Cal Performances Presents Program

Friday, May 1, 2009, 8pm Eifman Ballet of St. Petersburg Saturday, May 2, 2009, 8pm Artistic Director Sunday, May 3, 2009, 3pm Boris Eifman, Zellerbach Hall Soloists Maria Abashova, Elena Kuzmina, Natalia Povorozniuk, Eifman Ballet of St. Petersburg Anastassia Sitnikova, Nina Zmievets

Boris Eifman, Artistic Director Yuri Ananyan, Dmitry Fisher, Oleg Gabyshev, Andrey Kasyanenko, Ivan Kozlov, Oleg Markov, Yuri Smekalov

Company Marina Burtseva, Valentina Vasilieva, Polina Gorbunova, Svetlana Golovkina, Alina Gornaya, Diana Danchenko, Ekaterina Zhigalova, Evgenia Zodbaeva, Sofia Elistratova, Elena Kotik, Yulia Kobzar, Alexandra Kuzmich, Marianna Krivenko, Marianna Marina, Alina Petrova, Natalia Pozdniakova, Victoria Silantyeva, Natalia Smirnova, Agata Smorodina, Alina Solonskaya, Oksana Tverdokhlebova, Lina Choe

Sergey Barabanov, Sergey Biserov, Maxim Gerasimov, Pavel Gorbachev, Anatoly Grudzinsky, Vasil Dautov, Kirill Efremov, Sergey Zimin, Mikhail Ivankov, Alexander Ivanov, Andrey Ivanov, Aleksandr Ivlev, Stanislav Kultin, Anton Labunskas, Dmitry Lunev, Alexander Melkaev, Batyr Niyazov, Ilya Osipov, Artur Petrov, Igor Polyakov, Roman Solovyov

Ardani Artists Management, Inc., is the exclusive North American management for Eifman Ballet of St. Petersburg. Valentin Baranovsky Valentin Onegin (West Coast Premiere)

Choreography by Boris Eifman Ballet in Two Acts Inspired by Alexander Pushkin’s novel, Eugene Onegin Music by Pyotr Il’yich Tchaikovsky and Alexander Sitkovetsky

Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank.

6 CAL PERFORMANCES CAL PERFORMANCES 7 Program Cast

Friday, May 1, 2009, 8pm Onegin Saturday, May 2, 2009, 8pm Sunday, May 3, 2009, 3pm Zellerbach Hall Onegin

music

Pyotr Il’yich Tchaikovsky (1840–1893) Variations on a Rococo Theme in A major, Op. 33 (1876) Suite No. 3 in G major, Op. 55 (1884): II. Valse mélancolique: Allegro moderato Piano Concerto No. 1 in B-flat minor, Op. 23 (1874–1875) I. Allegro non troppo e molto maestoso — Allegro con spirito II. Andantino simplice Elegy in Memory of Ivan Samarin (1884) (reading by Evgenia Igumnova) Souvenir d’un lieu cher, Op. 42 (1878):

III. Mélodie (arr. Alexander Glazunov) Baranovsky Valentin Fatum (“Fate”), Op. 77 (1868) design The Seasons, Op. 37b (1875–1876) Choreography Boris Eifman No. 10, October: Chant d’automne* Set Design Zinovy Margolin Costume Design Francesca da Rimini, Op. 32 (1876) Olga Schaishmelaschvili, Pyotr Okunev Lighting Design Gleb Filschtinsky, Boris Eifman Eugene Onegin, Op. 24 (1877–1878) (extracts) Video Design Vladimir Bystrov (Leonid Eremin, sound editor) cast — friday & sunday The Storm, Op. 76 (1864) Onegin String Quartet No. 3 in E-flat minor, Op. 30 (1876): Oleg Gabyshev Tatiana III. Andante funebre e doloroso, ma con moto* Maria Abashova Lensky Dmitry Fisher String Quartet No. 2 in F major, Op. 22 (1874): Olga Natalia Povoroznyuk III. Andante ma non tanto* Colonel Sergei Volobuev

Alexander Sitkovetsky (b. 1955) Satan’s Dance cast — saturday Tribe Bolero Onegin Alexey Turko Zello Tatiana Nina Zmievets Double Vision Lensky Nikolay Radiush Camels Olga Zlata Olinich Empty Arena Colonel Oleg Markov

* Arr. Mikhail Rakhlevsky. Performed by Chamber Orchestra Kremlin, cond. Mikhail Rakhlevsky. There will be one 20-minute intermission. The cast subject to change.

