Biography
Vladimir Viktorovich Vasiliev - Soviet and Russian artist ballet master, choreographer, actor, theater director, teacher. People's Artist of the USSR (1973).
Wife - Ekaterina Sergeevna Maksimova, an outstanding ballerina, teacher, People's Artist of the USSR and Russia, laureate of State Prizes of the USSR and Russia (passed away in April 2009). In 1958 he graduated from MAKhU in the class of M. M. Gabovich, on August 26, 1958 he became a soloist of the ballet group Bolshoi Theater, where he worked for more than 30 years.
early years
Born on April 18, 1940 in Moscow. Father - Vasiliev Viktor Ivanovich (1912-1963), worked as a driver at a technical felt factory. Mother - Tatyana Yakovlevna Kuzmicheva (b. 1920), worked as head of the sales department at the same factory, currently retired.
In 1947, young Volodya Vasiliev accidentally found himself in the classes of the choreographic circle of the Kirov House of Pioneers. Teacher Elena Romanovna Rosse immediately noted the boy’s special talent and suggested that he study at senior group. The following year, he studied at the city Palace of Pioneers, with whose choreographic ensemble in 1948 he first performed in a concert on the stage of the Bolshoi Theater - these were Russian and Ukrainian dances.
In 1949, Vasiliev was admitted to the Moscow Academic Choreographic School in the class of E.A. Lapchinskaya. In 1958 he graduated from college, class M.M. Gabovich, the famous premier of the Bolshoi Theater. Already during his studies, Vasiliev amazed with his rare combination of expression, virtuosic technique with undoubted acting talent and the ability to transform. On reporting concert graduates, he not only danced traditional variations and pas de deux, but also created the image of the 60-year-old jealous Giotto in the ballet Francesca da Rimini, filled with deep tragedy. It was about this role that the prophetic words of the Moscow Art University teacher Tamara Stepanovna Tkachenko were spoken: “We are present at the birth of a genius!”
Grand Theatre
On August 26, 1958, Vladimir Vasiliev was accepted into ballet troupe Bolshoi Theater. He graduated from the school as a demi-character dancer and did not even think about dancing the classics. And initially in the theater he really had characteristic roles: gypsy dance in the opera “Rusalka”, Lezginka in the opera “Demon”, Pan in the choreographic scene “Walpurgis Night” - the first big solo role. However, there was something about the young dancer that attracted the attention of the great Galina Ulanova, and she invited him to be her partner in classical ballet"Chopiniana". Galina Sergeevna will become Vasiliev’s friend, teacher and tutor for many years and will have a huge influence on the artist’s professional and spiritual formation.
Choreographer Yuri Nikolaevich Grigorovich, who had just joined the theater, also believed in his talent. He offered the 18-year-old college graduate the central role in his production of the ballet S.S. Prokofiev's "Stone Flower", in which Vasiliev immediately won the love and recognition of viewers and critics. Other main roles of the modern and classical repertoire followed: Prince (Cinderella, 1959), Andrei (Pages of Life, 1961), Basil (Don Quixote, 1962), Paganini (Paganini, 1962), Frondoso ( Laurencia”, 1963), Albert (“Giselle”, 1964), Romeo (“Romeo and Juliet”, 1973).
The choreographers not only offered Vasiliev the main roles, but also choreographed them especially for him. He was the first performer of the solo part in “Dance Suite” (staged by A.A. Varlamov, 1959), the part of Ivanushka in R.K. Shchedrin’s ballet “The Little Humpbacked Horse” (staged by A.I. Radunsky, 1960), Rab in “ Spartak e" by A.I. Khachaturian (productions by L.V. Yakobson, 1960, 1962), Lukash in "Forest Song" by G.L. Zhukovsky (production by O.G. Tarasova and A.A. Lapauri, 1961), Soloist in “Class Concert” (staged by A.M. Messerer, 1963), Petrushka in the ballet by I.F. Stravinsky's "Petrushka" (staged by K.F. Boyarsky after M.M. Fokin, 1964), performed by Batyr in "Shural" by F.Z. Yarullina. In each new job Vasiliev refuted the established opinion about his capabilities as an artist and dancer, proving that he is truly an “exception to the rule”, a person capable of embodying any image on stage - the classical ballet Prince, the hot Spaniard Basil, the Russian Ivanushka, and the oriental youth madly in love , and a powerful people's leader, and a bloody despot king.
Almost all performances best period creativity Yu.N. Grigorovich is also associated with the name of Vladimir Vasiliev, who was the first performer of the central roles in his productions: The Nutcracker (1966), The Blue Bird (1963) and Prince Désiré (1973) in the ballets of P.I. Tchaikovsky's "Nutcracker" and "Sleeping Beauty"; the famous Spartacus in the ballet of the same name by A.I. Khachaturian (1968; for this role Vasiliev was awarded the Lenin Prize and the Lenin Komsomol Prize), Ivan the Terrible in the ballet of the same name to the music of S.S. Prokofiev (1975, second premiere), Sergei in “The Hangar” by A.Ya. Eshpaya (1976; State Prize). However, gradually a serious difference in creative positions emerged between V. Vasiliev and Yu. Grigorovich, which developed into a conflict, as a result of which in 1988 V. Vasiliev, E. Maksimova, as well as a number of other leading soloists, were forced to part with the Bolshoi Theater.
International recognition
During my creative career Vasiliev performed abroad a lot and with great success - at the Grand Opera, La Scala, Metropolitan Opera, Covent Garden, Rome Opera, Teatro Colon, etc. The phenomenon of Vladimir Vasiliev always attracted outstanding figures of foreign theater: Maurice Bejart staged his version of I.F.’s ballet especially for him. Stravinsky "Petrushka" (20th Century Ballet, Brussels, 1977). Later, at concerts, Vasiliev, together with Maksimova, repeatedly performed a fragment from his ballet “Romeo and Julia” to the music of G. Berlioz.
