Laying the foundation for her worldwide fame. Job Poster V. Serova with the silhouette of A. Pavlova forever became the emblem of the “Russian Seasons”. With 1910 Pavlova toured many countries around the world with her own troupe. Choreographer Mikhail Fokin staged several ballets especially for A. Pavlova’s troupe, one of which was “Seven Daughters of the Mountain King.” The ballerina’s last performance in Mariinsky Theater took place in 1913, and in Russia- V 1914, after which she settled in England and never returned to Russia. 1921 -1925 Anna Pavlova toured USA, the organizer of her tour was the American impresario Russian origin Solomon Yurok. IN 1921 Anna Pavlova also performed in India and won the attention of the Indian public in Delhi , Bombay And Kolkata .Pavlova’s name became legendary during the ballerina’s lifetime.
Karsavina Tamara Platonovna
The ballerina was born on February 25 ( 9th of March) 1885 V St. Petersburg in the family of the dancer of the imperial troupe Platon Karsavin and his wife Anna Iosifovna, née Khomyakova, daughter of a cousin (that is, great-niece) famous Slavophile A.S. Khomyakov. Brother - Lev Karsavin, Russian philosopher. IN 1902 Graduated from the Imperial Theater School, where she learned the basics of ballet skills from teacher Alexander Gorsky, then joined the troupe Mariinsky Theater . Karsavina quickly achieved the status of a prima ballerina and performed leading roles in ballets of the classical repertoire - “Giselle”, “Sleeping Beauty”, “The Nutcracker”, “ Swan Lake", "Carnival", etc. Since 1909, at the invitation of Sergei Diaghilev, Karsavina began performing on tours of Russian ballet dancers in Europe organized by him, and then in Diaghilev's Russian Ballet. The ballerina’s most notable works during the period of collaboration with Diaghilev were leading roles in the ballets “The Firebird”, “The Phantom of the Opera”, “Petrushka” (staged by Mikhail Fokin), “Women’s Follies”, etc. In exile, she continued to perform on stage and tour with Diaghilev’s Russian Ballet, studied teaching activities. In addition, in the early 1920s the ballerina appeared in cameo roles in several silent films produced in Germany and Great Britain, including in the film “The Path to Strength and Beauty” 1925. In 1930-1955. served as vice-president of the Royal Academy of Dance. Tamara Karsavina died on May 26, 1978 in London at the age of 93.
Ulanova Galina Sergeevna
Born on January 8, 1910 (new style) in St. Petersburg into an artistic family. In 1928 she graduated from the Leningrad Choreographic School, where she studied for the first six years with her mother M. F. Romanova, then with A. Ya. Vaganova, a famous teacher. After graduating from college she entered the Theater Opera and Ballet named after S. M. Kirov (since 1992 Mariinsky Theatre). She made her debut in the complex role of Odette-Odile in P. I. Tchaikovsky’s ballet “Swan Lake”. In 1941, Ulanova became a laureate of the Stalin Prize (this title was also awarded to her in 1946, 1947 and 1950). In 1944, the ballerina was invited to Moscow, and she became a soloist of the Bolshoi Theater. Ulanova danced on its stage until 1960, creating unforgettable images in both the classical Russian and foreign ballet repertoire. The ballerina also turned to the work of contemporary composers. Thus, Ulanova stunningly embodied the image of Juliet on stage in S. S. Prokofiev’s ballet “Romeo and Juliet.” In 1951, Galina Sergeevna was awarded the title of People’s Artist of the USSR. Her talent was recognized throughout the world. When the Bolshoi Theater first went on tour to London in 1956, Ulanova won a triumphant success in the roles of Giselle (in the ballet of the same name by A. Adam) and Juliet. Juliet was her favorite heroine.
She is the only ballerina to whom monuments were erected during her lifetime (in Leningrad and Stockholm). The last ballet in which Ulanova danced was “Chopiniana” to the music of F. Chopin. After leaving the stage, she continued to work in Bolshoi Theater already as a teacher-tutor. Among her students are E. Maksimova, V. Vasiliev, L. Semenyaka and many others. A. N. Tolstoy called Ulanova “an ordinary goddess.” She died on September 22, 1998 in Moscow.
Yuri Timofeevich Zhdanov
Yuri Timofeevich Zhdanov (November 29 [according to other data September 29] 1925, Moscow - 1986, Moscow) - People's Artist of the RSFSR, choreographer, teacher, artist. He graduated from the Moscow Choreographic School in the class of N.I. Tarasov in 1944, the choreographer’s department of GITIS. A.V. Lunacharsky (Prof. L.M. Lavrovsky and R.V. Zakharov) in 1968. In the period 1944-1967, he was the leading soloist of the Bolshoi Theater ballet. He performed the main roles in the ballets “Romeo and Juliet”, “Giselle”, “The Fountain of Bakhchisarai”, “ Bronze Horseman", "Red Poppy", "Chopiniana", "Swan Lake", "Sleeping Beauty", "Raymonda", "Don Quixote", "Flames of Paris", "Gayane", "Firebird", "Walpurgis Night" and etc., led a large concert activity. In 1951-1960 was a constant partner of Galina Ulanova, performed with her in the first six of the listed ballets and in the concert program. Together they toured the cities of the USSR (1952), and in subsequent years participated in the first tours of the Soviet ballet in Paris (1954, 1958), London (1956), Berlin (1954), Hamburg, Munich, Brussels (1958), New York, Washington, Los Angeles, San Francisco, Toronto, Ottawa, Montreal (1959), acted in films (“Romeo and Juliet”). In 1953, the film “Masters of Russian Ballet” was shot at the Lenfilm film studio. The film includes fragments of Boris Asafiev’s ballets “The Fountain of Bakhchisarai” and “The Flame of Paris”, as well as the ballet “Swan Lake” by P. I. Tchaikovsky. Yuri Zhdanov performed one of the main roles in this film. Yu. Zhdanov also performed with Svetlana Adyrkhaeva, Sofia Golovkina, Olga Lepeshinskaya, Ekaterina Maximova, Maya Plisetskaya, Raisa Struchkova, Nina Timofeeva, Alla Shelest and other Russian and foreign ballerinas. Viewers from more than thirty countries are familiar with choreographic art Yuri Zhdanov. At the end of his stage career, Yu. Zhdanov was the artistic director of the State Concert Ensemble “Classical Ballet” (1971-1976), for which he staged the ballets “Francesca da Rimini” by P. Tchaikovsky, “Spring Fantasy” by R. Drigo, “Choreographic Suite” by K. .Akimov, concert miniatures “Young Voices” by J. Benda, “Etude-Painting” by S. Rachmaninov and a number of others. For his productions, Yu. Zhdanov himself created the scenery and costumes. In 1981-1986. Zhdanov taught at GITIS, where he taught courses “The Art of the Choreographer” and “Ballet Theater and Artist”. Art education Yu. Zhdanov received in the studio famous artist corresponding member Academy of Arts of the USSR G. M. Shegal. Since the early 1950s. he systematically participated in all-Union and international exhibitions Soviet artists, had more than fifteen personal exhibitions in our country and abroad. Since 1967 - member of the Union of Artists of the USSR. More than 150 works by Yu. Zhdanov - paintings and graphics - are in museums in our country, about 600 works have been purchased into private collections. Yuri Timofeevich Zhdanov died on April 9, 1986 in Moscow from a heart attack. After Zhdanov's death, his fame as an artist increasingly increased. The television film “Yuri Zhdanov. Pages of the life of an artist and an artist" (1988). In recent years, the master’s personal exhibitions have been successfully held in Moscow and other cities; many works have been sold to private collections in Russia, England, the USA, Germany, Italy, Japan, Finland, and Greece.