8 CAL PERFORMANCES CAL PERFORMANCES 9 Program Notes Texts

From Alexander Pushkin’s Eugene Onegin friends They got quite close, though wave and stone, And ice and fire, and prose and poem onegin Are not so different as they were. At first these differences disturbed, …But piteous he, the all-foreseeing, They thought each other dull, then drolly The sober head, detesting each They rather liked each other, then… Human reaction, every speech Were soon inseparable wholly. In the expression of its being, Whose heart experience has cooled Thinking himself in love a cripple, And saved from being charmed or fooled! Onegin heard, sage-faced, unquivering, [ch. 4 li] The poet tell all of himself, In love with his own heart’s distress…

Oh, he did love, as we already act i 2 No longer love, as only bards’ Insane poetic souls unsteady Condemned to love forever are! coup of 1991 [ch. 2 xiii, xix, xx] …Foregathering at private meetings, Over a Russian vodka, wine… But is my freedom’s hour approaching? provincial delights It’s time! It’s time! I call to it! O flowers, and love, and rustic leisure… Valentin Baranovsky Valentin Oleg Gabyshev as Onegin and Maria Abashova as Tatyana in Onegin At first, these plots, initiated… …All this has now gone out of fashion… Were in a friendly tone debated And the rebellious sense was slow So she was called Tatyana. Truly On Onegin To kindle a defiant passion. She lacked her sister’s beauty, lacked The rosy bloom that glowed so newly n turning to great literature to inspire I use my art to understand the secrets of the …The things took on a different look… To catch the eye and to attract. I my ballets, I try to use the art of choreography Russian soul. Basing a ballet on Eugene Onegin is And a cool-headed general… to express the emotional agitation that comes one more attempt to express innermost spirituality Gathered supporters to his call… …by depression from communing with the wisdom and creative through dance. Hastened with strength and boldness to Her heart had long been overrun: See the uprising carried through. Her soul was waiting…for someone. power of our genius predecessors. The word is an I transported Pushkin’s characters to our Tatyana now need wait no longer. [ch. 10 xiii, xvi, xvii] instrument of both creation and destruction; it can times, placing them in new circumstances, more Her eyes were opened, and she said generate and it can annihilate. dramatic, even extreme, when the old world is “This is the one!” The language of the body, as the most collapsing and life dictates new rules. I needed that boredom ancient form of self-expression, bears universally experiment in order to answer the question that All for our tender dreamy maiden understood emotional and spiritual values. By troubles me: What is the Russian soul today? Has it The illness with which he’d been smitten Are colored in a single tone, turning to the literary original source, I make preserved its uniqueness, its mystery, its attraction? Should have been analyzed when caught, All blend into Eugene alone. Something like spleen…or Russia’s chondria, for short; it my goal to reveal what is of concern to my What would the novel’s characters do with their [ch. 1 lvi; ch. 2 ii; ch. 3 vii, viii, ix] It mastered him in slow gradation… contemporaries and what can be expressed only lives today? What in the novel was just a reflection through the great art of choreography. of the times and what was a sign of the destiny of Yes, spleen was waiting like a sentry, disco Why did I choose Alexander Pushkin’s novel many generations of my fellow countrymen? and dutifully shared his life Eugene Onegin? What is in it that affects me today? The art of choreography is unable to respond just like a shadow, or a wife. But you perhaps find no attraction The novel has been called “an encyclopedia of to the real questions of building a society. But by In any picture of this kind: Russian life,” in which Pushkin saw and created participating in the creative formulation of those No, nothing caused his heart to stir, For nature’s unadorned reaction an amazingly accurate archetype of the Russian questions, analysis and individual evaluation, we And nothing pierced his senses’ blur… As something low and unrefined. character of his time, fashioning a poetic image of participate in the process of society’s perfection. [ch. 1 xxxviii, liv] …we…glide on waxed parquet. the Russian soul as mysterious, unpredictable and In country towns and suchlike places incredibly sensual. Boris Eifman

