DIANA VISHNEVA: ON THE EDGE
LES BALLET DE MONTE-CARLO
Kings of the Dance Tickets
POLINA SEMIONOVA & FRIENDS
SOLO FOR TWO: NATALIA OSIPOVA & IVAN VASILIEV
MIKHAILOVSKY BALLET
Eifman Ballet
MARIINSKY BALLET

Eifman Ballet of St. Petersburg

Ваять — не строить
Author: ОЛЬГА ФЕДОРЧЕНКО
Date: January 25, 2012
Publisher: Коммерсантъ

Борис Эйфман поставил "Родена". В Петербурге на сцене Александринского театра состоялся второй показ балета "Роден" на музыку Равеля, Сен-Санса и Массне в постановке Бориса Эйфмана (премьера состоялась в ноябре прошлого года). Метания великого скульптора между двумя женщинами и по вертикальным плоскостям наблюдала ОЛЬГА ФЕДОРЧЕНКО [read more]

 

ЦЕНА БЕССМЕРТИЯ. НОВЫЙ БАЛЕТ ЭЙФМАН «РОДЕН»
Author: Нина Аловерт
Date: December 8, 2011
Publisher: Russian Bazaar

... Страдает подруга Родена Роза Бере... Камилла Клодель, муза великого скульптора, его любовь, модель многих его образов, сама –  талантливый скульптор,  сошла с ума. Но Роден, отрешившись от всех мирских проблем, трудится  в своей мастерской – высекает из мрамора скульптуру. Так заканчивается новый балет Бориса Эйфмана “Роден ”. [read more]

 

Эйфман размышляет о цене, которую платят гении
Author: Лариса Абызова
Date: December 1, 2011
Publisher: Невское время

В Петербурге состоялась мировая премьера балета Бориса Эйфмана «Роден». [read more]

 

О бремени страстей
Author: Игорь СТУПНИКОВ
Date: November 30, 2011
Publisher: С.-Петербургские ведомости

Борис Эйфман не раз приводил на балетную сцену исторических личностей, в его хореографических полотнах возникали образы Чайковского, балерины Спесивцевой, французского насмешника над нравами века Мольера, российских правителей Екатерины Великой и Павла Первого. Нынче он обратился к жизни и творчеству великого французского ваятеля Огюста Родена. [read more]

 

«Роден» Эйфмана творит скульптуру в танце
Author: Мария Кингисепп
Date: November 28, 2011
Publisher: Известия

Исполнителю главной партии пришлось «лепить» на сцене. [read more]

 

Бунт во славу искусства
Author: Светлана Наборщикова
Date: November 27, 2011
Publisher: Известия

В балете об Огюсте Родене и Камилле Клодель симпатии Бориса
Эйфмана на стороне дамы. [read more]

 

Борис Эйфман: “Я не Роден, но…”
Author: Марина Райкина
Date: November 25, 2011
Publisher: Московский Комсомолец

На сцене Александринского театра состоялся единственный показ премьерного балета “Роден” Бориса Эйфмана. [read more]

 

Веселая трагедия о любви
Author: Анна Гордеева
Date: November 24, 2011
Publisher: Московские Новости

В Петербурге станцевали мировую премьеру «Родена»[read more]

 

Title: 'Don Quixote' tilts at new windmills in Costa Mesa
Author: PAUL HODGINS
Date: April 30, 2011
Publisher: THE ORANGE COUNTY REGISTER

It would be easy to dismiss Boris Eifman's "Don Quixote" as a heavy-handed metaphor for Soviet-era repression. But that put-down ignores the richness and ingenuity of the choreography, displayed gloriously by Eifman's gifted and dedicated company at the Segerstrom Center on Friday. [read more]

 

Title: Eifman's ballet method makes for fine 'Quixote' madness
Author: HEDY WEISS
Date: April 22, 2011
Publisher: Chicago Sun-Times

I've spent two consecutive nights in a madhouse this week — first with an English king ("The Madness of King George III," receiving a brilliant production at Chicago Shakespeare Theater) and next with a delusional mental hospital inmate, "Don Quixote, or Fantasies of a Madman," receiving its final two performances today at the Auditorium Theatre, courtesy of the Eifman Ballet of St. Petersburg, Russia. [read more]

 

Title: New twists and turns enliven 'Don Quixote'
Author: Sid Smith
Date: April 22, 2011
Publisher: Chicago Tribune