Plisetskaya Maya Mikhailovna
Maya Mikhailovna was born on November 20, 1925. She is truly the greatest ballerina. She is beautiful, elegant, smart.
She danced in many performances:
In the plastic arts of Maya Plisetskaya dance art achieves high harmony .
The most famous roles: Odette-Odile in Swan Lake, Aurora in Sleeping Beauty » ( 1961 ), Raymonda ballet of the same name Glazunov, Mistress of the Copper Mountain in " Stone flower » Prokofiev, Mekhmene-Banu " Legend of love » Melikova, Carmen ( Carmen Suite Rodion Shchedrin).
Plisetskaya acted as a choreographer and staged the following ballets: "Anna Karenina" R.K. Shchedrin (1972, together with N. I. Ryzhenko and V.V. Smirnov-Golovanov, Bolshoi Theater; Plisetskaya - the first performer of the main role), "Gull" R. K. Shchedrin (1980, Bolshoi Theater; Plisetskaya - the first performer of the main role), “Raymonda” by A. K. Glazunov (1984, Opera House in the Baths of Caracalla, Rome), "Lady with a dog" R.K. Shchedrin (1985, Bolshoi Theater; Plisetskaya - the first performer of the main role).
In the 1980s, Plisetskaya and Shchedrin spent a lot of time abroad, where she worked as artistic director Rome Opera and Ballet Theater (1983-1984), as well as the Spanish National Ballet in Madrid (1988-1990). She left the stage at the age of 65; after long time participated in concerts and conducts master classes. On her 70th birthday she made her debut in a number specially written for her. Bejara"Ave Maya" WITH 1994 Plisetskaya is the chairman of the annual international ballet competition, bearing the name "Maya" ( Saint Petersburg).
Maksimova Ekaterina
In the seventh grade, she danced her first role - Masha in The Nutcracker. After college, she joined the Bolshoi Theater and immediately, practically bypassing the corps de ballet, began dancing solo parts.
From 1958 to 1988, she was a leading ballet dancer at the Bolshoi Theater. Excellent command of classical dance, excellent appearance, artistry and personal charm allowed Maximova to master the traditional repertoire of the theater. It was followed by the ballets Giselle (traditional version, music by A. Adam), Don Quixote by A.A. Gorsky (music by L. Minkus), The Sleeping Beauty (traditional edition, then edition by Yu.N. Grigorovich, music by Tchaikovsky) and others. Maksimova also performed in most of the new ballets staged in the 1960–1970s, in particular in Grigorovich’s performances , where she was often the first performer (The Nutcracker, 1966; Spartacus, music by A.I. Khachaturian, 1968, the role of Phrygia, etc.). Maksimova was the constant partner of her husband, V.V. Vasilyeva, and danced in performances staged by him at the Bolshoi Theater and beyond: Icarus (music by S.M. Slonimsky, 1976; Anyuta, music by V.A. Gavrilin, 1986; Cinderella, music by S.S. Prokofiev, 1991) . Abroad she performed leading roles in ballets by Maurice Bejart (Romeo and Julia to music by G. Berlioz), Roland Petit (The Blue Angel, to music by M. Constant), John Cranko (Onegin, to music by Tchaikovsky). K.Ya worked with Maximova. Goleizovsky, who staged one of his best numbers for her in 1960 - Mazurka to the music of A.N. Scriabin. Her career was almost put to an end by a spinal injury she received during a rehearsal for the ballet “Ivan the Terrible.” There was a difficult upper support, from which the ballerina came out unsuccessfully. As a result, her vertebra “popped out”. Her normal movement was in question. But she, with the help of her husband and her willpower, managed to cope with the disease. For a whole year she wore a special corset and did exercises developed for her by Vasiliev. On March 10, 1976, Ekaterina Maksimova again appeared on the Bolshoi stage. In “Giselle.” Of particular importance in Maximova’s work was her participation in television ballets, which revealed a new quality of her talent - comedic talent (Galatea after Pygmalion by B. Shaw, music by F. Lowe, arranged by T.I. Kogan, choreographer D.A. Bryantsev; Old tango, music by Kogan, same choreographer). Maksimova’s art and especially her participation in the famous duet Maksimova - Vasiliev, captured in the television film “Duet” (1973) and the French video film “Katya and Volodya” (1989), enjoys worldwide recognition. In 1980, Maksimova graduated from the State Institute theatrical arts named after A.V. Lunacharsky (now Russian Academy theatrical art). Since 1982, she began teaching classical heritage and dance composition at the choreography department of this institute (in 1996 she was awarded the academic title of professor). Since 1990, Maksimova has been a teacher and tutor at the theater " Kremlin Ballet". Since 1998 - choreographer-repetiteur of the Bolshoi Theater (she ceased to be a soloist of the troupe in 1988).
Lopatkina Ulyana Vyacheslavovna
People's Artist of Russia (2005).
Laureate of the State Prize of Russia (1999).
Laureate of the International Competition Vaganova-Prix (1991).
Prize winner: “Golden Spotlight” (1995), “Divine” with the title “Best Ballerina” (1996), “ Golden mask"(1997), Benois de la danse(1997), “Baltika” (1997, 2001: Grand Prix for promoting the world fame of the Mariinsky Theater), Evening Standard (1998), Monaco world dance awards(2001), "Triumph" (2004).
In 1998, he was awarded the honorary title “Artist of Her Majesty’s Imperial Stage of Sovereign Russia” and was awarded the “Man-Creator” medal.
Born in Kerch (Ukraine).
Graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Professor Natalia Dudinskaya).
Since 1991 with the Mariinsky Theater troupe.
Since 1995 - soloist.
