The dance style of this ballerina cannot be confused with anyone else. A clear, carefully honed gesture, measured movement around the stage, the utmost laconicism of costumes and movements - these are the features that immediately distinguish M. Plisetskaya.
After graduating from the Moscow Choreographic School, where Plisetskaya studied with teachers E. P. Gerdt and M. M. Leontyeva, from 1943 she worked at the Bolshoi Theater. From the very beginning of her creative career, Plisetskaya’s special artistic individuality emerged. Her work is distinguished by a rare combination of purity of line with imperious expression and rebellious dynamics of dance. And her excellent external characteristics - a long step, a high, light jump, rapid rotations, unusually flexible, expressive hands and the finest musicality - once again confirm that Plisetskaya not only became a ballerina, but was born one.
Anna Pavlovna Pavlova(February 12, 1881 – January 23, 1931), Russian ballerina.
Pavlova's art is a unique phenomenon in the history of world ballet. For the first time, she turned academic dance into a mass art form, close and understandable to even the most unprepared public.
Legends envelop her entire life from birth to death. According to the documents, her father was a soldier of the Life Guards Preobrazhensky Regiment. However, even during the ballerina’s lifetime, newspapers wrote about her aristocratic origins.
Galina Sergeevna
Ulanova(January 8, 1910 – March 21, 1998), Russian ballerina.
Ulanova’s work constituted an entire era in the history of world ballet. She not only delighted with the filigree art of dance, but with every movement she conveyed state of mind of your heroine, her mood and character.
The future ballerina was born into a family where dance was a profession. Her father was famous dancer and a choreographer, and his mother was a ballerina and teacher. Therefore, Ulanova’s admission to the Leningrad Choreographic School was completely natural. At first she studied with her mother, and then the famous ballerina A. Ya. Vaganova became her teacher.
In 1928, Ulanova brilliantly graduated from college and was accepted into the troupe of the Leningrad Opera and Ballet Theater. Soon she becomes the leading performer of the roles of the classical repertoire - in the ballets of P. Tchaikovsky “Swan Lake” and “The Nutcracker”, A. Adam “Giselle” and others. In 1944 she became a soloist at the Bolshoi Theater in Moscow.
Marius Ivanovich Petipa(March 11, 1818 - July 14, 1910), Russian artist, choreographer.
The name of Marius Petipa is known to everyone who is even slightly familiar with the history of ballet. Wherever today there are ballet theaters and schools, where films and television programs dedicated to ballet are shown, books about it are published amazing art, know and honor this person. Although he was born in France, he worked all his life in Russia and is one of the founders of modern ballet.
Petipa once admitted that from birth his whole life was connected with the stage. Indeed, his father and mother were famous artists ballet and lived in the large port city of Marseille. But Marius’s childhood was spent not in the south of France, but in Brussels, where the family moved immediately after his birth in connection with his father’s new appointment.
Marius's musical abilities were noticed very early, and he was immediately sent to the Great College and Conservatory to study violin. But his first teacher was his father, who taught a ballet class at the theater. In Brussels, Petipa appeared on stage for the first time as a dancer.
He was only twelve years old at that time. And already at sixteen he became a dancer and choreographer in Nantes. True, he worked there for only a year and then, together with his father, went on his first foreign tour to New York. But, despite the purely commercial success that accompanied them, they quickly left America, realizing that there was no one there to appreciate their art.
Returning to France, Petipa realized that he needed to get a deeper education and became a student famous choreographer Vestrisa. The classes quickly yielded results: in just two months he became a dancer, and later a choreographer at the ballet theater in Bordeaux.
Sergei Pavlovich Diaghilev(March 31, 1872 - August 19, 1929), Russian theater figure, impresario, publisher.
Diaghilev did not know his mother; she died during childbirth. He was raised by his stepmother, who treated him the same as her own children. Therefore, for Diaghilev, the death of his half-brother in Soviet time became a real tragedy. Perhaps that is why he stopped striving to return to his homeland.
Diaghilev's father was a hereditary nobleman, a cavalry guard. But due to debts, he was forced to leave the army and settle in Perm, which was considered at that time Russian outback. His house almost immediately becomes the center of the city's cultural life. Parents often played music and sang at the evenings held in their house. Their son also took music lessons. Sergei received such a diverse education that when he ended up in St. Petersburg after graduating from high school, he was in no way inferior in knowledge to his St. Petersburg peers and sometimes even surpassed them in terms of erudition and knowledge of history and Russian culture.
