After Leo Tolstoy
Choreography Boris Eifman
Music Pyotr Tchaikovsky
Sets Zinada Margolin
Costumes Vyacheslav Okunev
Anna Karenina plunges audiences into the grand world of 19th century aristocratic Russia. By excising some of the dense plot-lines, Eifman keeps the focus firmly on the triangle of the tormented heroine, Anna, her dour husband, Karenin, and her lover, Vronsky.
Swept away on the tide of her passion for Vronsky, Anna is prepared to sacrifice everything: husband, beloved young son and social standing for her shallow and narcissistic lover.
This ballet is about the present, not the past; about the present-day emotions. What is more important – to maintain the illusion of harmony and conventional duty or to submit to her deepest passions? Do we have the right to neglect our family, to deprive a child of a mother’s care for the sake of desire? These questions troubled Tolstoy in the past, and we can’t avoid them today. And there are no answers! There is only the craving for being understood in life and in death.
Choreographer Boris Eifman
Forget about all that old-fashioned, frozen-in-amber mime that plagues so many traditional narrative works…With Eifman, you are simply carried away on a tsunami of pure movement…
Heidy Weiss, Sun Times, June 2005
As the curtain came down on Boris Eifman’s evening long “Anna Karenina” the audience rose to its feet and cheered. It was impossible to be surprised. Large numbers of the audience were not just visually pleased by the ballet, although they were that and had a right to be: the costumes were sumptuous, the sets were grand, the dancers were gorgeous.
Ann Murphy, New York, 2005
Anna Karenina’ is among Eifman's greatest works. The ballet is relentless in its energy and merciless in its emotional impact.
Robert Johnson, Star-Ledger 2005
Go to Performances... Go to Tchaikovsky...