"Giselle" (Myrtha, Giselle);
"Corsair" (Medora);
“La Bayadère” (Nikia) – edited by Vakhtang Chabukiani;
Grand pas from the ballet “Paquita” (soloist);
“Sleeping Beauty” (Lilac Fairy) – edited by Konstantin Sergeev;
“Swan Lake” (Odette-Odile);
"Raymonda" (Raymonda, Clémence);
“Swan”, “Scheherazade” (Zobeide) – choreography by Mikhail Fokin;
“Bakhchisarai Fountain” (Zarema);
“The Legend of Love” (Mekhmene Banu);
"Leningrad Symphony" (Girl);
Pas de quatre (Maria Taglioni) – choreography by Anton Dolin;
“Serenade”, “Symphony in C Major” (II part Adagio), “Jewels” (“Diamonds”), “Piano Concerto No. 2” ( Ballet Imperial), “Theme and Variations”, “Waltz”, “Scottish Symphony” – choreography by George Balanchine;
“In the Night” (Part III) – choreography by Jerome Robbins;
“Young Man and Death” – choreography by Roland Petit;
“Goya Divertimento” (Death); choreography by Jose Antonio;
“The Nutcracker” (fragment “Teacher and Student”) – choreography by John Neumeier;
“The Fairy’s Kiss” (Fairy), “Poem of Ecstasy”, “Anna Karenina” (Anna Karenina) – choreography by Alexei Ratmansky;
– choreography by William Forsythe;
Trois Gnossienes– choreography by Hans van Manen;
“Tango” – choreography by Nikolai Androsov;
Grand pas de deux– choreography by Christian Spuck
Zakharova Svetlana Yurievna
At the Mariinsky Theater
1996
Princess Florina(“Sleeping Beauty” by P. Tchaikovsky, choreography by M. Petipa, revised by K. Sergeev)
Queen of the Dryads(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky)
Pas de deux by Tchaikovsky(choreography by J. Balanchine)
"The Dying Swan"(to music by C. Saint-Saëns, choreography by M. Fokine)
Maria(“Bakhchisarai Fountain” by B. Asafiev, choreography by R. Zakharov)
Masha(“The Nutcracker” by P. Tchaikovsky, choreography by V. Vainonen)
1997
Gulnara(“Corsair” by A. Adam, choreography by M. Petipa, revised by P. Gusev)
Giselle(“Giselle” by A. Adam, choreography by J. Coralli, J. Perrot, M. Petipa)
Mazurka and seventh waltz(“Chopiniana”, choreography by M. Fokine)
1998
Princess Aurora("Sleeping Beauty")
Terpsichore(“Apollo” by I. Stravinsky, choreography by J. Balanchine)
Soloist(“Serenade” to music by P. Tchaikovsky, choreography by J. Balanchine)
Odette-Odile(“Swan Lake” by P. Tchaikovsky, choreography by M. Petipa, L. Ivanov, revised by K. Sergeev)
Soloist(“Poem of Ecstasy” to music by A. Scriabin, staged by A. Ratmansky)
1999
Soloist of the first part(“Symphony in C major” to music by J. Bizet, choreography by J. Balanchine)
Princess Aurora(“The Sleeping Beauty”, reconstruction of M. Petipa’s production by S. Vikharev)
Medora("Corsair")
Nikia(“La Bayadère” by L. Minkus, choreography by M. Petipa, revised by V. Ponomarev and V. Chabukiani)
2000
Soloist in “Diamonds” to the music of P. Tchaikovsky(“Jewels”, choreography by J. Balanchine)
Manon(“Manon” to music by J. Massenet, choreography by K. MacMillan)
Kitri("Don Quixote")
2001
Soloist(“Now and Then” to music by M. Ravel, staged by J. Neumeier)
Young lady(“The Young Lady and the Hooligan” to music by D. Shostakovich, choreography by K. Boyarsky)
Zobeida(“Scheherazade” to music by N. Rimsky-Korsakov, choreography by M. Fokin)
2002
Juliet(“Romeo and Juliet” by S. Prokofiev, choreography by L. Lavrovsky)
Soloist(grand pas from the ballet “Paquita” by L. Minkus, choreography by M. Petipa)
Soloist(“Middle Duet” to music by Y. Khanon, staged by A. Ratmansky)
2003
Soloist(Etudes" to music by K. Czerny, choreography by H. Lander)
One of the ballerina’s regular partners was Igor Zelensky.
At the Bolshoi Theater
In season 2003/2004
Svetlana Zakharova moved to the Bolshoi Theater troupe, where she became her teacher-tutor Lyudmila Semenyaka
, also a representative of the St. Petersburg ballet school.
The ballerina was introduced to the theater staff at the traditional troupe meeting, held on August 26, 2003. Her debut as a soloist of the Bolshoi Theater took place on October 5 in the ballet “Giselle” (edited by V. Vasiliev). Before moving to Moscow, she danced this performance three times at the Bolshoi Theater.
2003
Giselle("Giselle")
Aspiccia(“The Pharaoh’s Daughter” by C. Pugni, staged by P. Lacotte after M. Petipa)
Odette-Odile(“Swan Lake” by P. Tchaikovsky in the second edition by Yu. Grigorovich, fragments of choreography by M. Petipa, L. Ivanov, A. Gorsky were used)
2004
Princess Aurora(“Sleeping Beauty” by P. Tchaikovsky, choreography by M. Petipa, revised by Yu. Grigorovich)
Soloist of Part II("Symphony in C major")
Nikia(“La Bayadère”, revised by Yu. Grigorovich)
Kitri(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky, revised by A. Fadeechev)
Hippolyta(Titania) (“A Midsummer Night’s Dream” to the music of F. Mendelssohn-Bartholdy and D. Ligeti, staged by J. Neumeier) -
2005
Raymonda(“Raymonda” by A. Glazunov, choreography by M. Petipa, revised by Yu. Grigorovich)
Carmen(“Carmen Suite” by J. Bizet - R. Shchedrin, staged by A. Alonso)
2006
Cinderella(“Cinderella” by S. Prokofiev, choreography by Y. Posokhov, director Y. Borisov) - first performer
2007
Soloist(“Serenade” to music by P. Tchaikovsky, choreography by J. Balanchine) - first performer at the Bolshoi Theater
Medora(“Corsair” by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaka) - first performer
Soloist(“Class-concert” to music by A. Glazunov, A. Lyadov, A. Rubinstein, D. Shostakovich, choreography by A. Messerer)
2008
Aegina(“Spartacus” by A. Khachaturian, choreography by Y. Grigorovich)
Couple in yellow(“Russian Seasons” to music by L. Desyatnikov, staged by A. Ratmansky) - was among the first ballet performers at the Bolshoi Theater
Paquita(Large classical pas from the ballet “Paquita” by L. Minkus, choreography by M. Petipa, production and new choreographic version by Y. Burlaka)
2009
Svetlana(“Zakhar’s Super Game” by E. Palmieri, staged by F. Ventriglia) - world premiere
2010
Death(“Youth and Death” to the music of J. S. Bach, staged by R. Petit) - first performer at the Bolshoi Theater
The first and two subsequent performances of “The Pharaoh’s Daughter” with the participation of Zakharova were filmed for the release of the ballet on DVD by the French company Bel Air Media.
On June 15, 2005, the first creative evening of Svetlana Zakharova took place on the Main Stage of the Bolshoi Theater, the program of which included the painting “Shadows” from the ballet “La Bayadere” (Solor - soloist of the Mariinsky Theater Igor Zelensky)
“Middle Duet” staged by A. Ratmansky(partner - soloist of the Mariinsky Theater Andrey Merkuryev)
duet from the ballet “A Little Elevated in the Middle” to music by T. Wilems, staged by W. Forsyth (partner - Andrey Merkuryev)
the third act from the ballet “Don Quixote” (Bazil - Andrei Uvarov) and a number of numbers performed by soloists of the Bolshoi Theater ballet
Vishnva Diana Viktorovna
People's Artist of Russia
Laureate of the State Prize of Russia
Laureate of the International Ballet Competition (Lausanne, 1994)
Award winner Benois de la Danse(1996), “Golden Spotlight” (1996, 2011), “Baltika” (1998), “Golden Mask” (2001), “Dancer of the Year - 2002” ( Dancer of Europe), prize from the magazine "Ballet" (2003)
National laureate theater award“Golden Mask” (2009) in three categories: “Best female role", "Modern Dance/Female Role" and "Critics Prize" ("Diana Vishneva: Beauty in Motion", project by Sergei Danilyan, USA-Russia)
Diana Vishneva was born in Leningrad. Graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Professor Lyudmila Kovaleva). Last year I combined my studies with an internship at the Mariinsky Theater. In 1995, Diana Vishneva was accepted into the troupe of the Mariinsky Theater, and since 1996 she has been a soloist of the Mariinsky Theater.
