Roden, her Eternal Idol. Performed by Boris Eifman ballet Tickets

Stanislavsky Music Theatre, Moscow, Russia

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Available Dates: 31 Jul - 2 Aug, 2026 (3 events)

Important Info

Type: Modern Ballet

City: Moscow, Russia

Duration: 2h with 1 interval

Intervals: 1

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Choose the date to see the peformers

Creators

Composer: Camille Saint-Saëns

Composer: Jules Massenet

Composer: Maurice Ravel

Choreography: Boris Eifman

Overview

Boris Eifman’s ballet Rodin, Her Eternal Idol tells us about the life and work of two great sculptors: Auguste Rodin and his disciple, lover and Muse – Camille Claudel.

The story of their love is truly a tragic one. For over 15 years Rodin and Claudel were one integral whole, both sensuously and creatively. The eventual breakup of the couple was a fatal blow to the mental health of Camille leading to her tragic end. Half-forgotten, isolated and impoverished, Camille becomes insane. Her mind, damaged by mental disorder, is constantly filled with tormenting paranoid belief in a conspiracy against her being lead and inspired by Rodin himself.

She spends 30 long years in a mental clinic where she dies in 1943, abandoned and completely forgotten.

Rodin, Her Eternal Idol is a comprehensive creative study of the tragic path of a genius. By resorting to the distinctive plastique of modern psychological ballet Boris Eifman not only offers a new interpretation of the world of human passions, so masterfully portrayed by Rodin and Claudel, but also through his work explores the incomprehensible mystery of the creative process.

“The story of life and love of Auguste Rodin and Camille Claudel is an amazing tale of an incredibly dramatic alliance of two artists where everything was entwined: passion, hatred and artistic jealousy. Spiritual and energy exchange between the two sculptors was an outstanding phenomenon: being so close to Rodin, Camille was an inspiration for his work, helping him find a new style and create masterpieces; and as her own talent matured at great pace, she developed into a great sculptor herself. Her beauty, her youth and her genius – all was sacrificed for her beloved.

After breaking up with Rodin Claudel plunges into the darkness of insanity. The desolate woman’s soul is destroyed by pathological hatred towards her former tutor and lover, who, as Camille believes, has stolen her life and talent.

This new ballet portrays Rodin’s longing for his Muse and torments of his conscience, it also visualizes Camille’s delusions, triggered by mental illness and filled with morbid obsessions – or rather those of the insane Erinys that ruthless fate has turned her into.

In our performance, through the language of dance we talk about passion, inner struggle and despair – of all those manifestations of the human essence that were so brilliantly expressed by Rodin and Camille in bronze and marble. While creating this new ballet I was striving to transform a moment captured in carved stone into an unrestrained, emotionally rich torrent of body movements.

Rodin, Her Eternal Idol is a contemplation of the immense price that people of genius have to pay for the gift of creation of eternal masterpieces. And, of course, it is a reflection on those torments and mysteries of creative process that will always be of importance to any artist.”

Boris Eifman

History

Premiere of this production: 22 November 2011, Saint-Petersburg

Boris Eifman’s ballet Rodin, Her Eternal Idol tells about the life and work of two great sculptors: Auguste Rodin and his disciple, mistress and Muse – Camille Claudel.

The story of their love is truly a tragic one. For over 15 years Rodin and Claudel were one integral whole, both sensuously and creatively. The breakup of the lovers that ensued eventually was a fatal blow to the mental health of Camille leading to her tragic end. Half-forgotten, hardened, hopelessly impecunious, Camille goes mad. A paranoiac idea of a conspiracy against her being lead and inspired by Rodin himself incessantly torments the already weakened mind of the wretched woman. 30 long years had she spent in a mental clinic just to die in 1943, forlorn and completely forgotten by all and everybody.

Venue Info

Stanislavsky Music Theatre - Moscow
B. Dmitrovka, 17

The Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre is a music theatre in Moscow.

The Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre was founded in 1941 when two companies directed by the legendary reformers of twentieth-century theatre — Konstantin Stanislavski and Vladimir Nemirovich-Danchenko — merged: the Stanislavsky Opera Theatre (established at the end of 1918 as an Opera Studio of the Bolshoi Theatre) and the Nemirovich-Danchenko Music Theatre (set up in 1919 as a Studio of the Moscow Art Theatre).

The new theatre followed the artistic principles of its founders, who applied the system of the Moscow Art Theatre to opera and ballet. Both Stanislavsky and Nemirovich-Danchenko rejected the current conception of opera as «costume concert». They wanted to bring it closer to drama and comedy, revealing the main idea of the plot through psychologically motivated action. The ballet company entered the Theatre as a part of Nemirovich-Danchenko's troupe. It was the former company of the Moscow Art Ballet, established in 1929 by Victorina Krieger, the valued ballerina of the Bolshoi Theatre. She was Artistic Director and one of the principal dancers of the Moscow Art Ballet. Soon after Stanislavsky's death, Nemirovich-Danchenko took charge of all the companies (Vsevolod Meyerhold invited by Stanislavsky to work for his theatre, was arrested in 1939, and no other stage director could prove equal to Nemirovich-Danchenko). Then the theatre was given its present name.