10 CAL PERFORMANCES CAL PERFORMANCES 11 Texts Texts

…Heeltaps, and leaps… “But I was simply not intended tatyana’s name day mourning All of this it keeps For happiness—that alien role. The festal name day… The bard stirs your compassion: As fresh as ever, for its graces Should your perfections be expended Since dawn, whole families have been driving Right in the flower of joyous hope, Are here untouched by fashion’s reign, In vain on my unworthy soul? Towards the Larins’ …His shade, Our modern Russia’s plague and bane. A ball: the joy of every guest! After the martyr’s price it paid, “But you must teach [ch. 5 iii, xlii] Maybe bore off with it for ever Your heart some self-restraint; for each Revenge’s hour is near, and after A secret truth, and at our cost And every man won’t understand it Evgeny, full of inward laughter, A life-creating voice was lost; As I have…learned from my belief tatyana’s letter to onegin Has gone to Olga… …his memory’s fled That inexperience leads to grief.” …beginning As smoke in azure sky disperses. …Lit by the moon. [ch. 4 xii, xiv, xvi] To talk of this and that… Two hearts there are perhaps that keep Elbow on table, spirit seething, All are dumbfounded. Lensky shies A tear for him… Still filled with Eugene, Tanya wrote, Away from trusting his own eyes… And in her unconsidered note [ch. 6 xxxvi, xxxvii, xl, xli; ch. 7 xiv] two loves Louder and louder sounds the wrangle: Eugene has caught up, quick as quick, “I write to you—no more confession From hour to hour a surer capture A carving-knife—and in the tangle Is needed, nothing’s left to tell. For Olga’s beauty, Lensky gives night club Lensky’s thrown down. The murk is thick I know it’s now in your discretion His soul to a delicious rapture And growing thicker; then, heart-shaking, Today a mental fog enwraps us, With scorn to make my world a hell. That fills him and in which he lives. A scream rings out… Each moral puts us in a doze, But, if you’ve kept some faint impression Even in novels, vice entraps us, Of pity for my wretched state, Poor Tanya’s bloom begins to languish, [ch. 5 xli, xxi, xxv, xxviii, xxix, xxx, xxxi] Yes, even there its triumph grows. You’ll never leave me to my fate… And pale, and fade without a word! Why did you visit us, but why? [ch. 4 xxiv, xxv] …and blossom are on hand, Lost in our backwoods habitation lensky’s death Field-work, and walks with inspiration, I’d not have known you, therefore I A moment earlier, inspiration And magic nights… Would have been spared this laceration… tatyana’s dream Had filled this heart, and detestation But who are you: And hope and passion; life had glowed Poor Lensky! Set aside for weeping, The guardian angel of tradition, Now all was still. Tatyana slept. And blood had bubbled as it flowed; Or pining, Olga’s hours were brief. Or some vile agent of perdition She dreamt of portents. But now the mansion is forsaken; Alas for him! There was no keeping Sent to seduce? Resolve my doubt. A group of monsters round Shutters are up, and all is pale His sweetheart faithful to her grief. Oh, this could all be false and vain, But ever stranger and more fearful And still within… Another had the skill to ravish A sham that trustful souls work out; But how she jumped, when in this hovel Her thoughts away, knew how to lavish Fate could be something else again… Among the guests she recognized [ch. 6 xxxii] Sweet words by which her pain was banned— Imagine it: quite on my own The man she feared and idolized I’ve no one here who comprehends me, “She’s mine!” Evgeny’s voice of thunder Tanya looks on… And now a swooning mind attends me, Clears in a flash the freezing room; act ii 2 She finds it stifling here…she strains Dumb I must perish, and alone. Onegin takes her In dream toward the woods and plains, I close. I dread to read this page… Into a corner, gently makes her The country cottages and hovels, For shame and fear my wits are sliding… Sit on a flimsy bench, and lays tortures of conscience To her flower-garden, to her novels— And yet your honor is my gauge His head upon her shoulder… To where he came to her that time And in it boldly I’m confiding…” Evgeny, whom the repercussion [ch. 5 x, xi, xvi, xvii, xx] In twilight of allées of lime. Left quite alone with his own soul, [ch. 3 xxi, xxxi] Was far from happy with his role. …it’s late… With reason, too: for when he’d vetted rage But here, with our congratulation In secret judgment what he’d done, onegin’s rebuke On her conquest, we leave my sweet… He found too much that he regretted: Between them, every topic started …This dear, still world I must forswear …“You wrote to me, and nothing spoken …Evgeny loved him from his heart, Reflection or provoked dispute: For vanity, and din, and glare!… Can disavow that. And should have played a different part… Looked down in an access of hate, And your sincerity of thought No boy, to fight or take offence— [ch. 3 xii; ch. 7 iv, viii, ix, x, liii; ch. 7 xix, xx, xxvii, Pouted, and swore in furious passion Is dear to me, for it has brought Theman of honor and of sense. xxviii, xlvi, xlvii, liii, lv] To wreak, by stirring Lensky’s ire, Feeling to what had long been heartless: The best revenge one could desire. [ch. 6, ix, x] [ch. 2 xv, xvi; ch. 5 xxxi]