Diana Vishneva actively performs at leading theater venues in Europe. In 2001 she made her debut at the Munich Staatsballett (Manon by Kenneth MacMillan) and La Scala (Aurora - The Sleeping Beauty in Rudolf Nureyev's version), and in 2002 she performed on the stage of the Opera de Paris (Kitri - Don Quixote in version by Rudolf Nureyev). In 2003, she made her debut on the stage of the Metropolitan Opera in New York (Juliet - Romeo and Juliet, choreography by Kenneth MacMillan).
Since 2002, Diana Vishneva has been a guest soloist at the Staatsoper (Berlin), performing the main roles in the ballets “Giselle”, “La Bayadère”, “Swan Lake” (version by Patrice Barthes), “Ring Around the Ring” by Maurice Béjart, “Manon” and “ Sleeping Beauty". Since 2005, the ballerina has been performing as a guest soloist on the stage of the American Ballet Theater (she danced in the ballets Swan Lake, Giselle, Don Quixote, Manon, Romeo and Juliet, Ballet Imperial, "Sleeping Beauty", The Dream, "La Bayadère"). At the American Ballet Theater, Diana Vishneva performed the main roles in the ballets: “Sylvia” and Thaïs Pas de deux(choreography by Frederick Ashton), “On the Dnieper” (choreography by Alexei Ratmansky), “Lady with Camellias” (choreography by John Neumeier) and “Onegin” (choreography by John Cranko).
Diana Vishneva actively collaborates with famous contemporary choreographers and directors. In 2005, the premiere of Peter Zuska’s ballet “Hands of the Sea,” staged especially for Diana Vishneva, took place on the stage of the Mariinsky Theater. In 2007, Andrei Moguchiy and Alexey Kononov staged the play “Silenzio. Diana Vishneva." In February 2008, Diana Vishneva, in collaboration with Ardani Artists Management and the Orange County Performing Arts Center, presented the program “Beauty in Motion” (“Pierrot Lunaire” by Alexei Ratmansky, “Turns of Love” by Dwight Rodin, F.L.O.W. Moses Pendleton).
In March 2011, the ballet “Park” premiered on the stage of the Mariinsky Theater (choreography by Angelin Preljocaj) with the participation of Diana Vishneva. In October of the same year, the ballerina presented the project “Diana Vishneva: Dialogues”, carried out with the support of the Mariinsky Theater, the Diana Vishneva Foundation and the Ardani Artists company.
Repertoire on the stage of the Mariinsky Theater:
“Giselle” (Myrtha, Zulma) – choreography by Jean Coralli, Jules Perrot, Marius Petipa;
“Corsair” (Gulnara, Medora) – production by Pyotr Gusev based on the composition and choreography of Marius Petipa;
Grand pas from the ballet Paquita (variation) – choreography by Marius Petipa;
“La Bayadère” (Nikia); choreography by Marius Petipa, revised by Vladimir Ponomarev and Vakhtang Chabukiani;
“The Sleeping Beauty” (Aurora); choreography by Marius Petipa, revised by Konstantin Sergeev;
“The Nutcracker” (Masha) – choreography by Vasily Vainonen, as well as production by Mikhail Shemyakin with choreography by Kirill Simonov;
“Swan Lake” (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised by Konstantin Sergeev;
“Raymonda” (Raymonda); choreography by Marius Petipa, revised by Konstantin Sergeev;
ballets by Mikhail Fokine: Scheherazade (Zobeide), The Firebird (Firebird), The Vision of a Rose, The Swan;
Pas de quatre(Fanny Cerrito) – choreography by Anton Dolin;
Grand pas classique – choreography by Viktor Gzovsky;
“The Legend of Love” (Mekhmene-Banu) – choreography by Yuri Grigorovich;
“Carmen Suite” (Carmen); choreography by Alberto Alonso;
ballets by George Balanchine: “Apollo” (Terpsichore), “Symphony in C Major” (III movement), Tchaikovsky Pas de deux, “Jewels” (“Rubies”), Piano Concerto No. 2 ( Ballet Imperial);
“In the Night” (I duet) – choreography by Jerome Robbins;
“Young Man and Death”, “Carmen” (Carmen) – choreography by Roland Petit;
“Manon” (Manon); choreography by Kenneth MacMillan;
Spring and Fall, Now and Then,“The Sound of Blank Pages” – choreography by John Neumeier;
ballets by Alexei Ratmansky: “Poem of Ecstasy”, “Cinderella” (Cinderella), “Anna Karenina” (Anna Karenina);
ballets by William Forsythe: In the Middle, Somewhat Elevated And Steptext;
“Park” – choreography by Angelin Preljocaj;
“Diana Vishneva: Beauty in Motion” (“Pierrot Lunaire” by Alexei Ratmansky, “For the Love of a Woman” by Dwight Rhoden, “Turns of Love” by Moses Pendleton);
“Diana Vishneva: Dialogues” (“Labyrinth” by Martha Graham, “Dialogue” by John Neumeier, “Object of Change” by Paul Lightfoot and Sol Leon).
Tereshkina Victoria Valerievna
Honored Artist of Russia (2008)
Laureate of the IX International Ballet Competition “Arabesque-2006” (Perm, 2006). Winner of the “Ballet” magazine prize – “Soul of Dance” in the category “ Rising star"(2006)
Winner of the highest theater award of St. Petersburg “Golden Sofit” in the category “Best actress in a ballet performance” for the role of the Queen of the Sea in the ballet “Ondine” (2006)
Winner of the highest theater award of St. Petersburg “Golden Sofit” in the category “Best female role in a ballet performance” in a ballet performance Approximate Sonata– choreography by William Forsyth. (2005)
Winner of the International Ballet Award “DANCE OPEN” in the “Miss Virtuosity” category (2010 and 2011)
Born in Krasnoyarsk.
In 2001 she graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Marina Vasilyeva).
Since 2001 with the Mariinsky Theater troupe.
In the repertoire:
“Giselle” (Giselle, Myrta, Zulma);
"Corsair" (Medora);
“La Bayadère” (Nikia, Gamzatti);
“Sleeping Beauty” (Aurora, Fairy of Gold, Fairy of Diamonds);
“Swan Lake” (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised by Konstantin Sergeev;
“Raymonda” (Raymonda); choreography by Marius Petipa, revised by Konstantin Sergeev;
“Don Quixote” (Kitri) – choreography by Alexander Gorsky;
“Scheherazade” (Zobeide) – choreography by Mikhail Fokin;
“Spartacus” (Phrygia) – choreography by Leonid Yakobson;
“Romeo and Juliet” (Juliet) – choreography by Leonid Lavrovsky;
“The Legend of Love” (Mekhmene Banu) – choreography by Yuri Grigorovich;
Grand pas classique– choreography by Viktor Gzovsky;
ballets by George Balanchine: “Apollo” (Polyhymnia, Terpsichore, Calliope), “Serenade”, “Symphony in C Major” (I movement), “A Midsummer Night’s Dream” (Titania), “Theme and Variations”, “The Four Temperaments”, Tchaikovsky Pas de deux, “Jewels” (“Rubies”, “Diamonds”), “Piano Concerto No. 2” ( Ballet Imperial), Tarantella;
“In the Night” – choreography by Jerome Robbins;
“Young Man and Death” (Death) – choreography by Roland Petit;
“Manon” (Courtesans); choreography by Kenneth MacMillan;
“Etudes” (soloist) – choreography by Harald Lander;
“Ondine” (Queen of the Sea); choreography by Pierre Lacotte;
ballets by Alexei Ratmansky: “Anna Karenina” (Anna Karenina), “Cinderella” (Khudyshka, women’s dance), “The Little Humpbacked Horse” (The Tsar Maiden);
"Gently, with fire" ( Dolce, con fuoco) – choreography by Svetlana Anufrieva;
“The Nutcracker” (Masha, the Nutcracker’s sisters) – production by Mikhail Shemyakin, choreography by Kirill Simonov;
ballets by William Forsythe: Approximate Sonata, In the Middle, Somewhat Elevated;
“Ring” – choreography by Alexey Miroshnichenko;
“Aria Interrupted” (soloist) – choreography by Peter Quantz;
“Bolero Factory” (Soul) – choreography by Yuri Smekalov;
“Park” (soloist) – choreography by Angelin Preljocaj.