In 1982, Franco Zeffirelli invited him and Ekaterina Maximova to participate in the filming of the opera film La Traviata ( Spanish dance- production and performance). In 1987, Vasiliev performed as Professor Unrath in Roland Petit's production of The Blue Angel to the music of M. Constant (Marseille Ballet). 1988 was marked by the first performance of the main role of Zorba in Lorca Massine’s production of “Zorba the Greek” to the music of M. Theodorakis (“Arena di Verona”), as well as the first performance of the main roles one-act ballets Leonid Myasin "Pulcinella" I.F. Stravinsky (Pulcinella) and “Parisian Gay” to the music of J. Offenbach (Baron) in the revival of Lorca Massine at the San Carlo Theater (Naples).
In 1989, Beppe Menegatti staged the play “Nijinsky” with Vasiliev in the title role (San Carlo Theater). Vasiliev’s performances (and later his ballets) always aroused special attention from the public - the French called him “the god of dance”, the Italians carried him in their arms, in Argentina after the premiere of his production to the music of Argentine composers “Fragments of a Biography” he simply became a national hero and an honorary a citizen of Buenos Aires, the Americans named him an honorary citizen of the city of Tucson, etc.
In addition to Ekaterina Maximova - Vladimir Vasiliev's constant partner, whom he always called his Muse - such famous ballerinas as Galina Ulanova, Maya Plisetskaya, Olga Lepeshinskaya, Raisa Struchkova, Marina Kondratyeva, Nina Timofeeva, Natalya Bessmertnova, Irina Kolpakova, Lyudmila danced with him Semenyaka, Alicia Alonso and Josefina Mendez (Cuba), Dominique Calfuni and Noel Pontois (France), Liliana Cosi and Carla Fracci (Italy), Rita Pulvoord (Belgium), Zsuzsa Kun (Hungary), etc.
The dancer's incredible virtuosity, plastic expressiveness, exceptional musicality, dramatic talent, depth of thought and enormous power of emotional impact demonstrated new type a modern ballet dancer for whom there are neither technical difficulties nor limitations of role or plot. The standards of performing skills declared by Vasiliev remain largely unattainable to this day - for example, the Grand Prix International competition ballet dancers' award, which he won in 1964, was never awarded to anyone else in subsequent competitions. It is natural that at the end of the 20th century, according to a survey of leading experts in the world, it was Vladimir Vasiliev who was recognized as the “Dancer of the 20th century”.
Choreographer's talent
Still in the prime of his performing skills, Vasiliev feels the need to more fully realize his creative potential and turns to choreography. His choreographer debut was the ballet “Icarus” by S.M. Slonimsky on the stage of the Kremlin Palace of Congresses (1971 - 1st edition; 1976 - 2nd edition). Already in the first work, the distinctive features of Vasiliev’s choreographic style are revealed - extraordinary musicality and the ability to reveal the subtlest shades of human feelings in plasticity. Not limiting himself to just one genre, in the future he staged chamber ballet evenings, in which everything is determined by music and the development of feelings, and not by a specific plot: “These enchanting sounds...” (to the music of V.A. Mozart, G. Torelli, A. Corelli and J.F. Rameau, Bolshoi Theater, 1978; filmed on TV in 1981), “I want to dance” (“Nostalgia”) to piano music by Russian composers and “Fragments of a biography” to music by Argentine composers (Concert Hall). “Russia”, 1983; filmed on TV in 1985); brings literary works to life on stage: “Macbeth” (K.V. Molchanov, Bolshoi Theater, 1980; a television recording of the performance was made in 1984); “Anyuta” (based on the story by A.P. Chekhov “Anna on the Neck” to the music of V.A. Gavrilin; San Carlo Theater, Bolshoi Theater, 1986), “Romeo and Juliet” (S.S. Prokofiev, Academic Musical Theater named after K.S. Stanislavsky and V.I. Nemirovich-Danchenko, 1990, Lithuanian Opera, 1993, Latvian Opera, 1999), “Cinderella” (S.S. Prokofiev, Kremlin Ballet Theater, 1991), “Balda” ( based on the fairy tale by A.S. Pushkin to the music of S.S. Prokofiev, Bolshoi Theater, 1999); offers his vision of classical ballets: “Don Quixote” (American Ballet Theatre, 1991, Kremlin Ballet, 1994, Lithuanian Opera, 1995), “Swan Lake” (SABT, 1996), “Giselle” (Roman Opera, 1994; SABT, 1997 ), Paganini (Teatro San Carlo, 1988, Bolshoi Theater, 1995, Teatro Argentino, 2002).
IN different time he stages concert numbers and choreographic miniatures: “Two”, “Classical pas de deux”, “Russian”, “Two German Dances” and “Six German Dances”, “Aria”, “Minuet”, “Waltz”, “ Caruso”, “The Jester”, “Petrushka”, “Elegy”, “Overture on Jewish Themes”, “Sinkops”, etc.; large choreographic compositions to the music of the Sixth Symphony by P.I. Tchaikovsky and Overture to the opera “Ruslan and Lyudmila” by M.I. Glinka. Vasiliev considers the most important thing in his work to be the desire to convey to the viewer what he feels in the music, to make the dance tangible, to achieve a fusion of thought and feeling that can emotionally capture and captivate the viewer. Vasiliev’s productions are enthusiastically received by the public, especially those where he and Ekaterina Maksimova perform the central roles - Icarus and Aeolus, Macbeth, Soloist in “Enchanting Sounds”, Anyuta and Pyotr Leontyevich, Cinderella and Stepmother, the heroes of “Nostalgia” and “Fragments of a Biography” " Currently, ballets staged by Vladimir Vasiliev are performed not only on the stage of the Bolshoi Theater, but also in 19 other theaters in Russia and the world.
