Olga Shaishmelashvili

Biography

Graduated from the B. Ioganson St. Petersburg State Academy Art Lyceum in 1996 and the St. Petersburg State Art and Industry Academy in 2002.

Works as costume designer in Russia and abroad, did costumes for the following productions: ballets – Rodin (2011), Requiem (2014), Up & Down (2015), Tchaikovsky. Pro et contra (2016) at the St. Petersburg Eifman Ballet, including performances of Requiem at the Teatro San Carlo (Naples, Italy) and Rodin at the Teatro Colon (Buenos Aires, Argentina) in 2014; operas – Vasyli Barkhatov’s productions of Khovanshchina (2015), The Gambler (2018) at the Theater Basel (Switzerland), The Soldiers (2016), Eugene Onegin (2017) at the Hessisches Staatstheater Wiesbaden (Germany), L’Invisible (2017) at the Deutsche Oper Berlin (Germany), Eugene Onegin (2018) at the Kungliga Operan (Stockholm, Sweden, 2018), Faust (2018) at the Staatstheater Saarbrücken, The Gambler (2020) at the Lithuanian National Opera and Ballet Theatre.

Worked as set designer on production of Schiller’s Demetrius, staged by Alexander Mindlin at the Ruhrfestspiele Recklinghausen Festival, Germany (2011). 

Did costumes and set design for following productions: Princess Mary, directed by Elena Chernaya (2014), Blessing of Love, directed by Igor Konyaev (2015), The Ghost of Canterville, directed by Igor Konyaev (2016) at the Mikhail Chekhov Riga Russian Theatre (Riga, Latvia); she collaborated with stage director Andrei Prikotenko on productions of The Cherry Orchard (2016), Sociopath / Hamlet (2018) and The Idiot (directed by Andrei Prikotenko, 2019) at the Novosibirsk Drama Theatre, The Old House and The Beggar’s Opera at the Moscow Satire Theatre (2017), A Midsummer Night’s Dream at the Janka Kupala National Theatre, Minsk, Belarus; ballets Carmen, choreography by Mukaram Avahri, at the Astana Ballet, Kazakhstan (2015), The Stone Coast, choreography by Vladimir Varnava, Les Sylphides and Grand pas from the ballet Paquita (2015), The Sleeping Beauty (2016) at the Leonid Yacobson Ballet Theatre (St. Petersburg); operetta Vienna Blood, directed by Igor Konyaev, at the Saint-Petersburg Theatre of Musical Comedy (2015); musical The Count of Monte Cristo, directed by Kero®, at the Saint-Petersburg Theatre of Musical Comedy (2017); Russian Matrix at the Lensovet St Petersburg State Academic Theatre (2018); Madama Batterfly at the Perm Opera and Ballet Theatre (2019).

At the Bolshoi theatre she designed the costumes for Il Barbiere di Siviglia (directed by Evgeny Pisarev, 2018).

Designed the exhibition space for the project Russian Theater at the Turn of XIX-XX Centuries, curator I. Evert (2012).