The first performer of the roles of the Queen of the Sea (Ondine, choreographed by Pierre Lacotte, 2006), the Tsar Maiden (The Little Humpbacked Horse, choreographed by Alexei Ratmansky, 2009) and Phrygia (Spartacus, choreographed by Leonid Yakobson, 2010).
Pleiades rising stars Russian ballet
Christina Shapran
Anna Tikhomirova
Sergei Polunin
Artem Ovcharenko
Kristina Andreeva and Oleg Ivenko
On March 17, the great Russian dancer Rudolf Nureyev would have turned 78 years old. Ballet classic Roland Petit called Nuriev dangerous, the press called him a frantic Tatar, and rock stars and royalty confessed their love to him.
VACLAV NIJINSKY
Sarah Bernhardt believed Nijinsky greatest actor the world, the press - no less than the eighth wonder of the world. A native of Kyiv, a dancer at the Mariinsky Theater, Nijinsky made his debut in Paris, where he amazed audiences and critics with his phenomenal technique, plasticity and taste. And the most amazing thing is that his career as a dancer lasted only ten years. In 1917, he appeared on stage for the last time, and until his death in 1950, he struggled with schizophrenia, moving between psychiatric clinics. Nijinsky’s influence on world ballet is difficult to overestimate, and his diaries are still deciphered and interpreted differently by specialists.
RUDOLF NURIEV One of the main stars of Russian ballet in the world, Nureyev was a real pop star, bright and scandalous. A difficult, quarrelsome character, arrogance, a stormy personal life and a tendency to shocking did not obscure the main thing - the incredible talent of Nuriev, who managed to combine together the traditions of ballet and current, as they say now, trends. A native of Ufa, the long-awaited son, who did not live up to the hopes of his military father, who contemptuously called Rudolph “ballerina,” made his most famous jump not on stage, but in the control zone of the Paris airport. In 1961, the Soviet dancer Nureyev suddenly took off with 30 francs in his pocket, asking for political asylum. Thus began Nuriev’s ascent to the world ballet Olympus. Fame, money, luxury, parties at Studio 54, gold, brocade, rumors of affairs with Freddie Mercury, Yves Saint Laurent, Elton John - and best roles at the London Royal Ballet, director of the ballet group of the Paris Grand Opera. A completely ill Nuriev spent the last hundred days of his life in his beloved Paris. He is buried there.
MIKHAIL BARYSHNIKOV Another famous representative of ballet, who can safely be called a pop star, Mikhail Baryshnikov is in many ways similar to Nureyev: childhood in a Soviet province (if we consider Riga as a province - still not Moscow or Leningrad), complete misunderstanding on the part of his father and a real artistic rise outside the USSR. Remaining in the West in 1974, Baryshnikov quickly gained a foothold at the top: first he headed the legendary New York City Ballet, then for nine years, from 1980 to 1989, he directed the no less famous American Ballet Theater. He also actively and quite successfully, although unevenly, acted in films, became a socialite, and met with Hollywood beauties Jessica Lange and Liza Minnelli. And for the new public, far from ballet (and, by the way, from Joseph Brodsky, with whom Baryshnikov had a real friendship), this incredible person became famous thanks to a small but noticeable role in the TV series “Sex in big city" Sarah Jessica Parker is his biggest fan. called Mikhail Baryshnikov a tough boy - “ cool guy" Who would argue.
VLADIMIR VASILIEV Vladimir Vasiliev is a symbol of the Bolshoi Theater and all Russian ballet of the second half of the 20th century. Due to the fact that Vasiliev lived in the Soviet Union, his popularity in the West is much inferior to the glory of the same Baryshnikov, although art connoisseurs, of course, know and appreciate him. Vasiliev worked mainly in Europe, gradually changing his profession to choreographer. Kazan and Paris, Rome and Perm, Vilnius and Rio - the geography of Vasiliev’s creative movements affirms and confirms his cosmopolitanism.
ALEXANDER GODUNOV The blond giant, Bolshoi star, Godunov, in August 1979, while on tour in the States, decided not to return home. A terrible drama unfolded, in which not only the artist himself and his wife, ballerina Lyudmila Vlasova, were involved, but also Joseph Brodsky, the FBI, and even the leaders of the United States and Soviet Union. Remaining in the States, Godunov became part of the famous American ballet theater, who eventually left after a quarrel with his best friend Mikhail Baryshnikov. Then there was work within the framework of his own project “Godunov and Friends”, success, an affair with actress Jacqueline Bisset and an abrupt departure from the profession. Bisset persuaded Alexander to start a film career, and he partially succeeded: “Witness” with Harrison Ford and especially “Die Hard” made yesterday’s ballet dancer a Hollywood star. However, Godunov himself did not like being on the sidelines, although those who had not even been interested in ballet had now learned about “this Russian.”
The word "ballet" sounds magical. Closing your eyes, you immediately imagine burning lights, chilling music, the rustle of tutus and the light click of pointe shoes on the parquet. This spectacle is inimitably beautiful, it can be safely called a great achievement of man in the pursuit of beauty.
The audience freezes, staring at the stage. The ballet divas amaze with their ease and flexibility, apparently performing complex steps with ease.
The history of this art form is quite deep. The prerequisites for the emergence of ballet appeared in the 16th century. And already from the 19th century, people saw real masterpieces of this art. But what would ballet be without famous ballerinas who made him famous? Our story will be about these most famous dancers.
Marie Ramberg (1888-1982). Future star born in Poland, into a Jewish family. Her real name is Sivia Rambam, but it was later changed for political reasons. The girl fell in love with dancing from an early age, giving herself over to her passion. Marie takes lessons from dancers from the Parisian opera, and soon Diaghilev himself notices her talent. In 1912-1913, the girl danced with the Russian Ballet, taking part in the main productions. Since 1914, Marie moved to England, where she continued to study dance. In 1918, Marie got married. She herself wrote that it was more for fun. However, the marriage turned out to be happy and lasted 41 years. Ramberg was only 22 years old when she opened her own ballet school in London, the first in the city. The success was so stunning that Maria first organized her own company (1926), and then the first permanent ballet troupe in Great Britain (1930). Her performances become a real sensation, because Ramberg attracts the most talented composers, artists, and dancers to her work. The ballerina took an active part in the creation of the national ballet in England. And the name Marie Ramberg forever entered the history of art.