12 CAL PERFORMANCES CAL PERFORMANCES 13 Texts About the Artists the bar of conscience Then gradually upon sensation, on classical ballet and infused with the spirit of And thought, a sleepy numbness steals… Onegin… contemporary choreography. He has also brought Before his eyes, imagination… Had killed his best friend in a duel; up a group of like-minded artists for whom nothing He sees… Had nothing to employ his life… seems impossible. Motionless as one soundly sleeping He was the slave of a tenacious, In bed, a young man, stiff and chilled; Mr. Eifman’s artistic philosophy is rooted A restless urge for change of place He hears a voice; “well, what? he’s killed!” in contemporary issues. He is fascinated by the He’s gone away and left his village… And foes he sees, long-since forgotten… creative mystery and the magic of genius, which Where every day a bloodstained shade comrades despised… is revealed in his interpretations of the lives of Had come to him in field and glade… A country house—and one who still Tchaikovsky, Spessivtseva and Molière. Immersing [ch. 8, х х ii, хiii] Sits there beside the window-sill! himself in the dark and daunting realm of the human psyche (The Idiot, Murderers, Don Quixote, To his Tatyana, yes, he’s racing… Red Giselle and Russian Hamlet), Mr. Eifman st. petersburg. tatyana The princess sitting peaked and wan, Alone, with no adornment on; creates classic examples of psychoanalysis on …And soon his travels had begun, Who in that flash could not have reckoned stage. He wants to show an extreme state of As all things did, to bore him; homing, Her full account of voiceless pain? being, seeing the madness of his characters not as Like Chatsky, he arrived to fall I’d nothing to attract your humor… a mental illness, but as a unique ability to access Direct from shipboard into ball. Why then do you pursue me now? other worlds and dimensions. The choreographer Could it not be that… …Lady the hostess was greeting, pushes the limits of his own imagination through My husband for his wounds in battle… With the grand general in her wake… the imagination of his heroes, plunging into the That, for all this, my shame’s report depths of today’s most relevant philosophical and Would cause widespread remark and tattle, He and Onegin start alluding Boris Eifman And so in the salons could make Having created over 40 ballets, spiritual questions—which were the basis for his To pranks and jokes of earlier date. A tempting plume for you to take? is one of the few Russian choreographers to have latest ballets, “Russian Hamlet” and Don Juan & They laugh. sustained such a prolific creative life in recent Molière. In 2004, Mr. Eifman choreographed a “Wait, I’ll present you…” I love you [what’s the use to hide decades. His ballet Tchaikovsky (as well as the one-act ballet, Musagète, for New York City Ballet “But tell me who she is.” “My wife.” Behind deceit or double-dealing?] leading cast members of Tchaikovsky and The as part of its Balanchine Centennial Celebration. But I’ve become another’s wife— In Tanya, what a transformation! Karamazovs) has received the prestigious Russian In creating his singular style, Mr. Eifman And I’ll be true to him, for life.’ How well she’d studied her new role! “Golden Mask” award, and the choreographer worked through many paradigms and styles of …What soul himself has received the Golden Mask award movement, turning his theater into a creative lab She went—and Eugene, all emotion, Would have divined the tender, shrinking Stood thunder-struck. In what wild round for his lifetime achievement in contemporary for exploration and discovery. Concerned above Maiden in this superb, unthinking Of tempests, in what raging ocean choreography. Mr. Eifman is also a four-time all with the theatrical impact of his productions, Lawgiver to the modish world? His heart was plunged! A sudden sound, recipient of the St. Petersburg theater award, the the choreographer does not restrict himself to the The clink of rowels, met his hearing; “Golden Sofit.” His other awards and distinctions conventions of pure classical ballet. His works Alas, Eugene beyond all query Tatyana’s husband, now appearing… Is deep in love, just like a boy; include the “Triumph” award; the Russian state are each a complex, all-encompassing spectacle, Spends light and darkness in the dreary award for his contribution to the development constantly revealing new forms and principles of …How many days Brooding that is the lover’s ploy. of the performing arts; induction into France’s dancemaking. Using the language of movement Since, through the mist that dreams arise on, …pursues her round Order of Arts and Letters; the distinguished title and expressive dance steps, dynamic and riveting Young Tanya first appeared to me, Close as a shadow on the ground… Onegin too… of People’s Artist of Russia; and a professorship at mass action scenes, unexpected moments of He sends a letter, penned with passion. Before my gaze began to pass. the Vaganova Academy of Russian Ballet. stillness where movement becomes a metaphor, He deemed, in general, letters vain… The 60-year-old choreographer was born and innovative partnering, Boris Eifman creates his No answer comes… [ch. 8, xiii,xiv, xiii, xvii, xviii, xxviii, xxx, xxxii, in Siberia. He received his education at the own type of theater—a theater ruled by emotion. xxxiii, xxxvii, xxxviii, xl, xliii, xliv, xlvii, xlviii, l] No hope! no hope! He leaves the revel, choreographic department of the Leningrad Wishes his madness to the devil… Conservatory. In 1977, he founded The Thirty-three years ago, a ballet troupe with an And he remembers… New Ballet of Leningrad (now known as the intriguing name of “The New Ballet,” now known How cruel spleen Translation © 1977, 1979 St. Petersburg State Academic Ballet Theater, or as Eifman Ballet of St. Petersburg, presented its Had once before, across the scene Charles Johnston and Penguin Classics Eifman Ballet)—Russia’s first and only ballet first performance—which completely justified its Of social buzz and modish riot, theater dedicated to performing works by a single name. In the stagnant creative atmosphere of Russia Tracked him… choreographer. With his new ballet troupe, he in the 1970s, works by Boris Eifman—the founder created an original choreographic style based and Artistic Director of The New Ballet—were like

