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June 2013 - Nr. 6

Boris Eifman’s ballet “Rodin” finally came to Toronto after having been performed for a while on various world stages since its world premiere on November 22 of 2011. Everywhere it was hailed as extraordinary and Eifman as a magician.

Actually there is hardly anything anyone can add to the accolades this production has received. The artistic director/choreographer Eifman has received as many awards as Russia can give to one of its great artists and the world is very much in agreement with the labels of excellence.

Production photo from Eifman balletThe story of Rodin is well documented. The sculptor was torn between two women: Camille his muse and Rose, the caring and motherly presence for whom he had genuine affection. The ensuing torment is well illustrated in various styles of dancing. There is of course the classical Russian ballet style that we so love and are familiar with, and then we suddenly get to experience the dramatic expressions of Martha Graham’s freestyle, or costumed character style dancing. Add to that props that are designed to be used and climbed on athletically such as a spider’s web or a sculptor’s table from which a lump of stone turns into living sculptures of real people and you have something like a graphic novel come to life miraculously. Everything on stage has a meaningful significance in the telling of this psychological thriller and is underlined by the compositions of Maurice Ravel, Camille Saint-Saens, Jules Massenet and Erik Satie.

The audience thanked the company and its soloists and choreographer for this memorable experience with standing ovations.

 
Sybille Forster-Rentmeister reviews the Eifman ballet
Boris Eifman, Eifman, ballet, Russian ballet, Sony Centre, Rodin,

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