"Don Quixote, or Fantasies of a Madman" is one of Boris Eifman's most enjoyable works, brisk storytelling and lively dance that gingerly sends up classical ballet while providing a reasonably fine modern equivalent. [read more]

 

Title: Eifman Ballet

Author: Susan Yung
Date: May 29-31, 2009
Publisher: Dance Magazine

Has the American public's taste finally aligned with Boris Eifman's work? Onegin (based on Alexander Pushkin's novel) is the most recent of his choreographic epics to be presented in New York by his St. Petersburg-based company, Eifman Ballet. The structure follows his previous ballets—many short scenes separated by blackouts—not dissimilar to a Broadway show. In fact, even his choreographic style, with its sky-high kicks, frenetic pacing, and explosive showiness, evokes dance more akin to the TV show So You Think You Can Dance than traditional ballet. The striated lighting, fog effects, and dramatic set (by Zinovy Margolin), including videos projected on a disc, also evoke musical theater. (Coincidentally, the bridge set echoes Broadway's current production of West Side Story.) [read more]

 

Title: A night of Prokofiev

Author: Robert Johnson
Date: May 08, 2009
Publisher: nj.com

NEW YORK-- American Ballet Theatre's latest programming gimmick is a mixed bill dedicated to the music of a famous Russian ballet composer. The company produced a fascinating Stravinsky evening in 2006, and a stimulating program of four Tchaikovsky ballets returned this season. [read more]

 

Title: Eifman Ballet Revolutionizes Russian Classic With Mixed Results
Author: Emma Krasov
Date: May 08, 2009
Publisher: artandentertainme.blogspot.com

Onegin, staged by Eifman Ballet of St. Petersburg and based on a classic poem by Alexander Pushkin and music by Tchaikovsky, premiered at Cal Performances' Zellerbach Hall in Berkeley the first days of May. Boris Eifman, the founder and artistic director, is internationally recognized for his revolutionary approach to classical dance, his victorious struggle with the oppression by the Soviets, and his amazing proficiency (over 40 ballets in the last three decades). Onegin became the last part of his "literary" trilogy of ballets, which also includes Chekhov's The Seagull (2007) and Tolstoy's Anna Karenina (2005).[read more]

 

Title: Eugene Onegin and Zombies!
Author: Kathleen O'Connell
Date: May 29, 2009
Publisher: danceviewtimes.com

If you asked the minds behind WrestleMania to dramatize Alexander Pushkin, you might get something along the lines of the amped up, sensationalized tableaux of Boris Eifman's "Onegin," which received its New York premiere at City Center on Friday. Eifman, like professional wrestling, is not to everyone's taste, but WrestleMania packs them in and so does Eifman. He knows what his audience has come for—febrile emotionality and beautiful young bodies pushed to their extremes—and delivers it with a will and theatrical flair. What "Onegin" doesn't deliver is genuine drama made vivid through eloquent choreography. It's as fake as a steel cage match and just about as profound.[read more]

 

Title: Eugene Onegin. Eifman Ballet of St. Petersberg.
Author: Eric Taub
Date: May 29, 2009
Publisher: ballet.co.uk

Despite everything, I'm rather fond of Boris Eifman. Thanks to him, I'm immortalized in Reading Dance, Robert Gottlieb's massive compendium of dance writing, with a quote of this pithy, but apparently compelling, description from a ballet.co review: "kitsch masquerading as profundity." Kitsch masquerading as profundity can be great fun, and I've admired Eifman not because he's awful, but because he's unabashedly, zestfully, copiously so.[read more]

 

Eifman Ballet's 'Onegin' at OCPAC


Author: Laura Bleiberg
Date: May 21, 2009
Los Angeles Times

During his new ballet spectacle, based on Alexander Pushkin's revered verse novel "Eugene Onegin," Russian choreographer Boris Eifman delivered some tidy thematic dualities, while the leading dancers of his Eifman Ballet of St. Petersburg entertained with magnificent performances.[read more]

 

Onegin. Eifman Ballet of St. Petersburg.