Anna Pavlova (1881-1931). Anna was born in St. Petersburg, her father was a railway contractor, and her mother worked as a simple laundress. However, the girl was able to enter the theater school. After graduating, she entered the Mariinsky Theater in 1899. There she received roles in classical productions - “La Bayadère”, “Giselle”, “The Nutcracker”. Pavlova had excellent natural abilities, and she constantly honed her skills. In 1906, she was already the leading ballerina of the theater, but real fame came to Anna in 1907, when she shines in the miniature “The Dying Swan”. Pavlova was supposed to perform at a charity concert, but her partner fell ill. Literally overnight, choreographer Mikhail Fokin staged a new miniature for the ballerina to the music of San-Saens. Since 1910, Pavlova began to tour. The ballerina gains worldwide fame after participating in the Russian seasons in Paris. In 1913, she performed for the last time at the Mariinsky Theater. Pavlova gathers her own troupe and moves to London. Together with her charges, Anna tours the world with classical ballets Glazunov and Tchaikovsky. The dancer became a legend during her lifetime, having died on tour in The Hague.
Matilda Kshesinskaya (1872-1971). Despite her Polish name, the ballerina was born near St. Petersburg and has always been considered a Russian dancer. About Us early childhood declared her desire to dance, no one in her family even thought of stopping her from this desire. Matilda brilliantly graduated from the Imperial Theater School, joining the ballet troupe of the Mariinsky Theater. There she became famous for her brilliant performances of the parts of “The Nutcracker”, “Mlada”, and other performances. Kshesinskaya was distinguished by her signature Russian plastic art, into which notes of the Italian school were wedged. It was Matilda who became the favorite of the choreographer Fokine, who used her in his works “Butterflies”, “Eros”, “Eunice”. The role of Esmeralda in the ballet of the same name in 1899 sparked new star on the stage. Since 1904, Kshesinskaya has been touring Europe. she is called the first ballerina of Russia and is honored as the “Generalissimo of Russian ballet.” They say that Kshesinskaya was the favorite of Emperor Nicholas II himself. Historians claim that in addition to talent, the ballerina had an iron character and a strong position. It is she who is credited with the dismissal of the director of the Imperial Theaters, Prince Volkonsky. The revolution had a hard impact on the ballerina; in 1920 she left the exhausted country. Kshesinskaya moved to Venice, but continued to do what she loved. At 64, she was still performing in London's Covent Garden. And the legendary ballerina was buried in Paris.
Agrippina Vaganova (1879-1951). Agrippina's father was a theater conductor at the Mariinsky Theater. However, he was only able to enroll the youngest of his three daughters in ballet school. Soon Yakov Vaganov died, the family had only hope for the future dancer. At school, Agrippina showed herself to be mischievous, constantly receiving bad grades for her behavior. After completing her studies, Vaganova began her career as a ballerina. She was given many third-rate roles in the theater, but they did not satisfy her. The ballerina was spared solo parts, and her appearance was not particularly attractive. Critics wrote that they simply did not see her in the roles of fragile beauties. The makeup didn't help either. The ballerina herself suffered greatly about this. But through hard work, Vaganova achieved supporting roles, and newspapers began to occasionally write about her. Agrippina then took a sharp turn in her fortunes. She got married and gave birth. Returning to ballet, she seemed to rise in the eyes of her superiors. Although Vaganova continued to perform second roles, she achieved mastery in these variations. The ballerina managed to rediscover images that seemed to have been erased by generations of previous dancers. Only in 1911 did Vaganova receive her first solo part. At the age of 36, the ballerina was sent into retirement. She never became famous, but she achieved a lot given her data. In 1921, a choreography school was opened in Leningrad, where Vaganova was invited as one of the teachers. The profession of a choreographer became her main one until the end of her life. In 1934, Vaganova published the book “Fundamentals classical dance"The ballerina devoted the second half of her life to the choreographic school. Nowadays it is the Academy of Dance, named in her honor. Agrippina Vaganova did not become a great ballerina, but her name will forever go down in the history of this art.
Yvette Chauvire (born 1917). This ballerina is a truly sophisticated Parisian. At the age of 10 she began to seriously study dancing at the Grand Opera. Yvette's talent and performance were noted by directors. In 1941, she already became prima of the Opera Garnier. Her debut performances brought her truly worldwide fame. After this, Chauvire began to receive invitations to perform in various theaters, including the Italian La Scala. The ballerina became famous for her role as the Shadow in Henri Sauguet's allegory; she performed many roles choreographed by Serge Lifar. Among the classical performances, the role in “Giselle” stands out, which is considered the main one for Chauvire. Yvette demonstrated true drama on stage, without losing all her girlish tenderness. The ballerina literally lived the life of each of her characters, expressing all emotions on stage. At the same time, Shovireh was very attentive to every little detail, rehearsing and rehearsing again. In the 1960s, the ballerina headed the school where she once studied. And Yvette’s last appearance on stage took place in 1972. At the same time, a prize named after her was established. The ballerina repeatedly went on tour to the USSR, where she was loved by the audience. her partner was repeatedly Rudolf Nureyev himself after his flight from our country. The ballerina's services to the country were rewarded with the Order of the Legion of Honor.
Galina Ulanova (1910-1998). This ballerina was also born in St. Petersburg. At the age of 9 she became a student at the choreographic school, which she graduated in 1928. Immediately after the graduation performance, Ulanova joined the troupe of the Opera and Ballet Theater in Leningrad. The young ballerina’s very first performances attracted the attention of connoisseurs of this art. Already at the age of 19, Ulanova danced the leading role in Swan Lake. Until 1944, the ballerina danced at the Kirov Theater. Here she became famous for her roles in “Giselle”, “The Nutcracker”, “The Fountain of Bakhchisarai”. But her role in Romeo and Juliet became the most famous. From 1944 to 1960, Ulanova was the leading ballerina of the Bolshoi Theater. It is believed that the peak of her creativity was the scene of madness in Giselle. Ulanova visited London in 1956 on a tour of the Bolshoi. They said that such success had not happened since the days of Anna Pavlova. Ulanova's stage activity officially ended in 1962. But for the rest of her life, Galina worked as a choreographer at the Bolshoi Theater. She received many awards for her work - she became the People's Artist of the USSR, received the Lenin and Stalin Prizes, became a twice Hero of Socialist Labor and a laureate of numerous awards. The great ballerina died in Moscow and was buried at the Novodevichy cemetery. her apartment became a museum, and a monument was erected in Ulanova’s native St. Petersburg.
Alicia Alonso (born 1920). This ballerina was born in Havana, Cuba. She began studying the art of dance at the age of 10. At that time there was only one private ballet school on the island, headed by Russian specialist Nikolai Yavorsky. Alicia then continued her studies in the USA. Debut on big stage premiered on Broadway in 1938 musical comedies. Alonso then works at the Ballet Theater in New York. There she gets acquainted with the choreography of the world's leading directors. Alicia and her partner Igor Yushkevich decided to develop ballet in Cuba. In 1947 she danced there in Swan Lake and Apollo Musagete. However, at that time in Cuba there were no traditions of ballet or stage. And the people did not understand such art. Therefore, the task of creating the National Ballet in the country was very difficult. In 1948, the first performance of "Ballet of Alicia Alonso" took place. It was ruled by enthusiasts who staged their own numbers. Two years later, the ballerina opened her own ballet school. After the 1959 revolution, the authorities turned their attention to ballet. Alicia's company evolved into the coveted National Ballet of Cuba. The ballerina performed a lot in theaters and even squares, went on tour, and was shown on television. One of the most bright way Alonso - the role of Carmen in the ballet of the same name in 1967. The ballerina was so jealous of this role that she even forbade staging this ballet with other performers. Alonso has traveled all over the world, receiving many awards. And in 1999, she received the Pablo Picasso Medal from UNESCO for her outstanding contribution to the art of dance.
