Childhood and family
Eleanor was born on August 22, 1998 in St. Petersburg. The girl’s parents have nothing to do with ballet. Father Konstantin is involved in the construction business, and was also elected to the Legislative Assembly of St. Petersburg and the State Duma of the 3rd convocation. The ballerina's mother is a historian by profession.
Eleanor Sevenard in childhood The girl’s grandfather, Yuri Sevenard, a Soviet and Russian hydraulic engineer and State Duma deputy, is the son of Tselina Kshesinskaya, Matilda’s niece. It is noteworthy that some members of the girl’s family are sure that Tselina is actually the daughter of Nikolai and Kshesinskaya, who was taken in by the ballerina’s brother, Joseph.
Eleanor Sevenard with her mother Julia and brother Peter According to Eleanor’s stories, the costumes of the great ballerina were kept in her house for a long time, which were eventually transferred to the museum of the Academy of Russian Ballet. However, some historians refute Eleanor’s relationship with Kshesinskaya and assure that there are no living descendants of Matilda.
Ballet
Eleanor began studying ballet at the age of 4. At the age of 10, Sevenard entered the Agrippina Yakovlevna Vaganova Academy of Russian Ballet. During her school years, Eleanor more than once toured with other Academy students to foreign countries and took part in performances at the Mariinsky Theater. In particular, in 2015-2017 she could be seen in the ballet “The Nutcracker”.
Eleanor Sevenard is a distant relative of Matilda Kshesinskaya. The girl’s teachers and mentors at the Academy were Nikolai Tsiskaridze, the rector of the educational institution, and Tatyana Aleksandrovna Udalenkova, from under whose “wing” such famous ballerinas as Irma Nioradze, Irina Perren and Renata Shakirova came out. Tsiskaridze immediately noticed Sevenard’s enormous talent and only later learned that the girl was a relative of Kshesinskaya. Nikolai Maksimovich believed that this fact would interfere with the girl in the future, because it would form a biased attitude in people. Interview with Eleanor Sevenard Later, the girl admitted that her relationship with Matilda was not the main reason for choosing a profession. However, Kshesinskaya’s significant role in the world of ballet pulls her along – Sevenard wants to achieve similar success in her career.
The young ballerina has already achieved considerable heights in her field. She has won several prestigious awards. Among them is the first prize of the 3rd All-Russian competition of young performers “Russian Ballet”.
Eleanor Sevenard at the debutante ball 2017 In the spring of 2020, the girl took part in the gala concert “Icons of Russian Ballet” in London, the Gala of 21st Century Ballet Schools at the Paris Opera Garnier and the charity Gala of Ballet Schools at La Scala in Milan. Eleanor Sevenard – Armida PavilionAfter graduation The academy offered the ballerina a job at the Mariinsky Theater, but Eleanor preferred the Bolshoi Theater and classes under the mentorship of Svetlana Adyrkhaeva. Together with another talented student of Tsiskaridze, Yegor Gerashchenko, she joined the troupe of the great theater in the 242nd season.
Eleanor Sevenard (ballerina) - Wikipedia
Eleanor Sevenard. Born on September 22, 1998 in St. Petersburg. Russian ballerina. Great-niece of Matilda Kshesinskaya. Eleanor Sevenard was born on September 22, 1998 in St. Petersburg. Father is a businessman. Mother is a historian. The surname Sevenard, according to Eleanor, is of French origin. A relative of Eleanor is the famous prima ballerina of the Mariinsky Theater, Honored Artist of His Majesty the Imperial Theaters Matilda Feliksovna Kshesinskaya. Eleanor Sevenard is her great-niece. She started studying ballet at the age of 4. As the ballerina said, the family often talked about Matilda Kshesinskaya; her costumes were kept in their house, which were transferred to the museum of the Academy of Russian Ballet. Her relationship with the great ballerina played a role in her choice. Although Eleanor made a reservation that in her profession everything depends only on the person himself: on talent, efficiency and physical data. “Relationship with Matilda Feliksovna could not help me in this regard. I think that morally her role in the art of ballet pulls me along with it, in the sense that I want to succeed in my ballet career,” she pointed out. Among ballet dancers, she is impressed by Plisetskaya, Maksimova and Vasilyeva. To the Academy of Russian Ballet named after. AND I. Vaganova was brought to St. Petersburg by her mother. She successfully passed the entrance exams and began studying. Teacher - teacher Tatyana Udalenkova.