14 CAL PERFORMANCES CAL PERFORMANCES 15 About the Artists About the Artists a breath of fresh air. Mr. Eifman’s combination of The Karamazovs, Red Giselle, My Jerusalem, Russian Ballet Theater (United States). Since 2004, she Nikolay Radyush (Lensky) was born in Minsk relevant themes and deep psychological perception, Hamlet, Don Juan & Molière, Anna Karenina and has been a soloist with the National Ukranian in 1984. In 2004, he graduated from the National philosophical ideas and fiery passions, audacity The Seagull. These ballets have brought worldwide Opera. Since 2006, she has been with the Efiman Belarusian Ballet college. From 2004 to 2008, of movement vocabulary and clarity of dramatic recognition to such celebrated and versatile artists Ballet of St. Petersburg. Winner of International he worked at the Belarusian National Academic intent were highly unusual for that time. Even more of the Eifman Ballet as Albert Galichanin, Elena ballet competitions. Her repertoire includes Feya Ballet Theater. Since 2008 he has been a soloist remarkable was the artists’ level of commitment. Kuzmina, Vera Arbuzova, Yuri Ananyan, Alexander (Pinocchio), Milyukova, Fon Mek (Tchaikovsky), with the Eifman Ballet of St. Petersburg. While The creation of a ballet troupe dedicated to Rachinsky and Sergei Zimin. Today, a young Kitri (Don Quixote), Grushenka (The Karamazovs), with the company, he has performed Tchaikovsky performing works by one choreographer only was a generation of artists is realizing its talent alongside Ballerina (Red Giselle), Empress (Russian Hamlet), (Tchaikovsky), Partner (Red Giselle), Basil (Don unique phenomenon in itself. these masters. They include Dmitry Fisher, Oleg Madelen (Don Juan & Molière), Cat (Musagète), Quixote) and Lensky (Onegin). Eifman Ballet was geared towards a continuous Gabyshev, Natalia Povorozniuk, Anastassia Anna (Anna Karenina), Arkadina (The Seagull), creative process and each year produced new titles Sitnikova, Maria Abashova and Oleg Markov. Tatyana (Onegin). Natalia Povorozniuk (Olga) born in Vinnitsa. In for its repertoire. After Boomerang, which was set Besides the talent of its soloists, Eifman Ballet 1997, she graduated from the Perm Ballet Academy. to rock music, came The Idiot, which became a also owes its success in large part to the incredibly Oleg Gabyshev (Onegin) was born in Volgograd. From 1997 to 2000, she was a soloist with the phenomenon in the Russian theater and clearly disciplined and professional corps de ballet. In 2003, he graduated form the Novosibirsk Ballet Perm Ballet and Opera Theatre. Since 2000, she defined the aesthetic goals of Boris Eifman’s ballet Collaborating on Tchaikovsky laid the foundation School. Since 2004, he has been a soloist with the has been a soloist with Eifman Ballet Theater. Her troupe: the dramatization of the art of dance, for a creative union between two extraordinary Eifman Ballet of St. Petersburg. His repertoire repertory includes Lady (Requiem), Milyukova deep penetration into the human psyche, daring artists—Boris Eifman and set designer Vyacheslav includes Double (Tchaikovsky), Man (Requiem), (Tchaikovsky), Natalie (Russian Hamlet), Armanda, interpretation of the most relevant, or “taboo,” Okunev, both of whom are now responsible for Don Juan (Don Juan & Molière), Basil (Don Anna (Don Juan & Molière), Linn (Who’s Who), themes of the time, and the creation of meaningful what is described as the “amazing visual impact” Quixote), Dmitry (The Karamazovs), Partner (Red Kiti (Anna Karenina), Arkadya (The Seagull) and metaphors through movement. Mr. Eifman also of the Eifman Ballet productions. The last three Giselle), Vronsky (Anna Karenina), Treplev (The Olga (Onegin). She is the Laureate of the Arabesk became known for the elegance and powerful premieres by Boris Eifman—Anna Karenina, The Seagull) and Onegin (Onegin). Ballet Competition. impact of the mass action scenes impeccably Seagull and Onegin—were created in collaboration executed by the troupe’s captivating corps de ballet. with set designer Zinovy Margolin and lighting Alexei Turko (Onegin) was born in Minsk. Zlata