Maya Plisetskaya (born 1925). It is difficult to dispute the fact that she is the most famous Russian ballerina. And her career turned out to be record long. Maya absorbed her love for ballet as a child, because her uncle and aunt were also famous dancers. At the age of 9, the talented girl entered the Moscow Choreographic School, and in 1943, the young graduate entered the Bolshoi Theater. There the famous Agrippina Vaganova became her teacher. In just a couple of years, Plisetskaya went from corps de ballet to soloist. A landmark for her was the production of “Cinderella” and the role of the Autumn Fairy in 1945. Then there were the classic productions of “Raymonda”, “The Sleeping Beauty”, “Don Quixote”, “Giselle”, “The Little Humpbacked Horse”. Plisetskaya shone in “The Fountain of Bakhchisaray”, where she was able to demonstrate her rare gift - literally hanging in a jump for some moments. The ballerina took part in three productions of Khachaturian's Spartacus, performing the roles of Aegina and Phrygia. In 1959, Plisetskaya became People's Artist of the USSR. In the 60s, it was believed that Maya was the first dancer of the Bolshoi Theater. The ballerina had enough roles, but creative dissatisfaction accumulated. The solution was “Carmen Suite”, one of the main milestones in the dancer’s biography. In 1971, Plisetskaya also established herself as a dramatic actress, playing in Anna Karenina. A ballet was written based on this novel, which premiered in 1972. Here Maya tries herself in a new role - a choreographer, which becomes her new profession. Since 1983, Plisetskaya has worked at the Rome Opera, and since 1987 in Spain. There she leads troupes and stages her ballets. Plisetskaya's last performance took place in 1990. The great ballerina was showered with many awards not only in her homeland, but also in Spain, France, and Lithuania. In 1994 she organized international competition, giving him his name. Now “Maya” gives young talents the opportunity to break through.
Ulyana Lopatkina (born 1973). The world-famous ballerina was born in Kerch. As a child, she did a lot of not only dancing, but also gymnastics. At the age of 10, on the advice of her mother, Ulyana entered the Vaganova Academy of Russian Ballet in Leningrad. There Natalia Dudinskaya became her teacher. At the age of 17, Lopatkina won the All-Russian competition named after Vaganova. In 1991, the ballerina graduated from the academy and was accepted into the Mariinsky Theater. Ulyana quickly achieved solo parts for herself. She danced in Don Quixote, The Sleeping Beauty, The Bakhchisarai Fountain, and Swan Lake. The talent was so obvious that in 1995 Lopatkina became the prima of her theater. Each of her new role delights both viewers and critics. At the same time, the ballerina herself is interested not only in classical roles, but also in the modern repertoire. Thus, one of Ulyana’s favorite roles is the part of Banu in “The Legend of Love” directed by Yuri Grigorovich. The ballerina works best in the roles of mysterious heroines. Its distinctive feature is its refined movements, its inherent drama and high jump. The audience believes the dancer, because she is absolutely sincere on stage. Lopatkina is the winner of numerous domestic and international awards. She is a People's Artist of Russia.
Anastasia Volochkova (born 1976). The ballerina remembers that her future profession She identified it already at the age of 5, which she told her mother about. Volochkova also graduated from the Vaganova Academy. Natalia Dudinskaya also became her teacher. Already in her last year of study, Volochkova made her debut at the Mariinsky and Bolshoi theaters. From 1994 to 1998, the ballerina's repertoire included leading roles in "Giselle", "Firebird", "Sleeping Beauty", "The Nutcracker", "Don Quixote", "La Bayadère" and other performances. Volochkova traveled halfway around the world with the Mariinsky troupe. At the same time, the ballerina is not afraid to perform solo, building a career parallel to the theater. In 1998, the ballerina received an invitation to the Bolshoi Theater. There she brilliantly performs the role of the Swan Princess in new production Vladimir Vasiliev "Swan Lake". In the main theater of the country, Anastasia receives the main roles in “La Bayadère”, “Don Quixote”, “Raymonda”, “Giselle”. Especially for her, choreographer Dean creates a new role as the fairy Carabosse in “Sleeping Beauty.” At the same time, Volochkova is not afraid to perform modern repertoire. It is worth noting her role as the Tsar-Maiden in The Little Humpbacked Horse. Since 1998, Volochkova has been actively touring the world. She receives the Golden Lion prize as the most talented ballerina in Europe. Since 2000, Volochkova has left the Bolshoi Theater. She begins performing in London, where she conquered the British. Volochkova returned to the Bolshoi for a short time. Despite the success and popularity, the theater administration refused to renew the contract for the usual year. Since 2005, Volochkova has been performing in her own dance projects. her name is constantly heard, she is the heroine of gossip columns. The talented ballerina recently began to sing, and her popularity grew even more after Volochkova published her nude photos.
The myths about only female parts in dance have long gone into oblivion. Today men rightfully occupy the leading roles, without them we cannot imagine modern ballet.
Top 5 most famous ballet dancers
Vaslav Fomich Nijinsky
The founder of male ballet of the 20th century. Born into a family of dancers in 1890. In 1907, after graduating from college, he began performing with the Mariinsky Theater, almost immediately playing leading roles. Nijinsky had a technique that was unique at that time, especially inconspicuous in life, he completely transformed into his hero. His bird-like jumps and flights were inimitable. Nijinsky's innovations and experiments were not always successful; he seemed to be ahead of his time and the public did not understand him. In 1919 it was last performance artist. Later, the ballet adopted his expressionist style and completely new plastic movements. Despite the short period of creativity (10 years), he was and remains an idol.
Vasiliev Vladimir Viktorovich
Born in 1940 into a working-class family. In 1947, for company, I went to a dance club with a friend. And 2 years later, in 1949, he was admitted to the choreographic school, where he amazed his teachers with his skill and virtuosity. After college, in 1958 he was invited to join the Bolshoi Theater ballet troupe, where he almost immediately began playing leading roles. The most enchanting part was the part of Spartak, after which Vasilyev was nicknamed “the god of dance.” With his movements, he conveyed the slightest accents in the music, merging with it into a single whole. Vasiliev was awarded several awards and became a laureate of many competitions, winning first prizes and gold medals.
Gorsky Alexander Alekseevich
In 1889 he began dancing in the corps de ballet, and 11 years later he became the premier of the troupe. Author of the manual for Stepanova's dance movement system. Dance theory teacher at a ballet school. Gorsky is a ballet reformer. He introduced the laws of drama and a sense of authenticity into ballet. His production of Don Quixote is still staged in theaters, although at that time it did not cause delight among critics. As a choreographer, Gorsky made a great contribution to the development and improvement. Many famous ballets, staged by Gorsky according to his interpretation, began to live a new life.