Author: Pam Diamond
Date: May 21, 2009
O.C.Register

Emotional intensity, sinuous technique, and a fierce sensuality characterize the Eifman Ballet of St. Petersburg's "Onegin," which received its Southern California Premiere at the Orange County Performing Arts Center on Wednesday night. With his edgy reimagining of Alexander Pushkin's 19th century Russian literary classic Eugene Onegin, Artistic Director Boris Eifman has created a thrill-a-minute, white-water rafting ride of a ballet that propels the audience into a maelstrom of conflicting passions set in a post-Soviet Russia of the early 1990s.[read more]

 

Onegin. Eifman Ballet of St. Petersburg
Author: Suzanne Weiss
Date: May 1-3, 2009

Boris Eifman has taken Pushkin's 19th Century brooding hero, Eugene Onegin, and stuffed him into a time machine. The ballet, created for the choreographer's Eifman Ballet of St. Petersburg, is one in his trilogy of Russian literary masterpieces set to dance, preceded by "The Seagull" (Chekhov) and "Anna KareninaD (Dostoyevsky). Mingling music of Tchaikovsky (and not always from the eponymous opera) with the contemporary rhythms of Russian composer Alexander Sitkovetsky and the rock band Autograph, the choreographer creates a new/old story in a series of short but stunning scenes.[read more]

 

Eifman displays mastery of dance and theater with inspired 'Onegin'
Author: Hedy Weiss
Date: May 16, 2009
Publisher: Chicago SunTimes

Perhaps the best way to think about choreographer Boris Eifman is to dub him "the Jerome Robbins of Russian ballet," for he is a master of theater as much as a maker of dances -- a man with a seamless feel for the way gesture, music and stage design can coalesce in the art of storytelling and character development. And now -- after watching the Thursday night Chicago debut of his "Onegin" at the Auditorium Theatre, and thinking back on the five previous visits by his company, the Eifman Ballet of St. Petersburg -- that essential resemblance has only been magnified. [read more]

 

Striking moments, and a few strange ones, in Eifman Ballet's 'Onegin'
Author: Sid Smith
Date: May 16, 2009
Publisher: Chicago Tribune

Boris Eifman's fearless, fascinating approach to ballet is wildly idiosyncratic, sometimes embarrassingly juvenile, but often entertaining and rarely uninteresting. [read more]

 

Eifman Ballet 'Onegin'
Author: Alan Helms
Date: May 2009
Publisher: ballet.co.uk

For some, Boris Eifman is the Russian Béjart, a crowd-pleasing vulgarian, a Las Vegas Diaghilev given to the sensational and meretricious. They see him as representing the worst of two worlds: the musty conservatism of 19th century story ballet and a vapid contemporaneity which is all flash and dazzle and no substance. [read more]

 

Dark night of the soul
Author: Jeffrey Gantz
Date: May 8, 2009
Publisher: The Boston Phoenix

In the program note to his Eugene Onegin, which St. Petersburg's Eifman Ballet is presenting at the Cutler Majestic Theatre this weekend, Boris Eifman writes, "I transported Pushkin's characters to our times. . . . I needed that experiment in order to answer the question that troubles me: what is the Russian soul today? Has it preserved its uniqueness, its mystery, its attraction?" While the company founder and choreographer ponders that question, he can rest assured that Eifman Ballet has preserved its uniqueness, its mystery, its attraction. Also its agony, its ecstasy, its drama, its melodrama, and its tendency to be generic. The weakness of this Onegin is that it's about the Russian soul and not about Russian souls. [read more]

 

Dance review: Eifman Ballet's 'Onegin'
Author: Mary Ellen Hunt
Date: May 6, 2009
Publisher: Chronicle

It would be hard to overstate just how beloved Alexander Pushkin's 19th century poem "Eugene Onegin" is to the Russian people. It has inspired Tchaikovsky's famous opera and John Cranko's 1965 ballet, and its translation alone has sparked endless controversies. So there's a whiff of hubris surrounding Boris Eifman's re-envisioning of this classic romantic story, which received its West Coast premiere when Cal Performances presented Eifman Ballet of St. Petersburg in Zellerbach Hall over the weekend. [read more]

 

Eifman Ballet: Onegin, Zellerbach Hall, Berkeley, CA
Author: Allan Ulrich
Date: May 5, 2009
Publisher: ft.com

St Petersburg's irrepressible, idiosyncratic dance master has returned to the American landscape, sprinkling his revisionist reflections over the bedrock artefacts and artists of Russian culture. It was only a matter of time before Boris Eifman faced off with Pushkin's 1835 verse novel Eugene Onegin, but this time the playing field has been previously occupied by John Cranko's 1965 dance drama, which remains an astonishingly durable treatment. [read more]

 

Onegin: Eifman Ballet of St. Petersburg
Boris Eifman choreographer
Presented by Cal Performances
By Suzanne Weiss
May 1-May 3, 2009

