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Boris Eifman resume
Boris Eifman’s choreographic imagination has immortalized history of great Russian ballerina Olga Spessivtseva which has
got to whirlpool of events of an epoch of revolutionary terror. Expatriation and personal tragedies have aggravated sincere
torments of the heroine that has led to a tragic outcome...
Extraordinary expressive choreography, inexhaustible director’s imagination, the magnificent scenic decision involve in this
performance of new admirers.
The choreographer notices that «Red Giselle» one of the major steps in its creative ascension.
Boris Eifman word
«By creating this ballet we wanted to pay the tribute on behalf of the ballet theater to the memory of Olga Spessivtseva, a
great ballerina with the tragic fate.
Our ballet is dedicated to Olga Spessivtseva, one of the greatest ballerinas of the twentieth century. I was astonished when
I learned the details of her life: the unique actress, bathed in glory and worshipped by fans and critics, spent 20 years in an
asylum outside New York, absolutely alone and deprived of all her rights! The tragic emotions I felt, became the impulse for
creating the ballet. This is not an illustration for Spessivtseva’s biography; rather this is an attempt to generalize her fate
and the fates of many talented people who were forced to leave Russia and who came to a tragic end.
Spessivtseva was a brilliant Giselle. The ballerina got into the role so deeply that she lacked the power to come back to
the real life: Giselle’s fate became hers. That fact that Spessivtseva as a prima-ballerina became involved in the bloody
events of the revolutionary Petrograd played a fatal role in her life: the red symbol, like the symbol of the fate, haunted and
tortured her. The emigration did not only bring her professional and personal disappointments, it filled her life with even
more tragedies that led, in the long run, to the catastrophe.»
Ballet in Two Acts
Choreography: Boris Eifman
Music: Pyotr Tchaikovsky, Alfred Shnitke, Georges Bizet
Scenery and costume designer: Vyacheslav Okunev
Premiere was held on 28 January 1997
Boris Eifman Ballet
Twenty eight years ago, a ballet troupe with an intriguing name of “The New Ballet” presented its first performance
– which completely justified its name. In the stagnant creative atmosphere of Russia in the 1970s, works by Boris
Eifman – the founder and Artistic Director of “The New Ballet” – were like a breath of fresh air. Eifman’s combination
of relevant themes and deep psychological perception, philosophical ideas and fiery passions, audacity of movement
vocabulary and clarity of dramatic intent were highly unusual for that time. Even more remarkable was the artists’
level of commitment. The creation of a ballet troupe dedicated to performing works by one choreographer only was a
unique phenomenon in itself .
Eifman’s ballet theater was geared towards a continuous creative process and each year produced new titles for its
repertoire. After “Boomerang,” which was set to rock music, came “The Idiot,” which became a phenomenon in the
Russian theater and clearly defined the aesthetic goals of Eifman’s ballet troupe: the dramatization of the art of dance,
deep penetration into the human psyche, daring interpretation of the most relevant, or “taboo,” themes of the time, and
the creation of meaningful metaphors through movement. Eifman also became known for the elegance and powerful
impact of the mass action scenes impeccably executed by the troupe’s captivating corps de ballet.
Eifman’s repertoire helped create a special type of artist, combining dancing, acting, brilliant technique, and a gift
for transformation. Eifman’s ballet theater presented 27 productions in its first decade. Seeking to create a diverse
repertoire, Eifman experimented with various genres, which ranged from choreographic miniatures to full-evening
ballets. This period produced “The Metamorphoses” and “Autographs,” “The Legend” and “A Crazy Day,” “The Twelfth
Night” and “Love’s Intrigues.”
It was also during that time that the poignant “Sub-lieutenant Romashov” and the innovative “Master and Margarita”
broke though the barriers of censorship. These ballets saw an entire generation of audiences to whom Eifman’s works
have given an unusual feeling of freedom and on whom they have made an astounding emotional and spiritual impact.