During her studies, she was actively involved in performances of the Mariinsky Theater and took part in the academy’s tours in Lithuania and Japan. She danced in the ballet “Elementarium” to the music of S. Prokofiev, staged by M. Sevagin (in 2020, as part of the Creative Workshop of Young Choreographers, XV International Ballet Festival “Mariinsky”). In 2020, Eleanor was cast in the role of Masha in the ballet “The Nutcracker” by P. Tchaikovsky (choreography by V. Vainonen) - this role is traditionally performed by future stars. And the St. Petersburg audience remembered her - for two seasons in a row, for exactly 10 performances, she appeared on the stage of the Mariinsky Theater in the image of a girl from a Christmas fairy tale. Also in the ballerina’s repertoire was the title role in the ballet The Puppet Fairy by I. Bayer (choreography by N. and S. Legats, revised by N. Tsiskaridze). She had the opportunity to work with Nikolai Tsiskaridze. According to Eleanor, he is a very demanding teacher, and after rehearsing with him, she had an additional desire to work and improve.
Rector of the Academy of Russian Ballet named after A.Ya. Vaganova Nikolai Tsiskaridze said about Eleanor that he immediately noticed her talent and only later found out that she was a relative of Kshesinskaya: “I just singled out this child, I liked him. And then they told me: well, of course, this is... It, of course, will interfere. It will interfere because there will be a biased attitude. Someone will be friendly and say, “Oh, how interesting.” And someone will say: “Well, well, now we’ll see.” In 2020, she received the II Prize of the VII International Ballet Competition “Vaganova-PRIX” (senior group), the Prize of the Natalia Dudinskaya and Konstantin Sergeev Foundation (St. Petersburg). She also became one of the laureates of the All-Russian competition of the Ministry of Culture of the Russian Federation “Young Talents of Russia”.
In 2020, she won the 1st prize at the 3rd All-Russian Competition for Young Performers “Russian Ballet” (Moscow). In the spring of 2017, she took part in the gala concert “Icons of Russian Ballet” in London (Coliseum Theater) and the Gala of Ballet Schools of the 21st Century, held at the Opera Garnier in Paris. In the same 2020, she graduated from the St. Petersburg Academy of Russian Ballet. AND I. Vaganova, where she studied for 8 years. In the graduation performance, Eleanor performed Paquita. The story of a girl who lost contact with her famous relatives as a child was chosen for her by Nikolai Tsiskaridze.
After graduating from the Academy of Russian Ballet, she decided to join the Bolshoi Theater troupe. Eleanor explained: “I had two invitations - to the Mariinsky and to the Bolshoi Theater. But I chose that I would go to work at the Bolshoi Theater... Because we studied all this time for this moment. For the sake of our future lives and careers.” She rehearses at the Bolshoi Theater ballet troupe under the direction of Svetlana Adyrkhaeva. On September 21, 2017, Eleanor Sevenard made her debut on the stage of the Bolshoi Theater in the production of Don Quixote. The debut was successful. The beginning of his professional career coincided with the resonance that was caused by the film “Matilda” directed by Alexei Uchitel, dedicated to the relationship between Matilda Kshesinskaya and Nicholas II. Journalists asked Eleanor to comment on this story: “She was a great artist, a great ballerina, and such youthful love - anyone could have had this in life. It just happened that way for her. I hope that everything will not be shown from the bad side,” Sevenard noted.
Personal life of Eleanor Sevenard:
In the spring of 2020, it became known about the ballerina’s affair with the Bolshoi Theater premier Denis Rodkin. Photos of them together began to appear regularly on social networks. The lovers take part in several productions together, where their romance began - feelings on stage grew into relationships in real life.
Source: https://stuki-druki.com/authors/Sevenard-Eleonora.php
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Eleanor Sevenard now
At the end of September 2020, Eleanor made her debut on the stage of the Bolshoi Theater in the ballet Don Quixote. Spectators and critics called the young ballerina's performance successful. In October, the girl could be seen in the productions of “Corsair” and “La Bayadère”.