Boris Eifman has taken Pushkin's 19th Century brooding hero, Eugene Onegin, and stuffed him into a time machine. The ballet, created for the choreographer's Eifman Ballet of St. Petersburg, is one in his trilogy of Russian literary masterpieces set to dance, preceded by "The Seagull" (Chekhov) and "Anna KareninaD (Dostoyevsky). Mingling music of Tchaikovsky (and not always from the eponymous opera) with the contemporary rhythms of Russian composer Alexander Sitkovetsky and the rock band Autograph, the choreographer creates a new/old story in a series of short but stunning scenes. The stage pictures – set against a soaring bridge of girders with an ever-changing grid – are spectacular, as is the dancing. Anything but subtle, Eifman mines the human heart in motion that is innovative and heavy on the angst. For those who -- like the reviewer -- love the opera, widely considered to be Tchaikovsky's masterpiece, this will run a close second – and that's saying a lot. [read more]


Eifman's 'Onegin' suffers from an identity crisis
The 19th-century Russian classic is reset to 1990s Moscow, but without updating its message.

Author: Caroline Palmer
Date: April 27, 2009
Publisher: Star Tribune

Over the past 33 years, choreographer Boris Eifman has developed his brand of emotionally charged contemporary ballet theater, earning acclaim in Russia and abroad.[read more]

 

Eifman Ballet adapts Pushkin novel in 'Onegin'
The 19th-century Russian classic is updated to Moscow in the 1990s.

Author: Caroline Palmer
Date: April 25, 2009
Publisher: Star Tribune

Over the past 33 years choreographer Boris Eifman has developed his brand of emotionally charged contemporary ballet theater, earning acclaim in Russia and abroad. This weekend the Eifman Ballet of St. Petersburg returns to Northrop Auditorium for a special event - the world premiere of "Onegin," an adaptation of the 19th-century Alexander Pushkin novel. The work, however, does not rise to the occasion, despite the best efforts of a talented cast.[read more]

 

Тема  |  Балет, труппа Б.Эйфмана, «Онегинъ. Online»
Персоналии

Авторы  |  Ольга ШАРАПОВА 
Заголовок  |  Online для Пушкина 
Где опубликовано  |  газета "Трибуна" 
Дата публикации  |  19 марта 2009 г. 

Скандальный балет Бориса Эйфмана «Онегин. Online», поставленный по роману Александра Пушкина «Евгений Онегин», всего один раз показали в Петербурге и отправились с ним в Америку. [read more]

 

Балет, труппа Бориса Эйфмана, «ОнегинЪ. Online»
Авторы  |  Наталья Корконосенко
Заголовок  |  Онегин после путча
Где опубликовано  |  еженедельная газета "Россия"
Дата публикации  |  12 марта 2009 г.

Онегин в кабаке, «замочивший» между делом своего друга Ленского в бессмысленном по сути преступлении, – разве может быть мотивом случившийся со скуки роман с Ольгой. Малиновый пиджак, вызывающие кроссовки главного героя… Какое отношение имеет все это к Пушкину и его «энциклопедии русской жизни», задается вопросом зритель. Премьера нового балета Бориса Эйфмана в Александринском театре – с аншлагом, клумбой цветов от губернатора и десантом зрителей из Москвы – в очередной раз доказывает правоту постановщика: с его концепцией можно соглашаться или нет, но то, что она безупречно хореографически выстроена и психологически убедительна, сомнению не подлежит. [read more]

 

Балет, труппа Б.Эйфмана, "Онегинъ. Оnline"
Авторы  |  Ирина ГУБСКАЯ
Заголовок  |  В поисках "русской души"
Премьера балета Бориса Эйфмана "Онегинъ. Оnline"
Где опубликовано  |  газета "Культура" №10 (7673)
Дата публикации  |  12-18 марта 2009г

Публика чуть не снесла недавно обновившуюся Александринку. В этом плане Эйфман, хоть и жалуется постоянно на отсутствие своей площадки, гениальный менеджер: единственный показ премьеры - и на гастроли. Теперь - только летом, и лишь несколько раз. В итоге - ажиотажный аншлаг.

