© Wiener Staatsoper GmbH / Michael Pöhn

Ketevan Papava

Ketevan Papava was born in Tbilisi (Georgia). After her education at Vaganova Academy in St. Petersburg she became a member of Mariinsky Theatre from 2001 to 2006. Her repertory comprised many classical and temporary solo roles at that time. Moreover she performed at the State Opera of Sofia. The Ballett der Wiener Staatsoper und Volksoper engaged her as Demi-soloist in 2006. In 2010 she was appointed Soloist of the Wiener Staatsballett, 2015 she was announced First Soloist.

Her repertory comprises the title role in Boris Eifman’s „Anna Karenina“ and Davide Bombana’s „Ballett: Carmen“, Tatjana in John Cranko’s „Onegin“, Ballerina in Boris Eifman’s "Giselle Rouge", title role and Zigeunerin in Michael Corder’s "Die Schneekönigin", Myrtha and Zulma in Elena Tschernischova’s „Giselle“, Straßentänzerin in Rudolf Nureyev’s „Don Quixote“, Polnisches Mädchen in „Coppélia“ from Gyula Harangozó sen., Solo-Schatten und Grand Pas in Vladimir Malakhov’s „Die Bajadere“, Großer Schwan and Spanische Tänzerin in Rudolf Nureyev’s „Schwanensee“, Fee Carabosse and Fee der Lebensfreude in Peter Wright’s "Dornröschen", Arabischer Tanz in Rudolf Nureyev’s "Der Nussknacker", Frau Stahlbaum, Solo-Schneeflocke, Orientalischer Tanz and Spanischer Tanz in Gyula Harangozó’s „Der Nussknacker“, La Brambilla in Maurice Béjart’s „Le Concours“, Zigeunerin in John Cranko’s „Romeo und Julia“, Madame Larina in Cranko’s „Onegin“, Lescauts Geliebte in Kenneth MacMillan’s „Manon“, Kaiserin Elisabeth and Marie Gräfin Larisch in MacMillan’s „Mayerling“, Potiphars Weib in John Neumeier’s "Josephs Legende", Primadonna in „Platzkonzert“ from Gyula Harangozó sen., main roles in Ben van Cauwenbergh’s „Tanzhommage an Queen“, George Balanchine’s "Apollo", „Rubies“ and "Stravinsky Violin Concerto", Jerome Robbins’ „Glass Pieces“ and "The Four Seasons", Rudi van Dantzig’s „Vier letzte Lieder“, John Neumeier’s "Vaslaw", Twyla Tharp’s „Variationen über ein Thema von Haydn“, Hans van Manen’s "Adagio Hammerklavier", Jiří Kylián’s „Petite Mort“ and „Bella Figura“, William Forsythe’s "The Second Detail", David Dawson’s "A Million Kisses to my Skin", Nils Christe’s "Before Nightfall", Jean-Christophe Maillot’s "Vers un Pays Sage", Jorma Elo’s „Glow – Stop“, Helen Pickett’s "Eventide", Jiří Bubeníček’s „Le Souffle de l’esprit“, Thierry Malandain’s „Mozart à 2“, Grete Wiesenthal’s "Wein, Weib und Gesang", Pas de deux from "Giselle" (2. Act) as well as the Pas de deux from „Spartacus“ by László Seregi, Pas de deux (2nd Act) in Rudolf Nureyev’s "Cinderella", Bella in Roland Petit’s "Fledermaus" (excerpt 1st Act). She created the role of Hippolyta in Jorma Elo’s „Ein Sommernachtstraum“ and in Patrick de Bana’s „Marie Antoinette“ the role of Madame Elisabeth, in Natalia Horecna’s "Contra Clockwise Witness" the role Engel, in Antony McDonalds and Ashley Pages "Ein Reigen" the role of Alma Mahler and in Daniel Proietto’s „Blanc“ the role of Frau/Sylphide.

She has appeared as guest dancer in many European countries and overseas.