Diaghilev's appearance turned out to be deceptive: the big provincial man, who seemed like a bumpkin, was quite well read and spoke several languages fluently. He easily entered the university environment and began to be listed as a student at the Faculty of Law of St. Petersburg University.
At the same time, he immersed himself in the theatrical and musical life of the capital. The young man takes private piano lessons from the Italian A. Cotogna, attends a class at the St. Petersburg Conservatory, tries to compose music, and studies history artistic styles. During the holidays, Diaghilev made his first trip to Europe. He seems to be looking for his calling, turning to various fields of art. Among his friends are L. Bakst, E. Lanseray, K. Somov - the future core of the World of Art association.
Vaslav Fomich Nijinsky(March 12, 1890 – April 8, 1950), Russian dancer and choreographer.
In the 1880s, a troupe of Polish dancers performed successfully in Russia. It was staffed by husband and wife – Tomasz and Eleanor Nijinsky. They became the parents of the future great dancer. Theater and dance entered Vaclav’s life from the first months of his life. As he himself later wrote, “the desire to dance was as natural to me as breathing.”
In 1898 he entered the St. Petersburg Ballet School, graduated in 1907 and was accepted into the Mariinsky Theater. The outstanding talent of a dancer and actor immediately brought Nijinsky to the position of prime minister. He performed many parts of the academic repertoire and was a partner of such brilliant ballerinas as O. I. Preobrazhenskaya, A. P. Pavlova,.
Already at the age of 18, Nijinsky danced the main roles in almost all new ballets staged on stage Mariinsky Theater. In 1907 he danced the White Slave in the Armida Pavilion, in 1908 the Slave in Egyptian Nights and the Young Man in Chopiniana staged by M. M. Fokin, and a year later he performed the role of the Hurricane in the ballet Talisman by Drigo directed by N. G. Legat.
And yet, in 1911, Nijinsky was fired from the Mariinsky Theater because, while performing in the ballet “Giselle,” he voluntarily put on a new costume made according to a sketch by A. N. Benois. By appearing on stage half-naked, the actor irritated the members of the royal family sitting in the boxes. Even the fact that by this time he was one of the most famous dancers of Russian ballet could not protect him from dismissal.
Ekaterina Sergeevna Maksimova(February 1, 1939 - April 28, 2009), Russian Soviet and Russian ballerina, choreographer, choreographer, teacher, People's Artist of the USSR.
This unique ballerina has not left the stage for thirty-five years. However, Maksimova is still connected with ballet today, since she is a teacher and tutor at the Kremlin Ballet Theater.
Ekaterina Maksimova received special education at the Moscow Choreographic School, where her teacher was the famous E. P. Gerdt. While still a student, Maksimova received first prize at the All-Union Ballet Competition in Moscow in 1957.
She began her service to art in 1958. After graduating from college, the young ballerina came to the Bolshoi Theater and worked there until 1988. Small in stature, perfectly proportioned and surprisingly flexible, it seemed that nature itself was destined for classical roles. But it soon became obvious that her capabilities were truly limitless: she performed both classical and modern roles with equal brilliance.
The secret of Maximova’s success is that she continued to study all her life. The famous ballerina G. Ulanova passed on her rich experience to her. It was from her that the young ballet actress adopted the art of dramatic dance. It is no coincidence that, unlike many ballet actors, she played a number of roles in ballet television performances. Maximova’s unusually expressive face with big eyes reflected the most subtle nuances when performing comedic, lyrical and dramatic roles. In addition, she brilliantly performed not only female, but also male roles, as, for example, in the ballet performance “Chapliniana”.
Sergey Mikhailovich Lifar(April 2 (15), 1905 - December 15, 1986), Russian and French dancer, choreographer, teacher, collector and artist.
Sergei Lifar was born in Kyiv into the family of a prominent official; his mother came from the family of the famous grain merchant Marchenko. He received his primary education in hometown, having entered the Kiev Imperial Lyceum in 1914, where he underwent the training necessary for a future officer.
At the same time, from 1913 to 1919, Lifar attended piano classes at the Taras Shevchenko Conservatory. Having decided to devote his life to ballet, he entered the State School of Arts (dance class) at the Kyiv Opera in 1921 and received the basics of choreographic education in B. Nijinska’s studio.