Yalinich (Olga) was born in Petrozavodske. Eifman Ballet’s repertoire helped create a special designer Gleb Filshtinsky. In 1988, he graduated from the Belorussian In 2008, she graduated from the Vaganova Russian type of artist, combining dancing, acting, brilliant Choreographic College and was a soloist of the Ballet Academy and joined the Eifman Ballet of technique and a gift for transformation. National Belorussian Ballet from 1998 to 2000. St. Petersburg. Since joining the company, she Eifman Ballet presented 27 productions in its Soloists In 2002, he joined the Eifman Ballet Theater of has performed Kitri (Don Quixote), Young Lady first decade. Seeking to create a diverse repertoire, St. Petersburg, where he premiered the roles of (Tchaikovsky) and Olga (Onegin). Mr. Eifman experimented with various genres, Maria Abashova (Tatiana) was born in Lviv. Don Juan (Don Juan and Molière) and Alex (Who’s which ranged from choreographic miniatures to She studied dance in Austria at St. Pelten Ballet Who). His other roles include The Boy Pinocchio( ), Sergei Volobuev (General) was born in Kiev. In full-evening ballets. This period produced The Conservatorie until 2002. Since 2002, she has been The Man Requiem ( ), The Prince Tchaikovsky ( ), 2004, he graduated from the Kiev choreographic Metamorphoses and Autographs, The Legend and A a soloist with the Eifman Ballet of St. Petersburg. Basile (Don Quixote), Dmitri (The Karamazovs), academy. Since then he has been a soloist with the Crazy Day, The Twelfth Night and Love’s Intrigues. Her repertory includes Mother (Requiem), Partner, Chekist (Red Giselle), The Favorite, The Eifman Ballet of St. Petersburg. While working It was also during that time that the poignant Milyukova, Von Meck (Tchaikovsky), Doctor Heir (Russian Hamlet), Vronsky (Anna Karenina) in the theater, he has performed Don Quixote Sub-lieutenant Romashov and the innovative (Don Quixote), Grushenka (Karamazovs), Empress and Onegin (Onegin). (Don Quixote), Ivan (The Karamazovs), Teacher, Master and Margarita broke though the barriers of (Russian Hamlet), Madelen, Elvira (Don Juan & Chekhist (Red Giselle), Ghost of the Father’s Heir censorship. These ballets saw an entire generation Molière), Linn (Who’s Who), Soloist (Musagète), Dmitry Fisher (Lensky) was born in Perm. In (Russian Hamlet), Karenin (Anna Karenina) and of audiences to whom Mr. Eifman’s works have Anna (Anna Karenina), Zarechina, Arkadina (The 2002, he graduted from the Perm Ballet Academy. General (Onegin). given an unusual feeling of freedom and on Seagull) and Tatyana (Onegin). She is the winner Since 2002 he has been a soloist with the Eifman whom they have made an astounding emotional of the Golden Sofit and Golden Mask Awards. She Ballet Theater of St. Petersburg. He is a winner of Oleg Markov (General) was born in St. Petersburg. and spiritual impact. Eifman’s production of The won the Youth America Grand Prix International the Golden Sofit. Since joining the company, his In 1998, he graduated from Vaganova Russian Ballet Murderers signaled a new period in the life of Ballet Competition in 2002. repertoire includes Teen (Requiem), Teen, Prince, Academy, and joined the Eifman Ballet Theater Eifman Ballet characterized by a special emphasis Joker (Tchaikovsky), Alexei (Karamazovs), Heir of St. Petersburg. Since then, his roles include on seeking new forms of dance expression, Nina Zmievets (Tatiana) was born in Kiev. (Russian Hamlet), Partner (Red Giselle), Alex (Who’s Caraboss (Pinocchio), Fyodor Karamazov (The psychoanalysis through movement and a new, In 2000, she graduated from the Kiev Ballet Who), Treplev (The Seagull) and Lensky (Onegin). Karamazovs), Teacher (Red Giselle), Ghost (Russian previously unexplored energy in dance. Academy. Since 2000, she has been a soloist with Hamlet), Comandore (Don Juan & Molière), Bill Eifman Ballet’s latest and best known the Eifman Ballet of St. Petersburg. Since 2003, (Who’s Who), Karenin (Anna Karenina), Trigorin productions include Tchaikovsky, Don Quixote, she has been a soloist with the International (The Seagull) and General (Onegin).