Work in cinema, opera and drama theater
Vasiliev’s creative interests extend to other areas of art - he acts as a dramatic actor in the feature films “Gigolo and Gigolette” (Sid, 1980), “Fouette” (Andrei Novikov, Master, 1986), in the oratorio film “The Gospel for the Evil One” (Central Roles, 1992); here, as well as in the original television ballets “Anyuta” (Petr Leontyevich, 1982) and “House on the Road” (Andrey, 1983), he acts not only as a performer, but also as a choreographer and director.
Vasiliev stages operas: the opera-ballet “Tahir and Zukhra” to the music of T.D. Jalilova (Theater named after A. Navoi, Tashkent, 1977), requiem “Oh, Mozart! Mozart...” to music by V.A. Mozart, A. Salieri, N.A. Rimsky-Korsakov (New Opera Theatre, Moscow, 1995), La Traviata by G. Verdi (SABT, 1996) and choreographic scenes in the operas Aida by G. Verdi (Roman Opera, 1993, Arena di Verona, 2002) and “Khovanshchina” by M.P. Mussorgsky (SABT, 1995).
His works on the dramatic stage will be interesting experiments: choreography of the fairy tale-comedy “The Princess and the Woodcutter” at the Sovremennik Theater (1969) and the rock opera “Juno” and “Avos” at the Lenkom Theater (1981), directing and choreography of the musical -dramatic compositions “The Tale of the Pope and his worker Balda” (P.I. Tchaikovsky Concert Hall, 1989), “The Artist Reads the Bible” (A.S. Pushkin Museum of Fine Arts, 1994).
Pedagogical activity. Big again
Vasiliev and pedagogical activity. In 1982, he graduated from the choreographic department of GITIS with a degree in choreography and began teaching there in the same year. From 1985 to 1995, Vasiliev was the head of the choreography department of GITIS (RATI). In 1989 he was awarded the academic title of professor.
In 1995, by Decree of the President of the Russian Federation V.V. Vasiliev was appointed Artistic Director of the Bolshoi Theater. Vasiliev managed to bring the theater out of the severe crisis state in which it was in those years. Every year, the theater hosted premieres that brought together the creative potential of the troupe, including with the participation of outstanding foreign masters: Peter Ustinov, Pierre Lacotte, John Taras, Susan Farrell, Hubert de Givenchy, etc. Large-scale foreign tours of the theater made the world talk about the revival of the Bolshoi theater In September 2000, Vasiliev was relieved of his position “due to its abolition.”
Last decade
Vladimir Vasiliev actively collaborates with many theaters in the country and around the world, heads and participates in the work of the jury of various international ballet competitions, gives master classes, rehearses, and prepares new performances and roles. At the end of 2000, the premiere of the play “The Long Journey on Christmas Night” about P.I. was a triumphant success at the Rome Opera. Tchaikovsky (directed by B. Menegatti), in which the main role was played by Vladimir Vasiliev, and in 2001 - the premiere of Vasiliev’s productions “Don Quixote” in the Tokyo Ballet troupe (Japan) and “Cinderella” at the Chelyabinsk Opera and Ballet Theater, in 2002 - production of the ballet “Romeo and Juliet” at the Municipal Theater of Rio de Janeiro.
Heading the Galina Ulanova Foundation, Vasiliev stages and conducts annual gala concerts “Dedicated to Galina Ulanova” ( New Opera, 2003, Bolshoi Theater, 2004 and 2005).
The following films are dedicated to the work of V. Vasiliev: “Duet” (1973), “Katya and Volodya” (USSR-France, 1989), “And, as always, something left unsaid...” (1990), “Reflections” ( 2000); photo albums: R. Lazzarini. Maximova & Vasiliev at the Bolshoi (London: Dance Books, 1995), E.V. Fetisova “Ekaterina Maksimova. Vladimir Vasiliev" (M.: Terra, 1999), Pedro Simon "Alicia Alonso. Vladimir Vasiliev. Giselle" (Editorial Arte Y Literatura, Ciudad de la Habana, 1981); monograph by B.A. Lvov-Anokhin “Vladimir Vasiliev” (M.: Tsentrpoligraf, 1998); encyclopedia compiled by E.V. Fetisova “Vladimir Vasiliev: Encyclopedia of a Creative Personality” (M.: Teatralis, 2000), V. Golovitser photo album “Ekaterina Maksimova and Vladimir Vasiliev (Moscow-New York, Ballet, 2001).
Honorary Professor of Moscow State University, full member of the International Academy of Creativity and the Academy Russian art, Secretary of the Union of Theater Workers of Russia, Deputy Chairman of the Executive Committee of the Russian Center of the International Dance Council at UNESCO.
Personal life
Vasiliev mainly devotes his free time to painting - his most serious and long-standing hobby (six personal exhibitions of his works have been held). His especially favorite artists are Van Gogh, Monet, Rembrandt, Bosch, Durer, Serov, Levitan, Korovin, Vrubel, Fonvizin, Zverev, Maslov. The main theme of Vasiliev’s paintings is landscapes, in which he tries to convey the beauty of Russian nature. He writes, as a rule, at his dacha in Snegiri or in the village of Ryzhevka, Kostroma Region, where he always spends his holidays.
At different periods of my life I was interested in various types sports: played football, volleyball, fencing, boxing, diving, swimming. Currently prefers tennis. He reads a lot - memoirs, historical literature, books on art. Favorite writers - Dostoevsky, Chekhov, Bulgakov, Astafiev; poets - Pushkin, Bunin, Akhmatova. Favorite composers: Mozart, Bach, Tchaikovsky, Mussorgsky, Stravinsky, Prokofiev.
Vasiliev developed a new hobby - he began writing poetry, and in 2000 his first poetry collection, “Chain of Days,” was published.
In 1995, Vladimir Vasiliev was granted Lithuanian citizenship.
Lives and works in Moscow.