Eifman’s production of “The Murderers” signaled a new period in the life of Eifman Ballet characterized by a special
emphasis on seeking new forms of dance expression, psychoanalysis through movement, and a new, previously
unexplored, energy in dance. Eifman Ballet’s latest and best known productions include “Tchaikovsky,” “Don Quixote,”
“The Karamazovs,” “Red Giselle,” “My Jerusalem,” “Russian Hamlet,” and “Don Juan & Moliere.” These ballets have
brought worldwide recognition to such already well-known and versatile artists of the Eifman Ballet as Albert Galichanin,
Elena Kuzmina, Vera Arbuzova, Yuri Ananyan, Alexander Rachinsky, Sergei Zimin. Today, a young generation of artists
is realizing its talent alongside these masters. They include Yuri Smekalov, Natalia Povorozniuk, Alina Solonskaya,
Konstantin Matulevsky, Anastassia Sitnikova, Maria Abashova, Oleg Markov. Besides the talent of its soloists, Eifman
Ballet also owes its success in large part to the incredibly disciplined and professional corps de ballet. Collaborating
on “Tchaikovsky” has laid the foundation for a creative union between two extraordinary artists – Boris Eifman and set
designer Vyacheslav Okunev, both of whom are now responsible for what is described as the “amazing visual impact”
of the Eifman Ballet productions.
[ THE PRINCIPALS ]
BORIS EIFMAN
Artistic Director
GENNADY ALBERT
Ballet Director
PETR KOSTYSHEV
Deputy Director for development
GERMAN GUREEV
Deputy Director for tour management
VLADIMIR BONDARENKO
Deputy Director for administrative work
VICTORIA BYKOVA
Deputy Director for HR
SERGEY ILCHENKO
PR Manager
[ CAST ]
Ballerina
International Ballet Contests Laureate
SVETLANA BEDNENKO
International Ballet Contests Laureate
“Golden Soffit” Award Laureate
NINA ZMIEVETS
Сhekist
ALEXEY TURKO
SERGEY VOLOBUEV
Teacher
OLEG MARKOV
SERGEY VOLOBUEV
Partner
“Golden Soffit” Award Laureate
OLEG GABYSHEV
NIKOLAI RADZIUSH
Friend
ANTON LABUNSKAS
DMITRY LUNEV
[ CORPS-DE-BALLET ]
ALINA BOKALOVA
VALENTINA VASILYEVA
POLINA GORBUNOVA
SOFIA ELISTRATOVA
ALEXANDRA KUZMICH
EKATERINA MIKHEEVA
AMBER MILLER
AIZHAN MUKATOVA
NATALIA POZDNYAKOVA
ANJELA PROKHOROVA
KSENYA SAULEVICH
NATALIA SMIRNOVA
OLGA TELYUPA
OXANA TVERDOKHLEBOVA
EKATERINA TROFIMOVA
ZLATA YALINICH
ANASTASIA ZABEREZHNAYA
DIANA ZALEVSKAYA
EKATERINA ZHIGALOVA
EVGENIJA ZODBAEVA
SERGEY BARABANOV
SERGEY BISEROV
PAVEL HARBACHOU
ANATOLIY GRUDZINSKY
VASIL DAUTOV
KIRILL EFREMOV
MIKHAIL IVANKOV
ALEXANDR IVANOV
YURY KEKALO
ANTON LABUNSKAS
DMITRY LUNEV
ALEXANDR MELKAEV
ARTUR PETROV
IGOR POLYAKOV
DMITRY SAVINOV
ROMAN SOLOVIEV
SYNOPSIS
[ ACT ONE ]
Revolutionary Petrograd. In the ballet school of the former imperial theatre, a lesson of classical dance is in progress.
Severe and perfect dance plus a slightly mysterious aura - such is its ideal of beauty.
A brilliant and gilt-decorated auditorium. The Ballerina’s performance arouses rapturous applause. Among her admirers
is a representative of the new authorities, member of the Cheka. It is not just her fine dancing that attracts him to the
Ballerina. The Chekist’s coarse pressure and his powerful embraces overcome the Ballerina’s will power.
The Chekist introduces the Ballerina to his world which is unknown to her. Here the wild revelry of the revolutionary
crowd is transformed into a crazy festival of annihilation. And she, herself, hold sway at this festival, forgetting for a brief
moment the behests of her Teacher. However the spiritual values instilled in her by the Teacher are stronger than the
drug of destruction. The Ballerina returns to ballet school and to her Teacher.
A new power holds sway within the walls of the theatre: cruel and aggressive, it crushes all obstacles in its path. The
white Ballerinas must be the obedient instrument of the red ideology. The Teacher is in despair. What is happening is
unbearable, but he is unable to do anything about it.