16 CAL PERFORMANCES CAL PERFORMANCES 17 About the Artists About the Artists

Composers

Pyotr Il’yich Tchaikovsky (1840–1893) began part in Bob Geldof’s Live Aid for Africa concert, (NEC) orchestra with Dmitry conducting and his career as a civil servant. In 1862, he left his job performing before more than 2.5 billion people playing his cherished Strad. The Sitkovetskys and and enrolled at the St. Petersburg Conservatory. worldwide. In 1987, the band represented the NEC concert tour in France promptly followed. He was offered the Professorship of Harmony at USSR in the Soviet-American concert Our Move At the end of the 1990s, Alexander released his the newly opened Moscow Conservatory in 1866. with Santana, Doobie Brothers, Bonnie Raitt and second solo album, Empty Arena, recorded at his After the success of his first piano concerto, he be- James Taylor as featured artists. Autograph also Red Sunset studio in Los Angeles with the help of gan a correspondence with Nadezhda von Meck, performed at numerous international festivals Darryl Johnson (the Rolling Stones’ touring bass a wealthy widow, whose financial support enabled along with John McLaughlin, Murray Head, player) and Nick D’Vergilio (Spock’s Beard), not him to devote himself to composition. They re- Kenny Rogers, Tom Cochran, Glass Tiger, Ten to mention the best Los Angeles studio musicians. mained correspondents until a misunderstanding Years After, and Southside Johnny and the Jukes. The “Tribe Bolero” track for Empty Arena was in 1890 ended their relationship, but they never They opened for Chicago, worked closely with recorded live with Dmitry Sitkovetsky and NEC actually met. Tchaikovsky made a disastrous mar- David Foster in Canada and Moscow, abd became while they were in Los Angeles, during the North riage in 1877; a separation followed an attempted a winner of the Sopot-87 contest in Poland, American tour. suicide 11 weeks later. Despite his subsequent bringing home coveted independent press and Autograph reunited in summer of 2005 for a depressions, he managed to produce his most audience awards as well as the best song prize for major reunion tour and a final grand anniversary successful opera, Eugene Onegin (1877–1878), Mr. Sitkovetsky’s “The World Inside.” concert in Moscow under the roof of Olympic his Symphony No. 4 (1877–1878) and his Violin After two years working successfully with Stadium, the largest closed sports arena in Europe. Concerto (1878) during this period. In 1881, he American manager Mary Becker, in 1989 the band This historical event attracted thousands of the gave up teaching at the conservatory, and for the signed a contract with Herb Cohen (Frank Zappa’s band’s fans and was the first ever to be held in next seven years was deeply involved in composi- management) in Los Angeles. Their debut album, “live-surround” format in Russia. The Autograph: tion. His death from cholera in St. Petersburg, af- Tear Down the Borders on Rhino Records, was 25 Years DVD and a live CD were released ter imprudently drinking unboiled water, occurred released in 1991, and one of the most popular songs soon thereafter. soon after the first performance of his Symphony from that album, “I Need You,” was recorded by Today, Alexander Sitkovetsky is working on a No. 6 (Pathétique) in 1893. Rick Springfield for the hit movie Iron Eagle II. new Full House album at his Monte Viento Studio Along with promoting Autograph stateside, in Malibu, while remaining busy by collaborating Alexander Sitkovetsky (b. 1955) was born in Mr. Sitkovetsky kept working on his solo carrier with various musicians and composers in creating Moscow into a family of prominent classical and released his first (and the first of its kind in soundtracks for movies. musicians. He quit violin at the age of 13, picked the USSR) instrumental guitar album Zello, which up an electric guitar and never looked back. became “Album of the Year” in Russia in April His first rock band—an underground outfit of 1991 and again in 1992. The “Camels” video clip the 1970s, the Leap Year Summer—was extremely from that album received the top award in the popular in Moscow and St. Petersburg. When the annual video contest in Moscow. In January that band broke up in 1979, Mr. Sitkovetsky created same year, Mr. Sitkovetsky was recognized as one his best known child—the rock group Autograph, of the top three rock guitarists of the country, and which was the first and the only progressive-rock he became the first-ever Russian musician to sign a band in the country (think early Genesis and Yes). direct publishing contract with the BMI performing As a song-writer and guitarist, Mr. Sitkovetsky rights organization in the United States. was behind all the band’s best known hit songs. In 1992, Mr. Sitkovetsky wrote the soundtrack Autograph’s first vinyl LP has sold more than six for the London Weekend TV feature, simply named million copies, but that was just the beginning. Sitkovetsky, about the complex relationship between After a triumphal success and exhaustive Alexander and his cousin Dmitry (a prominent touring throughout the USSR, Autograph became international classical violinist and conductor), the first Soviet rock-group to achieve commercial both successful in their own right. The two central success in the West, having toured more than 30 musical pieces of the documentary—“Tribe countries. On July 13, 1985, the band—the only Bolero” and “Ruminations”—were performed by one to represent the entire Eastern Europe—took the Sitkovetskys with the New European Strings