Filmography
2011 Iya Savvina. Explosive mixture with bell (documentary)
2009 Lifelong Fouette... (documentary)
2009 Blue sea...white steamer... Valeria Gavrilina (documentary)
2009 Savely Yamshchikov. Listed in Russia (documentary)
2005 Vladimir Vasiliev. Bolshoi Ballet (documentary)
2005 The Rise and Fall of Maris Liepa (documentary)
2000 Reflections (documentary)
2000 Maya / Maïa (documentary)
1993 Comme les oiseaux
1990 Katya and Volodya (documentary)
1988
One of the most outstanding dancers in the world, People's Artist of the USSR, ballet soloist (1958 - 1988) and artistic director of the Bolshoi Theater (1995 - 2000), choreographer, director. Participant in performances of Maurice Bejart's troupe "Ballet of the 20th Century", Marseille Ballet, Naples San Carlo Theater, Arena di Verona Theater, etc. Teacher, professor, head of the department of choreography at GITIS. He acted in films and on television. Laureate of the Lenin and State Prizes of the USSR, two State Prizes of Russia, the V. Nijinsky “Best Dancer” (1964) and Marius Petipa (1972) prizes, laureate of international competitions, etc. Member of the Board of Trustees of the UNESCO Creative Center. Artist, author of the poetry collection “Chain of Days”. Awarded the Order of Lenin, the Red Banner of Labor, Friendship of Peoples, "For Services to the Fatherland" III degree, St., St. Blessed Prince Daniel of Moscow, the French Order of Merit.
The life of ballet dancers was called “hard labor in flowers” great actress Faina Ranevskaya. And this definition fully applies to life people's artist USSR Vladimir Vasiliev. His many years of work, without rest, without respite for soul and body, are deservedly strewn with flowers, and the echo of thunderous applause has not died down to this day. Dancers of such a level as Vasiliev can be listed on one hand. Perhaps this is why the words of his fellow artist Serge Lifar are so valuable, who said: “I knew Nijinsky well, he was considered the best dancer in the world. But now I can full responsibility assert that Vasiliev surpassed his famous predecessor in everything. He's great".
The future “god of ballet” was born on April 18, 1940 in Moscow, into a family of ordinary workers at a technical felt factory. His father, Viktor Ivanovich Vasiliev, worked as the director’s driver, and his mother, Tatyana Yakovlevna Kuzmicheva, worked as the head of the sales department. Post-war Moscow lived with its own problems, and the boys had one task - not to get bored. So Volodya and a friend came to the choreographic circle of the Kirov House of Pioneers in 1947. And it turned out that the world of dance is his element. Teacher Elena Romanovna Rosse, noting the boy’s special talent, immediately invited him to move to the senior group. Vasilyev quickly “promoted”: a year later, already studying at the Palace of Pioneers, he and the ensemble first performed on the stage of the Bolshoi Theater with Russian and Ukrainian dances, and in 1949 he was admitted to the Moscow Academic Choreographic School in the class of E. Lapchinskaya . Then the gifted young man studied with the famous Bolshoi Theater premier M.M. Gabovich, who accurately noted characteristic feature student: “Volodya Vasiliev dances not only with his whole body, but with every cell of it, with pulsating rhythm, dance fire and explosive force.”
Already during his studies, Vasiliev amazed with his rare combination of expression, virtuosic technique with undoubted acting talent and the ability to transform. At the graduation concert of graduates in 1958, he not only showed traditional variations and pas de deux, but also created a deeply tragic image of the 60-year-old jealous Giotto from the ballet Francesca da Rimini. It was about this role that the prophetic words of MAHU teacher Tamara Stepanovna Tkachenko were spoken: “We are present at the birth of a genius!”
Immediately after graduating from college, Vasiliev was accepted into the ballet troupe of the Bolshoi Theater, where at first he had characteristic roles: gypsy dance in the opera “Rusalka”, Lezginka in the opera “Demon”, Pan in the choreographic scene “Walpurgis Night” - the first major solo part . But from a soulful glance great Galina Ulanova was not unaware of the enormous potential still dormant in the young dancer, and she invited him to become her partner in the classical ballet Chopiniana. The then-beginning choreographer Yuri Nikolaevich Grigorovich also believed in his talent. He offered the 18-year-old college graduate the central role in his production of S. Prokofiev’s ballet “The Stone Flower,” in which Vasiliev immediately won the love and recognition of audiences and critics. Other main roles of the modern and classical repertoire followed: Prince (Cinderella, 1959), Andrei (Pages of Life, 1961), Basil (Don Quixote, 1962), Paganini (Paganini, 1962), Frondoso (Laurencia, 1963), Albert (Giselle, 1964), Romeo (Romeo and Juliet, 1973).
So, almost immediately, Vasiliev became the leading dancer of the Bolshoi Theater, and choreographers choreographed the main roles based on his amazing skill. But the real triumph for Vladimir was the role of Spartacus in the ballet of the same name, staged by Grigorovich to the music of Khachaturian (1968). “At the age of 28, he danced a role,” the great dancer Asaf Messerer will write about him, “which immediately stood in that select row, which has general cultural and timeless significance, including Anna Pavlova’s Swan, Galina Ulanova’s Juliet, Maya Plisetskaya’s Carmen. And at the same time, everyone who wrote about Vasiliev agreed on one thing: there is nothing “divine” in the “god of dance” - neither in his face nor in his figure. Yesenin-like fair-haired, dark-eyed; the face is well sculpted, but tired, it is not attractive. In a word, he is not one of those people who is looked back after.” And yet, in dance, Vasiliev turned into a god. In each new work, he refuted the established opinion about his capabilities as an artist and dancer, proving that he is truly a “brilliant exception to the rule” (M. Liepa), a person capable of embodying any image on stage: both a classical ballet Prince and a hot Spaniard Basil, and the Russian Ivanushka, and the madly in love eastern youth, and the powerful people's leader, and the bloody despot king.