The Ballerina and the Chekist are linked by a complex relationship. Here there is both attraction and non-acceptance,
passion and non-understanding. The Chekist permits the Ballerina to join the emigres who are leaving Russia for good.
[ ACT TWO ]
A ballet class at the Grand Opera in Paris. A famous dancer and choreographer is taking the rehearsal. The dancing
technique is unfamiliar to the Ballerina, but she recognizes the inspired talent of a creator. The dancer becomes her
Partner: they are both to have a triumphant success.
The Ballerina’s growing infatuation with her Partner is not reciprocated. This unrequited love, her feeling of loneliness
in a world that is alien to her have an increasingly negative affect on her mental state which shows signs of cracking-up.
The Ballerina attempts to find distraction in gay Paris. But even here she is haunted by the specters of the past. The red
reflections of the Revolution give her no peace. The Chekist appears to her in a nightmarish hallucination.
Even her favorite role of Giselle in which the Ballerina always moved her audience and for which interpretation she won
world fame, did not bring her peace of mind. Giselle’s fate lay in store for her -she herself repeated it: the betrayal of her
loved one, madness. Mirrors refract the great ballerina’s sick mind. And madness is seen as salvation, as a departure
into the flickering world of’ the other side of the mirror.
Vyacheslav Okunev
Set and costumes designer in Red Giselle
People’s Artist of Russia
Born in Leningrad. Studied at the Leningrad Cherkasov State Institute of Theatre, Music and Cinema (studio of I. Segal).
While still a student, he was invited to work with the Maly Opera (Mikhailovsky) and the Kirov Theatre (Maiinsky). Has worked
as a set and costume designer on over three hundred productions since 1975.
Major works include: Prokofiev´s Love for Three Oranges, Mozart´s Le nozze di Figaro, Delib´s Coppélia, Adam´s Giselle,
Stravinsky´s Mavra, Les Noces, Petrouchka, Shchedrin´s Anna Karenina, A. Tchaikovsky´s The Government Inspector and
Rimsky-Korsakov´s Kashchei the Immortal at the Mariinsky Theatre; Lovenskjold´s La Sylphide, Musorgsky´s Khovanshchina
and the ballet Russian Hamlet (choreography by Boris Eifman) at the Bolshoi Theatre; Tchaikovsky´s Eugene Onegin,
Puccini´s Tosca, Gianni Schicchi and Suor Angelica at the St Petersburg Chamber Opera Company; Tchaikovsky; I, Don
Quixote; The Brothers Karamazov; Red Giselle; My Jerusalem; Don Juan, or Moliere Passions; Musagete; Anna Karenina at
Saint Petersburg Eifman Ballet; and Bizet´s Carmen, Verdi´s La traviata, Rigoletto, Otello, Rimsky-Korsakov´s The Tsar´s
Bride, Tchaikovsky´s Swan Lake, Glazunov´s Raymonda and La Fille malgardée at the Mikhailovsky Theatre.
Over the years he has worked with companies including the Theatre Royal in Glasgow, the Greek National Opera, the
Theatre Wielki (Poland), Hungarian National Opera (Budapest), the National Theatres in Seoul and Tokyo, New York City
Ballet and the Theatre Cagliari, La Scala and the Arena di Verona in Italy.
Boris Eifman
BORIS EIFMAN is one of the few, if not the only Russian choreographer, who continued his active creative work for decades.
Perhaps none of his contemporaries can take pride in such achievements. There are more than forty performances on the
director’s account. He was the laureate of the prestigious theatrical Golden Soffit and Golden Mask awards, of the State Prize
of Russian Federation, received the Order of Arts and Letters of France, the People’s Artist of Russia title, Order of Merit for
the Fatherland and many other prizes and titles.
The choreographer was born in Siberia, finished the department of choreography of Leningrad (St. Petersburg) Conservatory.
In 1977 he organized Leningrad New Ballet (today called Saint Petersburg Eifman Ballet), the only individually managed
theatre in Russia, developing the art of modern choreography. He did not only create an original style, which absorbed the
achievements of new time art and which is based on the classical school, but also brought up a team of kindred spirit, for
whom no unsolvable tasks exist.