In 1923, on the recommendation of the teacher, together with four of his other students, Lifar was invited to audition for the Russian Ballet troupe of S.P. Diaghilev. Sergei managed to pass the competition and get into the famous team. From that time on, the difficult process of transforming a novice amateur into a professional dancer began. Lifar was given lessons by the famous teacher E. Cecchetti.
At the same time, he learned a lot from professionals: after all, the best dancers in Russia traditionally came to Diaghilev’s troupe. In addition, not having his own ideas, Diaghilev carefully collected the best that was in Russian choreography and supported the searches of George Balanchine and Mikhail Fokine. Scenography and theatrical scenery Famous Russian artists were involved. Therefore, the Russian Ballet gradually turned into one of the best companies in the world.
A few years after the death of Maris Liepa, it was decided to immortalize five of his drawings in the form of medallions. They were carried out under the guidance Italian master D. Montebello in Russia and are sold at Liepa memorial evenings in Moscow and Paris. True, the first circulation was only one hundred to one hundred and fifty medallions.
After graduating from the Riga Choreographic School with V. Blinov, Maris Liepa came to Moscow to also study at the Moscow Choreographic School with N. Tarasov. After graduating in 1955, he never returned to his historical homeland and worked in Moscow almost his entire life. Here he received recognition from fans and his fame as an outstanding ballet dancer.
Immediately after graduating from college, Maris Liepa joined the troupe of the K. Stanislavsky Theater, where he danced the role of Lionel in the ballet “Joan of Arc,” Phoebus, and Conrad. Already in these games they showed main features his talent is a combination of excellent technique with vivid expressiveness of each movement. Job young artist attracted the attention of leading ballet specialists, and since 1960 Liepa became a member of the Bolshoi Theater team.
Matilda Feliksovna Kshesinskaya(Maria-Matilda Adamovna-Feliksovna-Valerievna Krzesinska) (August 19 (31), 1872 - December 6, 1971), Russian ballerina.
Matilda Kshesinskaya was petite, only 1 meter 53 centimeters tall, and the future ballerina could boast of her curves, unlike her thin friends. But, despite her height and somewhat overweight for ballet, the name of Kshesinskaya for many decades did not leave the pages of gossip columns, where she was presented among the heroines of scandals and “femme fatales.” This ballerina was the mistress of the last Russian Tsar Nicholas II (when he was still heir to the throne), as well as the wife of Grand Duke Andrei Vladimirovich. They talked about her as a fantastic beauty, and yet she was only unusually different. beautiful figure. At one time, Kshesinskaya was a famous ballerina. And although the level of talent was much inferior to, say, such a contemporary as Anna Pavlova, she still took her place in Russian ballet art.
Kshesinskaya was born into a hereditary artistic environment, which for several generations was associated with ballet. Matilda's father was a famous dancer and a leading artist in the imperial theaters.
The father became the first teacher of his youngest daughter. Following her older sister and brother, Matilda was accepted into the choreographic school, after which her long service in the imperial theaters began.
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: The physical activity is really great. 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, a separate worker 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
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 imperial troupe dancer Platon Karsavin and his wife Anna Iosifovna, nee Khomyakova, the daughter of the cousin (that is, grandniece) of the 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 in 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 episodic roles in several silent films produced in Germany and Great Britain, including in the film “The Path to Strength and Beauty” in 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 at the Bolshoi Theater 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) - National artist 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. Spectators from more than thirty countries are familiar with the choreographic art of Yuri Zhdanov. At the end of his stage career, Yu. Zhdanov was artistic director 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 I . Bendy, “Study-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”. Yu. Zhdanov received his artistic education 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 of 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 main party), "Gull" R. K. Shchedrin (1980, Bolshoi Theater; Plisetskaya - the first performer of the main role), “Raymonda” by A. K. Glazunov (1984, Opera theatre at 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. Magnificent property classical dance, excellent external data, 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 the Russian Academy of Theater Arts). 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 Kremlin Ballet Theater. 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 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). The last year of study was combined 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
They are airy, slender, light. Their dance is unique. Who are these outstanding ballerinas of our century?
