbow banner and passed out fliers.

Peter Gelb, the company's general manager, revealed rainbow suspenders during the opera's preshow, which was broadcast in Lincoln Center Plaza and Times Square, to show solidarity with gay and lesbian Russians.

As the audience took their seats and the lights dimmed, a man loudly protested the Met Opera's decision to not dedicate the show to the Russian LGBT population, urging Anna Netrebko, who stars as Tatiana, and conductor Valery Gergiev to speak out on Russia's antigay policies. The man and three other protesters were asked to leave, and they complied.

"We couldn't do what they asked in terms of dedicating the evening for the reasons that I elaborated on," Mr. Gelb said. "I explained to them that we agree with them and members of the cast support them."

Piotr Beczala plays the role of the romantic hero, Lenski, and said that he was surprised at the protest.

"Things like that belong on the street and not in the opera house," he said before the post-show dinner, which fed more than 1,100 guests in Damrosch Park.

Despite the political undertones on Monday night, the gala raised $6 million for the Met Opera. Brooke Shields, Patti Smith, Oscar de la Renta, Heather Graham and Diane Kruger were among those in the crowd.

During a cocktail reception before the show, Patrick Stewart told us that although he wasn't familiar with Tchaikovsky's circa-1879 love story, that indeed, he was prepared to have his heart broken. And Mr. Beczala was ready to break hearts.

"Love, feelings and emotions are modern. They were modern 200 years ago, and it will be the same thing in 200 years, hopefully," Mr. Beczala said. "People are sensitive. They have hearts [which is a] part of being a human being and you can't ignore it."

Mr. Beczala said that while the opera house may not be the best vehicle for social change, it is an ideal place to face tough emotions.

"It's dark. Everybody can cry and nobody can see you. I'm seeing a lot of red eyes," he said. "It's really something great. It's a part of having feelings. It's the exchanging of feelings with a little help from music."