Vladimir had phenomenal technique and subtle acting skills, he knew how to transform and had an amazingly keen sense of music. The choreographers called Vasiliev “the living embodiment of the composer’s plan.” He “accentuated” and placed “intonations” with his movements, like a real musician. “In terms of diversity, he cannot be compared with anyone,” said the patriarch of the Russian ballet F. Lopukhov, “he is a tenor, a baritone, and, if you want, a bass.”
Almost all best performances and the images created by the dancer in the first period of creativity are associated with the name of Yu. Grigorovich. This is the Nutcracker (1966), and the Blue Bird (1963), and Prince Désiré (1973) in the ballets of P.I. Tchaikovsky, and the already mentioned famous Spartacus, for whose role Vasiliev was awarded the Lenin Prize and the Lenin Komsomol Prize, Ivan the Terrible in the ballet of the same name to the music of S.S. Prokofiev (1975), Sergei in “The Hangar” by A. Eshpai (1976, State Prize). However, gradually a serious difference in creative positions emerged between the choreographer and the dancer, which developed into a protracted confrontation, as a result of which in 1988 Vasiliev, and after him his partner and wife Ekaterina Maksimova and a number of other leading soloists, left without roles, were forced to separate with the Bolshoi Theater.
But the Vasiliev phenomenon has always attracted outstanding figures of foreign theater. Vladimir attracted attention back in 1959, winning first prize and a gold medal at VII International Festival of Youth and Students in Vienna, and then the Grand Prix and gold medal at the I International Ballet Competition in Varna (1964). The “Golden Duo” - Vasiliev and Maksimova - was considered by officials to be “exiting” and worthily represented Soviet ballet art at best scenes world, despite the fact that Vladimir always had his own opinion and openly expressed it. So, one day, before another trip, at a reception with the then Minister of Culture E. Furtseva, he responded to her dubious compliment: “You are ours, real soviet people. You’re not Nuriev, who took it and stayed,” he said: “You know, Ekaterina Alekseevna, maybe the time will come when we will call one of the streets “Nuriyev Street,” which plunged the minister into shock.
After leaving the Bolshoi, Vasiliev performed abroad a lot and with great success: the Grand Opera, the Roman Opera, the Teatro Colon, Covent Garden, the Metropolitan Opera, etc. Maurice Bejart staged “Ballet XX” especially for him in his theater century" version of I. Stravinsky's ballet "Petrushka". 1987 was the year he played the role of Professor Unrath in Roland Petit's production of The Blue Angel to the music of M. Constant (Marseille Ballet). 1988 brought the artist the first performance of the role of Zorba in Lorca Massine's production of "Zorba the Greek" to the music of M. Theodorakis (Arena di Verona), as well as the first performance of the main roles in Lorca Massine's revival of Leonid Massine's one-act ballets "Pulcinella" by I. Stravinsky ( Pulcinella) and “Parisian Fun” to the music of J. Offenbach (Baron) at the San Carlo Theater (Naples). In 1989, Beppo Menegatti staged the play “Nijinsky” with Vasiliev in the title role (San Carlo Theater).
Vasiliev’s performances (and later his ballets) always aroused special attention from the public - the French called him “God of Dance”, the Italians, recognizing him on the streets, tried to carry him in their arms, in Argentina (after the premiere of his production to the music of Argentine composers “Fragments of a Biography” ) he simply became a national hero; in America he was elected an honorary citizen of the city of Tucson.
In addition to Ekaterina Maksimova, whom he always called his Muse, Vasiliev danced with such famous ballerinas, as, Olga Lepeshinskaya, Raisa Struchkova, Marina Kondratyeva, Nina Timofeeva, Natalya Bessmertnova, Irina Kolpakova, Lyudmila Semenyaka, Alicia Alonso and Josefina Mendez (Cuba), Dominique Calfuni and Noel Pontois (France), Liliana Cosi and Carla Fracci (Italy) , Rita Pulvoord (Belgium), Zsuzsa Kun (Hungary), etc.
The dancer's incredible virtuosity, plastic expressiveness, exceptional sense of music, dramatic talent, depth of thought and enormous strength emotional impact revealed a new type of modern ballet dancer. The standards of performing skills declared by Vasiliev, for whom there are no technical difficulties, no restrictions on role or plot, in many ways remain unattainable to this day - for example, the Grand Prix of the International Ballet Competition, which he won in 1964, at subsequent competitions it was never awarded to anyone else. Therefore, it is natural that at the end of the last century, according to a survey of leading experts in the world, it was Vladimir Vasiliev who was recognized as the “Dancer of the 20th century”.
Vladimir Viktorovich’s enormous creative potential was also realized in choreography. His choreographer debut was “Icarus” by S. Slonimsky on the stage of the Kremlin Palace of Congresses (1971, second edition - 1976). Along with this and subsequent original works(“These enchanting sounds.”, “I want to dance”, “Macbeth”, “Anyuta”) the master offers the viewer his vision of classical ballets (“Romeo and Juliet”, “Cinderella”, “Don Quixote”,
"Swan Lake", "Giselle"). Vasiliev turns to staging concert numbers and choreographic miniatures - “Two”, “Classical pas de deux”, “Russian”, “Two German Dances” and “Six German Dances”, “Aria”, “Minuet”, “Waltz” , “Caruso”, “Jester”, “Petrushka”, “Elegy”, “Overture on Jewish Themes”, “Syncopations” - as well as large choreographic compositions to the music of the Sixth Symphony by P.I. Tchaikovsky and Overture to the opera “Ruslan and Lyudmila” by M.I. Glinka. And Vasiliev’s productions are often enthusiastically received by the public, especially those where he and Ekaterina Maksimova perform the central roles. Currently, ballets staged by Vladimir Viktorovich are performed not only on the stage of the Bolshoi Theater, but also in 19 other theaters in Russia and the world.