18 CAL PERFORMANCES CAL PERFORMANCES 19 About the Artists

Staff for Eifman Ballet of St. Petersburg

Artistic & General Director Boris Eifman Executive Director Olga Alymova Ballet Director Gennady Albert Managing Director Daria Kim Ballet Masters & Coaches Valentina Morozova, Yury Ananyan, Olga Kalmykova, Igor Kuzmin, Tatyana Sevastyanova, Tatyana Kuznetsova, Oleg Paradnik Deputy Director Vladimir Bondarenko Deputy Director for Development Pyotr Kastyshev Human Resources, Internatinal Relations Victoria Bykova Assistant to Artistic Director Svetlana Koschuk Head of Press Office Albina Ismailova Office Manager Natalia Levina Chief Manager Lyudmila Srodnikova Assistant to Ballet Director Polina Mikhaylova Production Manager Alexey Donde Production Consultant Natalia Tsapko Associate Production Manager Vadim Shemarov Lighting Designer Yury Tomifeev Electricians Vladimir Vasilevsky, Dmitry Danilyuk, Aleksander Kryukov Sound Engineer Leonid Eremin Head Sound Engineer Denis Kurbanov Sound Board Engineers Anna Kudryashova, Elena Kurinova, Ekaterina Linke, Aleksandra Teme Film Division Nadezhda Senderikhina Carpenters Sergey Grigoryev, Dmitry Gul, Andrey Dashkov, Aleksandr Yaroslavtsev, Rustam Chistyakov Costume Designer Elvira Scheykina Wardrobe Natalya Zavadskaya, Elena Niyazova, Tatyana Smirnova Make-up Artists Natalya Karavaeva, Elena Niyazova Pianists Aleksandra Teme, Irina Tsilman, Ekaterina Linke Head Accountant Elena Oleynik Finance Group Tatyana Alexandrova, Veronica Migunova Technical Division Yevgenia Terteryan Physicians & Therapists Aleksand Mescherin, Natalya Samoylenko

Staff for Ardani Artists Management, Inc. President & CEO Sergei Danilian Vice-President & CFO Gina Ardani Production Director Michael Vool 130 West 56th Street, Floor 5m New York, New York 10019

Photographers Anatoly Budnik, Valentin Baranovsky, Anton Sazonov, Viacheslav Arkhipov, Anna Kudryashova, Vladimir Zenzinov

20 CAL PERFORMANCES