Agrippina Vaganova (1879-1951)
One of the most important years in the history of Russian ballet is 1738. Thanks to the proposal of the French dance master Jean-Baptiste Lande and the approval of Peter I, the first school was opened in St. Petersburg ballet dance in Russia, which exists to this day and is called the Academy of Russian Ballet. AND I. Vaganova. It was Agrippina Vaganova who systematized the traditions of classical imperial ballet in Soviet times. In 1957, her name was given to the Leningrad Choreographic School.
Maya Plisetskaya (1925)
An outstanding dancer of the second half of the 20th century, who went down in the history of ballet with her phenomenal creative longevity, Maya Mikhailovna Plisetskaya was born on November 20, 1925 in Moscow.
In June 1934, Maya entered the Moscow Choreographic School, where she consistently studied with teachers E. I. Dolinskaya, E. P. Gerdt, M. M. Leontyeva, but she considers Agrippina Yakovlevna Vaganova, whom she met already at the Bolshoi Theater, to be her best teacher , where she was accepted on April 1, 1943.
Maya Plisetskaya is a symbol of Russian ballet. She performed one of her main roles as Odette-Odile from Swan Lake on April 27, 1947. It was this Tchaikovsky ballet that became the core of her biography.
Matilda Kshesinskaya (1872-1971)
Born into the family of dancer F.I. Kshesinsky, a Pole by nationality. In 1890 she graduated from the ballet department of the St. Petersburg Theater School. In 1890-1917 she danced at the Mariinsky Theater. She became famous in the roles of Aurora (The Sleeping Beauty, 1893), Esmeralda (1899), Teresa (Rest of the Cavalry), etc. Her dance was distinguished by its bright artistry and cheerfulness. In the early 1900s she was a participant in M. M. Fokine’s ballets: “Eunika”, “Chopiniana”, “Eros”, and in 1911-1912 she performed in the Diaghilev Russian Ballet troupe.
Anna Pavlova (1881-1931)
Born in St. Petersburg. After graduating from the St. Petersburg Theater School, in 1899 she was accepted into the troupe of the Mariinsky Theater. She danced parts in the classical ballets “The Nutcracker”, “The Little Humpbacked Horse”, “Raymonda”, “La Bayadère”, “Giselle”. Natural abilities and constant improvement of performing skills helped Pavlova to become the leading dancer of the troupe in 1906.
Collaboration with innovative choreographers A. Gorsky and, especially, M. Fokin had a huge impact on identifying new opportunities in Pavlova’s performing style. Pavlova performed the main roles in Fokine's ballets Chopiniana, Armida's Pavilion, Egyptian Nights, etc. In 1907, at a charity evening at the Mariinsky Theater, Pavlova first performed the choreographic miniature The Swan (later The Dying Swan) choreographed for her by Fokine "), which later became a poetic symbol of Russian ballet of the 20th century.
Svetlana Zakharova (1979)
Svetlana Zakharova was born in Lutsk, Ukraine, on June 10, 1979. At the age of six, her mother took her to a choreographic club, where Svetlana studied folk dances. At the age of ten she entered the Kiev Choreographic School.
After studying for four months, Zakharova left the school as her family moved to East Germany in accordance with the new assignment of her military father. Returning to Ukraine six months later, Zakharova again passed the exams at the Kiev Choreographic School and was immediately accepted into the second grade. At the Kiev School she studied mainly with Valeria Sulegina.
Svetlana performs in many cities around the world. In April 2008, she was recognized as the star of the famous Milan theater La Scala.
Galina Ulanova (1909-1998)
Galina Sergeevna Ulanova was born in St. Petersburg on January 8, 1910 (according to the old style, December 26, 1909), in a family of ballet masters.
In 1928, Ulanova graduated from the Leningrad Choreographic School. Pretty soon she joined the troupe of the Leningrad State academic theater opera and ballet (now Mariinsky).
Ulanova had to leave her beloved Mariinsky Theater during the siege of Leningrad. During the Great Patriotic War Ulanova danced in theaters in Perm, Almaty, Sverdlovsk, performing in hospitals in front of the wounded. In 1944 Galina Sergeevna moves to the Bolshoi Theater, where she has performed periodically since 1934.
Galina's real achievement was the image of Juliet in Prokofiev's ballet Romeo and Juliet. Her the best dances are also the role of Masha from “The Nutcracker” by Tchaikovsky, Maria from “The Fountain of Bakhchisarai” and Gisele Adana.