Vasiliev's creative interests led him to cinema. As a dramatic actor, he starred in the feature films “Gigolo and Gigolette” (1980), “Fouette” (1986), and in the oratorio film “The Gospel for the Evil One” (1992). In them, as well as in the original television ballets “Anyuta” (1982) and “Road House” (1983), he acted not only as a performer, but also as a choreographer and stage director. He revealed a rare gift in constructing a frame, and in feeling the design of the whole, and, most importantly, in editing a musical video sequence. Vasiliev invented the term “montage choreography” and implemented it in his screen works. Experts note that at the same time he “keeps in his head his only fairway - music.” And his taste in music is impeccable. Vasiliev’s works on the dramatic stage became interesting experiments: choreography of the fairy tale-comedy “The Princess and the Woodcutter” at the Sovremennik Theater (1969) and the rock opera “Juno and Avos” at the Lenkom Theater (1981), directing and choreography musically -dramatic compositions “The Tale of the Pope and his worker Balda” (1989), “The Artist Reads the Bible” (1994).
Vasiliev also revealed himself as a teacher. In 1982, he graduated from the choreographic department of GITIS with a degree in choreography and immediately began teaching there. From 1985 to 1995, Vladimir Viktorovich headed the department of choreography at GITIS, and in 1989 he was awarded the title of professor. It seemed that there was simply nowhere to develop further. But Vasilyev, not without reason, is considered not only a super-gifted artist, but also a super-gifted person. This man reads a lot and writes like a professional writer, and many look forward to him sitting down at his desk and creating serious sketches about his creative path and about ballet in general. After all, so far only his first poetry collection, “Chain of Days” (1999), has seen the light of day. In addition, Vasiliev is an excellent painter of sketches, landscapes, and still lifes. He paints in oils, and is getting better and more interesting. At different periods of his life, he was fond of various sports: he played football, volleyball, fencing, boxing, diving, and swimming. Currently prefers tennis. Sometimes from the outside it seems that the artist is very “sprayed”, does not devote himself entirely to one thing, the most significant. But in the understanding of the dancer himself, these are inextricable links of one chain. And when they ask him the question “why?”, in response they hear Vladimir Viktorovich’s favorite phrase: “I’ve wanted it for a long time.”
So after his appointment (by the way, by Decree of the President of the Russian Federation) in 1995. artistic director- the director of the Bolshoi Theater Vasiliev gave his word to deal only with organizational issues. He managed to bring the theater out of the severe crisis state in which it was in those years: new director approved a modern contract system, revived the traditions of benefit performances of the corps de ballet, choir and orchestra, organized the theater’s own video studio and prepared a regular series of programs on the Kultura TV channel. But as soon as the work got better, Vasiliev again returned to choreography and staging performances (although he swore not to do this again), organized the Academy classical dance in Brazil, held many charity events in support of the reconstruction of the Bolshoi Theater. But this is only a drop in the sea. And in September 2000 Vasiliev. was relieved of his position “due to staff reduction.” But he completed his task in full: the Bolshoi triumphantly returned to the world stage.
Currently, Vladimir Viktorovich actively cooperates with many theaters in the country and the world, participates (and heads) in the work of the jury of various international ballet competitions, gives master classes, rehearses, and prepares new performances and roles. At the end of 2000, the premiere of the play “The Long Journey on Christmas Night,” dedicated to P.I., was a triumphant success at the Rome Opera. Tchaikovsky, in which the 60-year-old Vasiliev played the main role, and in 2001 the premieres of his productions “Don Quixote” in the Tokyo Ballet troupe (Japan) and “Cinderella” at the Chelyabinsk Opera and Ballet Theater. Vladimir Viktorovich continues and social activities for the benefit of ballet and the development of art. He is an honorary professor at Moscow State University, a full member of the International Academy of Creativity and the Academy of Russian Art, secretary of the Union of Theater Workers of Russia, deputy chairman of the executive committee of the Russian Center of the International Dance Council of UNESCO. Vasiliev has also been the permanent artistic director of the Arabesque competition for 15 years.
One can only be surprised when he still finds time to engage in his constant and long-standing hobby - painting. And Vasiliev has a lot of works. They were presented at three solo exhibitions of his work. He writes, as a rule, at his dacha in Snegiri or in the village of Ryzhevka near Kostroma, where he and his wife always spend their vacations. Ekaterina Maksimova is a special page in the biography of Vladimir Viktorovich. Even in the Encyclopedia of Russian Ballet, along with his numerous titles, it is written: “Husband of E.S. Maximova." Vasiliev recalls: “At the beginning of our life together Katya and I had one room measuring eight meters. To get to the window, I had to climb over the bed. Now I have a lot of worries: an apartment, a dacha, two cars, tours and public duties. Am I happier than when we had nothing? No". Friends admit that he is a very kind, responsible person, but always busy, and because of this workload he is afraid of seeming arrogant or unattainable to someone, but it is precisely such ascetics that Russian art rests on. So the poet Andrei Voznesensky believes that “Vladimir Vasiliev is the Order of Vladimir for our art.”
Valentina Sklyarenko
From the book “100 Famous Muscovites”, 2006
Vladimir Vasiliev is an outstanding dancer who has amazed more than one generation of spectators with his artistry and technical performance. In addition, Vladimir Viktorovich is a member Russian Academy Arts and the International Creative Academy. However, few people know that the creative heritage of the ballet genius is not limited to dancing.
Childhood and youth
Vladimir Vasiliev was born in Moscow on April 18, 1940. Father future star, Viktor Ivanovich, worked as a driver. Mother, Tatyana Yakovlevna, worked as the head of the sales department at a felt factory.
At the age of seven, the boy accidentally got into classes dance club at the House of Pioneers. Choreographer Elena Rosse, who worked with children, immediately drew attention to little Volodya’s talent and invited the boy to study. So, a year later, Vladimir Vasiliev first appeared on the stage of the Bolshoi Theater with Ukrainian and Russian dances.