The current Company’s repertory includes the following works that have been already recognized worldwide are Requiem,
Tchaikovsky, I, Don Quixote, The Karamazovs, Red Giselle, My Jerusalem, Russian Hamlet, Don Juan, or Moliere Passions,
WHO is WHO, Musagete, Anna Karenina, The Seagull, Onegin and the most recent one Rodin.
Boris Eifman is a choreographer-philosopher. He is concerned with the problems of the modern world; with the secrets of
creativity and the magic of geniuses, which uncover themselves in his interpretation of the fates of Tchaikovsky, Spesivtseva,
Moliere or Rodin. He makes experiments with such dark and fearful sphere as human psyche (Idiot, Murderers, I, Don Quixote,
Russian Hamlet and Anna Karenina), creating the images of stage psychoanalysis. He strives for showing extreme states
of human mind, regarding his heroes` madness not as an illness but as their ability to penetrate into another worlds. The
choreographer pulls apart the limits of his imagination with the help of his heroes` fantasies, deepening in the questions of
spiritual and philosophic life of humankind, which interest him most.
Boris Eifman’s desire to draw his spectators into the inexhaustible world of human passions, to establish live spiritual
connections with the audience, to stun it with brilliance and dynamism of plastic language – all this determined the success
that accompanies the theatre’s performances on the leading stage venues of the world for decades. The choreographer
marks: «The spectator wants to receive from a ballet performance, first of all, a catharsis, a deep emotional shock. And
visiting our performances, he receives this live emotional charge. We aspire to that the psychological theatre would be the
privilege not only of a drama, but also of a ballet. And from this point of view we are unique. Such type of theatre to which
our Company belongs – with the strong dramaturgic base, the deep philosophical maintenance and high heat of passions is necessary for many spectators».
Creating his own style Eifman worked at various dancing systems. The theatre became a kind of laboratory for him. The
choreographer did not limit himself with the frames of a purely ballet performance, since the most important thing for him
is theatricality. His plays are unforgettable shows, revealing new forms and new principles of dancing action. Boris Eifman
has created his theatre – a theatre of unconcealed emotional feelings.
PRESS ABOUT BORIS EIFMAN
«Boris Eifman is undoubtedly the most interesting modern Russian choreographer. He has a magnetism of both his own personality and
his constant desire for renewal».
Le Figaro
«The ballet world in search of a major choreographer need search no more. He is Boris Eifman…»
Anna Kisselgoff, The New York Times
«Eifman’s personal qualities are strength and unrestraint. His nervous “painful style is a cover for the most brilliant skills».
«Boris Eifman will remain one of the most creative artists of Russia».
Le Figaro
Anna Kisselgoff, The New York Times
«There is no doubt any longer that the choreographer Boris Eifman is an amazing magician of the theatre. … Probably the only thing one
can still have any doubts about is whether he is the last leading choreographer of the 20 century or the first choreographer of the 21st».
Clive Barnes, New York Post
«The artists of Eifman’s theatre are phenomenal. Everybody from the soloists to the perfect corps de ballet. Amazingly skilful and flexible,
they can equally purely and vividly perform the most incredible creation of the choreographer and any classical pas and are outstandingly
expressive and musical».