Tamara Karsavina (1885-1978)
Born in St. Petersburg in the family of Mariinsky Theater dancer Platon Karsavin, the grandniece of Alexei Khomyakov, a prominent philosopher and writer of the 1st half of the 19th century, sister of the philosopher Lev Karsavin.
She studied with A. Gorsky at the Peturburg Theater School, which she graduated in 1902. While still a student, she performed the solo part of Cupid at the premiere of the ballet Don Quixote staged by Gorsky.
She began her ballet career during a period of academic crisis and the search for a way out of it. Fans of academic ballet found many flaws in Karsavina’s performance. The ballerina improved her performing skills with the best Russian and Italian teachers
Karsavina’s remarkable gift was manifested in her work on M. Fokin’s productions. Karsavina was the founder of fundamentally new trends in the art of ballet at the beginning of the 20th century, later called “intellectual art”.
The talented Karsavina quickly achieved the status of a prima ballerina. She performed leading roles in the ballets Carnival, Giselle, Swan Lake, Sleeping Beauty, The Nutcracker and many others.
Ulyana Lopatkina (1973)
Ulyana Vyacheslavna Lopatkina was born in Kerch (Ukraine) on October 23, 1973. As a child, she studied in dance clubs and in the section artistic gymnastics. On the initiative of her mother, she entered the Academy of Russian Ballet. AND I. Vaganova in Leningrad.
In 1990, as a student, Lopatkina participated in the Second All-Russian competition them. AND I. Vaganova for students of choreographic schools and received first prize..
In 1995, Ulyana became a prima ballerina. On her track record best roles in classical and modern productions.
Ekaterina Maksimova (1931-2009)
Born in Moscow on February 1, 1939. Since childhood, little Katya dreamed of dancing and at the age of ten she entered the Moscow Choreographic School. 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.
Of particular importance in Maximova’s work was her participation in television ballets, which revealed a new quality of her talent - comedic talent.
Since 1990, Maksimova has been a teacher and tutor at the Kremlin Ballet Theater. Since 1998 - choreographer-tutor of the Bolshoi Theater.
Natalya Dudinskaya (1912-2003)
Born on August 8, 1912 in Kharkov.
In 1923-1931 she studied at the Leningrad Choreographic School (student of A.Ya. Vaganova).
In 1931-1962 - leading dancer of the Leningrad Opera and Ballet Theater. CM. Kirov. She performed the main roles in the ballets “Swan Lake” and “Sleeping Beauty” by Tchaikovsky, “Cinderella” by Prokofiev, “Raymonda” by Glazunov, “Giselle” by Adam and others.
We admire the skill of these brilliant ballerinas. They made a huge contribution to the development of Russian ballet!
The art of dance has been a universal form of self-expression since ancient times. Body language is understood by anyone in the world, which is why dancing is so popular. From ballet to modern dance, from hip-hop to salsa, from oriental dance to flamenco - in last decades dance, as a high art, is experiencing a real flourishing.
But when it comes to individual dancers, it can be very difficult to choose just one as the best. If you are interested in dancing and the people who devoted their whole lives to it, then we suggest that you familiarize yourself with the list of the most famous and popular dancers of the 20th century.
10 Most Famous Dancers of the 20th Century
1. RUDOLF NURIEV
The artist was born in Russia and already at the age of twenty became a soloist of the Mariinsky Theater. In 1961, Nuriev asks political asylum, allegedly due to his oppression by the authorities, and receives it in France. Then the artist tours with the Grand Ballet du Marquis de Cuevas.
Eyewitnesses say that Nureyev was amazingly charismatic, and his emotional performance in a duet with Fonteyn in Romeo and Juliet remains to this day one of the most powerful performances among duets in the history of ballet.
Unfortunately, Nureyev became one of the first victims of HIV and died of AIDS in 1993. Twenty years later, we are still enjoying the great legacy he left behind.
2. MIKHAIL BARYSHNIKOV
Mikhail Baryshnikov is one of the greatest ballet dancers of all time, considered by many critics to be the best. Before joining the Mariinsky Theater troupe in 1967, Baryshnikov studied ballet at the Leningrad Vaganova School. Since the beginning of his career at the Mariinsky Theater, Mikhail has taken leading roles in dozens of productions.
Baryshnikov played a key role in the emergence of ballet as part of popular culture in the late 1970s and early 80s, and he was the face of the art form for more than two decades.
Today Mikhail Baryshnikov is perhaps the most influential and famous dancer of our time.