Ballet
The creative biography of Vladimir Vasiliev continued within the walls of the Moscow Choreographic School (now an academy). The teachers noted not only Vladimir’s undoubted talent, but also his acting abilities: the young man, in addition to perfect technical performance, put emotions and expression into the dance, easily transforming into the characters of the productions like a real artist.
Vladimir Vasiliev in his youth In 1958, Vasiliev, having completed his studies, began serving at the Bolshoi Theater, becoming an official member of the ballet troupe. At first, Vladimir Viktorovich was given characteristic roles: in “Rusalka” the dancer performed a gypsy dance, in “Demon” - a Lezginka. But soon the inimitable Galina Ulanova drew attention to the novice dancer, offering Vasiliev a part in the classical ballet performance"Chopiniana". It was not just a game, but a duet with herself. After this, Galina Sergeevna will remain Vladimir Vasiliev’s friend and mentor.
Yuri Grigorovich, the theater choreographer, also drew attention to Vasiliev. Vladimir Vasiliev seemed to Grigorovich to be a very promising dancer. Soon Vasiliev received main party in the ballet "Stone Flower". This production gave the dancer his first admirers and admirers who were no strangers to art. Following this, Vladimir Viktorovich performed the main roles in “Cinderella” (here the dancer got the part of the prince), “Don Quixote” (Bazille), “Giselle” (as Albert) and “Romeo and Juliet” (here Vladimir Viktorovich played the role of young Romeo) .
Vladimir Vasiliev devoted 30 long years to the Bolshoi stage. From 1958 to 1988, the dancer was listed as the theater's leading ballet soloist. Ballerina Ekaterina Maksimova, part-time wife of Vladimir Vasiliev, became the talented ballerina’s permanent partner.
Perhaps the main recognition of Vasiliev’s talent was the fact that the dancer was not only invited to the main roles in ready-made productions, but they were also written especially for him. Thus, the dancer became the first to perform Ivanushka in The Little Humpbacked Horse, Sergei in Hangar, and Spartacus in Spartak. In 1977, the outstanding choreographer Maurice Bejart choreographed the role of the Young Man in Petrushka especially for Vladimir Viktorovich.
Vasiliev’s dance successes were seen not only by the walls of his native Bolshoi Theater. The dancer toured the Paris Grand Opera, the Italian La Scala Theatre, the New York Metropolitan Opera, and London's Covent Garden.
In 1988, Vladimir Vasiliev and his permanent partner and wife Ekaterina Maksimova left the Bolshoi. The reason was a creative dispute with Yuri Grigorovich. Vladimir Viktorovich continued his creative career as artistic director of the State Academic Bolshoi Theater; this position will remain with the dancer until 2000.
Vladimir Vasiliev also showed talent as a choreographer. In 1971, the dancer staged his own dance performance for the first time. It was the ballet “Icarus”, presented within the walls of the Kremlin Palace of Congresses. A few years later, the production “These Enchanting Sounds” will appear, in 1980 Vasiliev will present “Macbeth”, and in 1984 - “Road House”.
Foreign countries will also be lucky enough to meet Vasilyev the director. On the Argentine stage, Vladimir Viktorovich presented the ballet “Fragments of a Biography” to the audience, and the United States admired the talented interpretation of “Don Quixote.”
In the 1990s, Vasiliev worked on the productions “Tahir and Zukhra”, “Oh, Mozart! Mozart...", "La Traviata", "Khovanshchina", "Aida", "Cinderella". After a short break, in 2010, Vasiliev presented the ballet “Red Poppy” in Krasnoyarsk. 2011 was marked by the production of the ballet “Balda” for children.
In 2014, Vasiliev had the honor of personally performing in the ballet “Natasha Rostova’s First Ball.” This mini-production was prepared specifically for the concert dedicated to the opening of the Sochi Olympic Games. Vladimir Viktorovich got the part of Ilya Andreevich Rostov. In the same year, Vasiliev presented a project based on the works to the audience. The production consisted of six dance miniatures.
In 2015, in honor of the dancer’s 75th anniversary, the premiere of the ballet performance “Donna nobis pasem” to music took place. The hero of the day acted as a ballet director, and the parts were performed by dancers of the Tatar Academic Theater named after Musa Jalil.
Theater and cinema
Vladimir Vasiliev’s talents were also in demand in theater and cinema. Dramatic scene I saw the fairy tale “The Princess and the Woodcutter” and the rock opera “Juno and Avos” - for these performances Vladimir Viktorovich became a choreographer, and photographs of dancers in the images of Conchita and Nikolai Rezanov were kept, perhaps, in the collection of every art fan.
Vasiliev tried his strength and acting, appearing in the films “Gigolo and Gigolette”, “Fouette”, as well as television versions of the ballets “Spartacus”, “Grand Pas in white night", "The Tale of the Little Humpbacked Horse" and others. Here Vladimir Viktorovich also not only danced himself, but also took upon himself the choreography of parts for other artists.
Personal life
The personal life of Vladimir Vasiliev is an example of strong love that lasted a lifetime. The talented dancer became the chosen one, who also could not imagine life without dance. Ekaterina Sergeevna became Vasiliev’s lover, friend and permanent partner on stage. The creative couple had no children.
In 2009, Maksimova died. Vladimir Viktorovich, by his own admission, lost part of his soul and still grieves for his wife. The dancer and choreographer continues to devote productions, performances and exhibitions to Ekaterina Sergeevna.
Vladimir Vasiliev now
Now Vladimir Vasiliev continues creative activity. The dancer no longer appears on stage due to his advanced age, but with youthful enthusiasm he takes on new productions, teaching talented replacements. IN free time the dancer loves to travel, discovering new countries and cultures. Fans can only hope for the imminent appearance of new productions of the great dancer.
In addition to ballet, Vladimir Viktorovich is interested in painting. The dancer draws well and even organizes his own exhibitions. Vasiliev already has at least 400 paintings to his name. Vasiliev is no stranger to the world of poetry: in 2001, the dancer gave the world a collection of poems called “Chain of Days.”