Ermolaev Alexey Nikolaevich
As a 16-year-old college graduate, Ermolaev plays the god of the wind - his first role in the ballet “Talisman”. The theater's choreographer immediately saw the guy's unbridled energy and strength and created images to suit his character. A fan of ballet, he rearranged all the parts to suit himself, rehearsing at night by candlelight. Ermolay changed his usual image male role in ballet, his virtuoso movements - triple rounds in the air, double revolts - are still not being repeated by dancers.
Fokin Mikhail Mikhailovich
Italian, born into a family of ballet dancers in 1850. Studied at the Florentine Dance Academy G. Lepri. Since 1870 he performed on the stage of La Scala. Master of facial expressions and pas de deux. Author of the development methodology dance technique ballet
Correspondent at the Bolshoi Opera and Ballet Theater of Belarus Naviny . by I learned first-hand what ballet dancers wear under tights and why it is believed that many of them are gay.Read about the pregnancy of ballerinas and one day off a week in our 10 facts.
To figure out which rumors about the Belarusian ballet are true and which are pure fiction, let the correspondent Naviny. by theater artist helped Gennady Kulinkovich with ballerina assistants.
1. Are ballet dancers fragile and fluffy?
Hearing: During one performance, a ballet dancer lifts and carries about 2 tons of weight.
Is it true: Physical exercise really big. On stage - it depends on the production, of course - a ballet dancer, a man lifts the ballerina many times. In modern productions all you do is lift and set, lift and set, lift, circle, set. If you count the number of lifts, then yes, two tons is a real number.
In addition, ballet dancers rehearse and train a lot. This is also a burden. We have rehearsals every day, except for the day off, which is once a week. Plus performances.
2. Ballet dancers get sick more often
Hearing: Due to heavy workloads and constant diets, ballet dancers get sick more often than others.
Is it true: The ballet rehearsal halls of the Bolshoi Theater of Belarus are equipped with bactericidal lamps, like in a hospital. In winter, when the flu begins and other viruses appear, then individual employee turns on these lamps for half an hour to disinfect the room. This is very important so that diseases do not spread: we all work in close contact, train and rehearse for many hours. If someone brought a disease, then it is neutralized.
3. Occupational diseases in ballet
Hearing: Feet are the most painful place on a dancer’s body.
Is it true: This is partly true. Occupational diseases of dancers are diseases of the joints. Ballet dancers have protruding bones at their big toes, their joints become inflamed and naturally hurt. Women also have this disease, but it is caused by uncomfortable, tight shoes that deform the foot. For ballet masters, there is constant stress on the toes and forefoot: many movements in ballet are performed on the toes.
The second common class of health problems is prolapse of internal organs from constant jumping. Everything is individual, but often the kidneys, heart, and other internal organs, which subsequently put pressure on the bladder.
4. Young pensioners
Hearing: Some people think that ballerinas retire too early.
Is it true. By law, ballet dancers retire after having 23 years of work experience. Maternity leave time is not counted towards length of service. As a result, ballet dancers become young pensioners. However, many of them do not actually retire: depending on their state of health, retired dancers work as tutors, teachers, stage managers, stage workers, costume designers, etc.
To the interlocutor Naviny. by Gennady Kulinkovich has two years left until retirement. In the future, the dancer also plans to engage in teaching.
5. Abnormal operation
Hearing: Ballet theater artists have two days off a week, just like ordinary citizens
Is it true. Ballet dancers work 6 days a week. There is only one day off - Monday. During the summer, due to the fact that spectators migrate to dachas and the sea, the day off at the Bolshoi Theater is moved to Saturday. The female part of the troupe is happy about this: finally there is an opportunity to spend time with their family. Men grumble: when Monday is a day off, you can at least relax and not do household chores.
The working day of ballet masters is also abnormal in the understanding of an ordinary person: from 10:00 to 15:00, then a three-hour break, after the break, work resumes at 18:00 in connection with evening performances. The official working day for ballet workers ends at 21:00.
A long break is necessary so that after morning workouts and rehearsals, the body had time to rest and recover before evening work.
This is convenient for young dancers: they can study during the break. Gennady Kullinkovich, for example, received a higher choreographic education this way. But now he sees few advantages in this schedule.
“With such a schedule it is very difficult to arrange a personal life. Look at me: 38 years old, and no family, no children. My whole life is in the theatre,”- says Gennady.
6. Are ballet and children incompatible?
Hearing: Due to requirements for appearance, ballerinas have to give up motherhood.
Is it true: Having a family and children at the height of their career is really more difficult for ballet dancers than for representatives of other professions: both the work schedule and the fact that postpartum restoration of shape requires time and effort. So girls use two strategies: either start a family and children immediately after college/university, or postpone it until they retire.
Despite the unfavorable circumstances, there are ballerinas in the Bolshoi Theater of Belarus who have two, and some even three, children.
“We, just like doctors and teachers, combine work and pregnancy. We plan, go on maternity leave, recover and continue working. This is a matter for each individual artist, but during pregnancy, the sooner you leave dancing, the better for you and your unborn child. This is associated with risks: here you need to bend, jump, you can fall and get hurt,”- told website ballerinas of the Bolshoi.
“We are the best mothers, wives, and we also know how to dance and tiptoe around the kitchen,”- ballerinas joke in response to a question about the specifics of family life.
7. If he dances in ballet, that means he’s gay.
Hearing: There are many gays among ballet dancers.
Is it true: This is a common stereotype, says ballet dancer Gennady Kullinkovich. We no longer react to it. This is what they say about all men who dance. It is born out of a misunderstanding on the part of the viewer: how can men remain indifferent and calm surrounded by so much beauty and nudity. Spectators often find themselves behind the scenes, and men are shocked: here everyone changes clothes, intimate parts of their bodies are at arm's length... But we are already accustomed to this and react as if it were something normal. So the viewer thinks that the men in the ballet are gay.
8. What does a dancer wear under his tights?
Hearing: Dancers don’t wear panties.
Photo pixabay.com
Is it true: There is more talk about the underwear of male artists than about the underwear of ballerinas: the viewer under a snow-white tights, to his surprise, does not see the expected outlines of the panties.
Gennady Kulinkovich said that dancers have their own secrets. Manufacturers of dancewear meet the expectations of artists and produce seamless models of special underwear that is invisible under the costume - bandages. A store located near the Bolshoi sells special clothes for dancers.
9. Meat in pointe shoes
Hearing: Ballerinas put meat in their pointe shoes to reduce injury to their feet.
Is it true: No meat is included. There are more modern methods leg protection. Ballet companies produce special half shoes that cover only the toes. They are silicone. Some people don’t add anything - it’s already convenient for them. Silicone inserts for pointe shoes are not produced in Belarus; they are made in the USA, China, and Russia.
Photo pixabay.com
Over the course of a year, a ballerina wears out 5-10 pairs of pointe shoes, depending on the load. Some artists have their own lasts - three-dimensional copies of feet made by masters, from which pointe shoes are made to order.
10. Dancing pays well.
Hearing: Artists earn a lot.
Is it true: Everything is relative. The earnings of ballet dancers depend on their position in the troupe: leading stage master, soloist or corps de ballet dancer. The number of scenes worked in productions also affects. For each performance, points are awarded, which are kept by a special theater employee. The amount of points for each dance is different, standard for all artists, it depends on the complexity and duration of the performance. The amount of points received affects the bonus. Thus, the salary of a corps de ballet dancer is around 120 rubles, and the bonus awarded for performances can exceed it several times.
Photo by Sergei Balay