Eleanor Sevenard and Nikolai TsiskaridzeThe beginning of Sevenard’s career in the theater coincided with the public interest that aroused the film “Matilda” by Alexei Uchitel about the difficult relationship between Kshesinskaya and Nicholas II. Eleanor commented that she would not want her relative's name to be sullied. “First of all, she is a great ballerina,” Sevenard said.
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Sevenard Eleonora Konstantinovna
Repertoire
2017
First variation in the Grand Pas (Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky in the second edition by A. Fadeechev)
Grand classical dance (“La Bayadère” by L. Minkus, choreography by M. Petipa, revised by Yu. Grigorovich)
“Living Garden”, dance with fans (Corsair by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaka)
Giselle's Friends (Giselle by A. Adam, choreography by J. Coralli, J. Perrot, M. Petipa, revised by Yu. Grigorovich)
Juliet's Friends (Romeo and Juliet by S. Prokofiev, staged by A. Ratmansky)
Kitri's friends (Don Quixote)
2018
Marie (The Nutcracker by P. Tchaikovsky, choreography by Yu. Grigorovich)
Maids of Honor, Fairy of Sapphires, Fairy of Generosity, Fairy of Diamonds (The Sleeping Beauty by P. Tchaikovsky, choreography by M. Petipa, revised by Yu. Grigorovich)
Pas de deux (Giselle)
Princess Sorokina (the first performer at the Bolshoi Theater), ballerinas (Anna Karenina to music by P. Tchaikovsky, A. Schnittke, Cat Stevens/Yusuf Islam, choreography by J. Neumeier)
Swanilda's Friends (Coppelia by L. Delibes, choreography by M. Petipa and E. Cecchetti, production and new choreographic version by S. Vikharev)
Large classical dance, second variation in the film “Shadows” (“La Bayadère” by L. Minkus, choreography by M. Petipa, revised by Yu. Grigorovich)
Gulnara (“Corsair”) - made her debut on the theater tour in Beijing
Waltz (Swan Lake by P. Tchaikovsky, choreography by M. Petipa, L. Ivanov, A. Gorsky, second version by Yu. Grigorovich) - debuted on the theater’s tour in Seoul
Guadalquivir (The Pharaoh's Daughter by C. Pugni, staged by P. Lacotte after M. Petipa)
Polish Bride, Spanish Bride (Swan Lake)
Part in the ballet “Artifact Suite” to the music of E. Crossman-Hecht and I.S. Bach (choreography by W. Forsythe) - participant in the premiere at the Bolshoi Theater
La Folie/Folly (Coppelia)
2019
Final waltz and apotheosis (The Nutcracker)
Gamzatti (La Bayadère by L. Minkus, choreography by M. Petipa, revised by Yu. Grigorovich)
Pas de trois in “Emeralds” (I part of the ballet “Jewels”) to the music of G. Fauré (choreography by G. Balanchine)
The Fisherman's Wife ("Pharaoh's Daughter")
Swanilda (Coppelia)
Bohemian Court, Spring Maidens (The Winter's Tale by J. Talbot, choreography by K. Wheeldon)
Fairy of Carefree, Fairy of Courage, Fairy of Gold (“Sleeping Beauty”)
Party (“two pairs”) in Part I, Part III; soloist of the third movement (Symphony in C major by J. Bizet, choreography by J. Balanchine)
Kitri (Don Quixote)
Phrygia (Spartacus by A. Khachaturian, choreography by Y. Grigorovich) - debuted on the theater’s tour in Brisbane
Prince's peers ("Swan Lake")
Leading role in “Rubies” (II part of the ballet “Jewels”) to the music of I. Stravinsky (choreography by J. Balanchine)
Second variation in the film “Raymonda’s Dreams” (“Raymonda” by A. Glazunov, choreography by M. Petipa, revised by Yu. Grigorovich)
“Gran Gala” (“Nureev” by I. Demutsky, choreography by Y. Possokhov, director K. Serebrennikov)
