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The myth of Pygmalion and Galatea brings us back to the very start of the ballet tradition with Jean-Philippe Rameau’s one act opera-ballet of 1748.

Eifman has said he wants move dance back into theater and to use movement to explore the psychological. Both of these the company accomplishes.

Opening this short Saison Russe in Berlin is Boris Eifman’s most iconic ballet, Red Giselle, a skilful tribute of the choreographer to the great Russian ballerina Olga Spessivtseva.

TCHAIKOVSKY, PRO ET CONTRA is a ballet by Boris Eifman that beautifully examines how Tchaikovsky's internal struggles inspired his amazing music that inspires still.

The energy exuded from The Eifman Ballet in Rodin was enough to light – and keep burning – the Olympic torch. At the Alexandrinsky Theatre, St Petersburg. 

There’s no denying that the work of Boris Eifman is super-dramatic, erotic, engrossing, beautifully lit and visually commanding, and that he has a troupe of magnificent dancers. But, whereas his first London production Anna Karenina proved near faithful to the Tolstoy novel, his second ballet Onegin that was seen this week in London, took great liberties with its text.

It was a pleasant surprise. Could the text of Leo Tolstoy’s rich tome about pre-revolutionary Russian aristocratic life, with all its multi-coloured characters, be reduced to just three performers and a corps de ballet? The answer is a resounding ‘yes’.The Eifman Ballet of St. Petersburg, on its second visit to London, offered a visual feast in its production of Anna Karenina.

How do you explain genius? The Eifman Ballet uses dance to bring this concept to life through the story of the famous sculptor Auguste Rodin.Artistic Director and choreographer Boris Eifman explains his inspiration in a note about the production: “To turn a moment frozen in stone into an irrepressible sensuous stream of body movements.