В свое время Эйфман заменял для изолированной от "внешних веяний" страны весь зарубежный (то есть современный) балет. Был единственным, кто "смог", - только ему удалось создать свой авторский театр, да еще и удержать его на плаву, заработав бренд "Эйфман-балет". В общем, заслуги перед отечеством налицо. Теперь он старательно символизирует в мире современный российский балет. Тут у него конкурентов попросту нет. Эйфман - единственный, поскольку и современные балеты в академических труппах, вроде Большого или Мариинки, никак не отменяют их академического статуса. [read more]

 

Балет, театр Б. Эйфмана, «Онегинъ. Online»
Авторы: ОЛЬГА ФЕДОРЧЕНКО
Заголовок: Нож в сердце Онегина
// Борис Эйфман показал "Онегина" онлайн
Где опубликовано: Газета "Коммерсантъ-СПБ" № 40(4095)
Дата публикации: 20090306

В Александринском театре состоялась премьера нового опуса Бориса Эйфмана "Онегинъ-online". Хореографическую перезагрузку романа Пушкина смотрела ОЛЬГА ФЕДОРЧЕНКО.

"Евгения Онегина" закачать в компьютер, слить на флешку, скопировать в ЖЖ или блог, выложить информацию v kontakte, добавив несколько килобайт русской души — таков рецепт нового балета Бориса Эйфмана. Верность первоисточнику заявлена господином Эйфманом уже в программке (прием, использованный ранее в "Чайке"): вместо краткого содержания — цитаты из Пушкина со сносками на главы и строфы. Между тем, кокошников и сарафанов в балете господина Эйфмана нет. Хореограф перенес действие романа в 1991 год, чтобы, по его словам, "ответить на волнующий меня вопрос — что есть русская душа сегодня? Сохранила ли она свою самобытность, свою тайну, свою притягательность?" [read more]

 

Балет, театр Б. Эйфмана, «Онегинъ. Online»
Авторы: Аполлинария Аврутина, писатель, переводчик
Заголовок: «Онегин Online». Прощание с гламуром
Где опубликовано: Деловой Петербург» № 39 (2851)
Дата публикации: 20090306

Сейчас такое время, когда старое рушится, а новое пока не появилось. На наших глазах свершается глобальная бархатная революция. Пока бархатная. Подводятся итоги, обнуляются все счетчики и банковские счета.

Балет Бориса Эйфмана «Онегин Online» воспринимается как иное прочтение «энциклопедии русской жизни». Эйфман подводит итог той жизни России 1990-х - начала 2000-х, которая не повторится больше никогда.

Основа сюжета - знакомая история из девятнадцатого века. Скучающий Онегин, деревня, любительница романов Татьяна и ее смелое письмо, ветреная Ольга, пылкий Ленский. Выстрел. Важный генерал. Встреча годы спустя. [read more]

 

Балет, Театр Бориса Эйфмана, «Онегинъ. Online»
Авторы:| Лариса Абызова,
Заголовок: Онегин: поножовщина оnline
Где опубликовано: «Фонтанка. ру»
Дата публикации: 20090304

В массовой драке на именинах в результате ножевых ранений погиб один человек – сообщили бы в сегодняшней криминальной хронике. Героев поножовщины мы знаем со школьной скамьи: погибший – Ленский, убийца – Онегин. Такой поворот известного сюжета предложил Борис Эйфман в новом балете «Онегинъ. Online», премьера которого состоялась 3 марта на сцене Александринского театра. [read more]

 

'Seagull' doesn't soar
Author: LAURA BLEIBERG
Date: March 18, 2007
Publisher: THE ORANGE COUNTY REGISTER

Despite heroic performances, Eifman Ballet's "The Seagull" fails to capture the soul-wrenching poignancy of Anton Chekhov's classic story. [read more]

 

Bird brain, Boris Eifman's The Seagull
Author: Joffrey Ganz
Date: March 29, 2007
Publisher: Boston Phoenix

The plays of Anton Chekhov don't take well to dance: his words have a life of their own and must be translated out of Russian and into the body. Kenneth MacMillan's Winter Dreams reduces Three Sisters to a series of frustrated-lover duets and then a duel; call it "Days of Our Chekhov Lives." [read more]

 

Pas de Trois: Boiling Down Tolstoy's Tale for Ballet
Author: Roslyn Sulcas
Date: April 30, 2007
Publisher: The New York Times

Boris Eifman, like Maurice Béjart before him, is both adored and dismissed. Adored by those who thrill to his lavish, dramatic spectacles, filled to the brim with emotion, and gilded with beautiful costumes and sets. Dismissed by others as the creator of kitsch, choreographically thin ballets that trade in melodrama and fake spiritual epiphany.
[read more]