Russian Daily – Novoye Russkoye Slovo
[ SOLOISTS ]
NINA ZMIEVETS
Born 11 February 1982 in Kiev (Ukraine)
2000 – graduated from the Kiev State Choreographic School
2000-2003 – a soloist with the Eifman Ballet, St. Petersburg
2003-2004 – a soloist with the International Ballet Theatre (USA)
2004-2006 – a soloist with the National Ukrainian Opera and Ballet Theatre
2006 to the present – a soloist with the Eifman Ballet, St. Petersburg
Featured roles since joining the Eifman Ballet:
Nadezhda von Mekk (Tchaikovsky)
Kitri (I, Don Quixote)
Grushenka (The Brothers Karamazov)
Ballerina (Red Giselle)
The Empress (Russian Hamlet)
Madeleine (Don Juan, or Moliere Passions)
Cat (Musagete)
Anna (Anna Karenina)
Arkadina (The Seagull)
Tatyana (Onegin)
Rose Beuret (Rodin)
Honors:
Winner of international ballet contests
Recipient of the Golden Soffit Award
SVETLANA BEDNENKO
Born 17 March 1991 in Donetsk (Ukraine)
2007 - graduated from the Vadim Pisarev Ballet School
2007-2011 a soloist with the Donetsk State Academic Theatre of Opera and Ballet
2011 to the present – a soloist with the Eifman Ballet, St. Petersburg
Featured roles since joining the Eifman Ballet:
Antonina Milyukova, Tchaikovsky’s wife (Tchaikovsky);
Kitri (I, Don Quixote)
Ballerina (Red Giselle)
The Empress (Russian Hamlet)
Olga (Onegin)
Honors:
Winner of international ballet contests
OLEG GABYSHEV
Born 10 August 1985 in Volgograd
2003 – graduated from the Novosibirsk State Choreographic College
2004 to the present – a soloist with the Eifman Ballet, St. Petersburg
Featured roles while a member of the Eifman Ballet:
Man (Requiem)
Double (Tchaikovsky)
Basil, Patient who imagined himself to be Don Quixote (I, Don Quixote)
Dmitry Karamazov (The Brothers Karamazov)
Partner (Red Giselle)
Don Juan (Don Juan, or Moliere Passions)
Vronsky (Anna Karenina)
Treplev (The Seagull)
Onegin (Onegin)
Rodin (Rodin)
Honors:
Recipient of the Golden Soffit Award
SERGEY VOLOBUEV
Born 3 June 1986 in Kovel (Ukraine)
2004 – graduated from the Kiev State Choreographic School
2004 to the present – a soloist with the Eifman Ballet, St. Petersburg
Featured roles while a member of the Eifman Ballet:
Double (Tchaikovsky)
Patient who imagined himself to be Don Quixote (I, Don Quixote)
Ivan Karamazov (The Karamazovs)
Teacher (Red Giselle)
Favourite of the Empress, The Ghost of the Heir’s Father (Russian Hamlet)
Commandore (Don Juan, or Moliere Passions)
Vronsky (Anna Karenina)
Trigorin (The Seagull)
General (Onegin)
Rodin (Rodin)
OLEG MARKOV
Born 9 October 1980 in Leningrad
1998 – graduated from the Vaganova Ballet Academy in Saint Petersburg
1998 to the present – a soloist with the Eifman Ballet, St. Petersburg
Featured roles while a member of the Eifman Ballet:
Old man, Youth (Requiem)
Tchaikovsky (Tchaikovsky)
Patient who imagined himself to be Don Quixote (I, Don Quixote)
Fyodor Pavlovich Karamazov, Ivan Karamazov (The Brothers Karamazov)
Teacher (Red Giselle)
Ghost of the Heir’s Father (Russian Hamlet)
Commandore (Don Juan, or Moliere Passions)
Bill (Who’s Who)
Balanchine (Musagete)
Karenin (Anna Karenina)
Trigorin (The Seagull)
General (Onegin)
ALEXEY TURKO
Born 23 October 1979 in Minsk (Belarus)
1998 – graduated from the State Choreographic College of the Republic of Belarus
1998-2000 – a soloist with the National Academic Opera and Ballet Theatre
of the Republic of Belarus
2000 to the present – a soloist with the Eifman Ballet, St. Petersburg
Featured roles while a member of the Eifman Ballet:
Man (Requiem)
Double (Tchaikovsky)
Basil (I, Don Quixote)
Dmitry Karamazov, Fyodor Pavlovich Karamazov (The Brothers Karamazov)
Partner, Chekist (Red Giselle)
Moslem (My Jerusalem)
Favourite of the Empress (Russian Hamlet)
Don Juan (Don Juan, or Moliere Passions)
Alex (Who’s Who)
Balanchine (Musagete)
Vronsky, Karenin (Anna Karenina)
Onegin (Onegin)
NIKOLAI RADZIUSH
Born 6 November 1984 in Belarus.
2004 - graduated from the State Choreographic College of the Republic of Belarus
2004-2008 – a member of the National Academic Opera and Ballet Theatre
of the Republic of Belarus
2008 to the present – a soloist with the Eifman Ballet, St. Petersburg
Featured roles while a member of the Eifman Ballet:
Tchaikovsky (Tchaikovsky)
Basil (I, Don Quixote)
Alexey Karamazov (The Brothers Karamazov)
Partner (Red Giselle)
Karenin (Anna Karenina)
Lensky (Onegin)