3. Fred Astaire and Ginger Rogers
Fred Astaire and Ginger Rogers - this great dancing couple is today in third place in the ranking of the most famous dancers of the 20th century. The couple was very harmonious, he gave her class, and she made him even more charismatic. Their performances were accessible to the widest masses, and the public responded to them with sincere love.
The heyday of Astaire and Rogers' careers came during the Great Depression, and the timing was extremely fortunate: many Americans at that time were struggling to make ends meet, and the couple's fiery dancing allowed them to at least briefly escape reality and have fun.
4. JOAQUIN CORTEZ
Joaquin Cortez is the youngest among the dancers presented on our list. Although he has not yet finished his career and may not have danced his most famous dance, Cortez is one of the few dancers in history to earn the title of sex symbol and is wildly popular among both women and men. Madonna and Jennifer Lopez claim to adore him, while Naomi Campbell and Mira Sorvino join the ranks of women whose hearts he broke.
It's safe to say that Joaquin Cortez is one of the greatest flamenco dancers in the world. Among his male admirers are Tarantino, Armani, Al Pacino, Banderas and Sting. Fans call him the god of flamenco, and if you watch even one recording of his performance, you will understand why. At the age of forty-four, Cortez is still alone; he once declared: “Dancing is my wife, my only woman.”
5. MICHAEL JACKSON
Michael Jackson was the man who made dancing an important element of modern pop music. Most modern pop stars, such as Justin Bieber, Usher, Justin Timberlake, have admitted that at various times they were greatly influenced by the style of Michael Jackson.
His contribution to dance is enormous. Jackson was an innovator who created new dance moves on one's own. His natural grace, flexibility and sense of rhythm contributed to the emergence of the signature "Jackson style". His colleagues called him a “sponge” for his ability to search and find new ideas and techniques wherever he was.
Jackson looked for inspiration in the works of James Brown, Marcelle Marceau, Gene Kelly and, no matter how strange it may sound, in the performances of classical ballet dancers. Michael Jackson's originality and unique style brought him fame, and today he stands alongside other giants of popular music such as Elvis and the Beatles.
6. SYLVIE GUILLEM
At forty-eight years old, Sylvie Guillem continues to be one of the most popular ballerinas in the world. Guillem has changed the face of ballet, her performances go beyond its classical boundaries.
Instead of building a classical career as a ballerina, Guillem made a bold choice, equally participating in productions of the Paris Opera and in the projects of William Forsythe. Along with Maria Callas in the opera world, Sylvie Guillem again shaped the popular image of a ballerina.
7. GENE KELLY
Gene Kelly was one of the most famous stars Hollywood musicals. Kelly's numbers harmoniously combined ballet elements and modern dance movements - it was his own unique style. Kelly brought new dance trends to theatrical productions.
Kelly's legacy is his music video, recognized and loved all over the world. More than one generation of American dancers has found something of their own in his movements and style.
8. JOSEPHINE BAKER
Although the name Josephine Baker is associated primarily with the heyday jazz music- the golden age of jazz, her influence on emerging and contemporary stars remains great.
Josephine Baker is one of the first stars of African descent. She arrived in Paris in 1925 and literally captivated the public with her combination of exotic charm and talent. Josephine performed at the Folies Bergere, and this was a good start to her career. In France, the artist did not feel as widespread racial prejudice as it was in the United States at that time.
At the end of her life, Josephine returned to the stage. She died in 1975 from a cerebral hemorrhage.
9. MARTHA GRAHAM
Martha Graham is considered the mother modern dance. She created more than one hundred and fifty unique choreographic numbers and had a huge influence on all areas of modern dance.
Her technique differs from the classical one, and movements such as compression, release and spiral are her own invention. Graham went even further and created a “language of movement” based on the expressive capabilities of the human body.
10. VACLAV NIJINSKY
Vaslav Nijinsky was one of the most talented ballet dancers in history. Unfortunately, there are no recordings of his performance left, so it is currently impossible to appreciate his incredible talent.
Nijinsky was known for his amazing ability to defy gravity, which was embodied in his magnificent leaps. Vaclav was the partner of the legendary Anna Pavlova.
Nijinsky left the stage in 1919 at the age of twenty-nine. He was sick with schizophrenia and frequent nervous breakdowns did not allow him to continue working. Last years The artist spent his life in psychiatric hospitals and shelters.