Parties
- 1958 - “Demon”
- 1958 - “Chopiniana”
- 1959 - “Stone Flower”
- 1959 - “Cinderella”
- 1960 - “Narcissus”
- 1961 - “Forest Song”
- 1962 - “Paganini”
- 1964 - “Parsley”
- 1966 - “The Nutcracker”
- 1968 - “Spartak”
- 1971 - “Icarus”
- 1973 - “Romeo and Juliet”
- 1976 - “Angara”
- 1987 - “Blue Angel”
- 1988 - “Pulcinella”
Today marks the 76th anniversary Vladimir Viktorovich Vasiliev - Soviet and Russian ballet dancer, choreographer, choreographer, theater director, artist and actor, teacher.
Vladimir Viktorovich was born on April 18, 1940 in a family of felt factory workers. When the war began, he was barely one year old. The war separated the family: Vladimir Viktorovich’s father went to the front, and his mother worked at her native factory in 3 shifts, torn between one-year-old son and work. My mother’s six older sisters, my aunts, became my salvation, for whom a little boy was the point not to lose your mind during that terrible and difficult time.
This family was incredibly lucky - in 1945, the father returned from the front, and they were all together again. While the adults were reviving the country from the ashes, the future choreographer Vasiliev played ball, deftly jumped on the roofs and was not inferior in courage and fearlessness to his older comrades, which earned him the respect of the entire court. One of the friends invited little Vladimir with him to a dance club located in the Kirov House of Pioneers. At first glance, a sensitive teacher Elena Romanovna Rosse I saw in the blond tomboy a love of dance. Eight-year-old Vladimir Vasiliev was a born choreographer. He reproduced it the first time new material. They learned movements from his example and considered him the best student. In 1949 Vasiliev entered the choreographic school of the Bolshoi Theater, and a year later achieve championship among classmates.
In 1958, Vasiliev was accepted into the troupe Bolshoi Theater, where he immediately established himself as a dancer of characteristic images. The future choreographer Vladimir Viktorovich Vasiliev began by performing bright, colorful characters in the operas “Rusalka” and “Demon”. The solo part in Walpurgis Night became for him lucky ticket. It was in the role of Pan that he attracted attention Galina Ulanova , a meeting with which influenced the rest of his life. Her teaching talent, friendship and faith in Vasiliev’s professional future helped shape the personality of a great director, stage director and dancer. Collaboration in “Chopinian” became an invaluable experience and discovered Vladimir Viktorovich as an excellent performer of classical roles.
After joining the Bolshoi Theater Yu.N. Grigorovich, the young dancer took part in his production of “The Stone Flower”, which won the favor of not only the choreographer, but also the love of the most fastidious critic - the viewer. After such a triumph, Vladimir Viktorovich was cast in the leading roles of the entire diverse repertoire of the Bolshoi Theater: “Cinderella”, “Pages of Life”, “Don Quixote”, Paganini in the production of the same name, “Laurencia”, “Giselle”, “Romeo and Juliet”.
Cinderella
Don Quixote
Giselle - Irina Kolpakova, Albert - Vladimir Vasiliev
Juliet - Ekaterina Sergeevna Maksimova, Romeo - Vladimir Viktorovich Vasiliev
Vasiliev was not yet 25 years old when the solo part in “Dance Suite” (staged by A. A. Varlamov) and Ivanushka in R. K. Shchedrin’s ballet “The Little Humpbacked Horse” (staged by A. I. Radunsky, 1960) were performed on stage. ), Slave in “Spartacus” by A. I. Khachaturian (staged by L. V. Yakobson), Lukash in “Forest Song” by G. L. Zhukovsky (staged by O. G. Tarasova and A. A. Lapauri). It is not an easy task to prove after yet another success that you are the best, and this is not the limit of your capabilities.
Sparktak
Lukash "Forest Song"
There was a beautiful and touching story in Vasiliev’s personal life. While still studying, he met Ekaterina Maximova, who was distinguished by her special adherence to principles, sometimes turning into stubbornness, which hindered her in subject training, but was decisive in mastering dance. The strength contained in such a fragile girl attracted and at the same time frightened Vladimir Vasiliev.
In the summer of 1961 they got married, and Honeymoon spent in the most romantic city on the planet - Paris. This is a unique case, because in the Soviet Union spouses were not allowed to go abroad together. A film was presented there in which, by a mystical coincidence, Maksimova and Vasiliev played lovers. “The USSR with an open heart” allowed the newlyweds to enjoy such a vacation. Together they lived a long and happy life.
Over time, Vasiliev gained world fame. Maurice Bejart, Franco Zeffirelli, Roland Petit, Lorca Massine invited him to play the main roles in their productions. The public's love knew no bounds - the French idolized the Russian legend, the Argentines proclaimed him a national hero, and in the USA, despite the difficult political situation, Vasiliev became an honorary citizen of one of the cities. A special relationship has developed with hospitable Italy. The Roman Opera, La Scala, and San Carlo more than once hosted the choreographer on their stages, where the audience enjoyed his virtuoso performance and perfect plasticity.
Film-opera "La Traviata", directed by F. Zeffirelli, 1982.
They say that a talented person is talented in everything, and this is entirely about Vasiliev. It was not enough for him to dance on stage himself - he became a great choreographer! First own work choreographer Vasiliev staged the ballet “Icarus” in 1971. The master also embodied his worldview in “Fragments of a Biography,” “Nostalgia,” “Swan Lake” and many other works.
Swan Lake
The whole country watched with delight opening ceremony of the Olympic Games in Sochi in 2014! Natasha Rostova’s First Ball was a particularly touching moment for me. Vladimir Viktorovich took part in this production! I invite you to remember these wonderful moments. Svetlana Zakharova and Vladimir Vasiliev are dancing!
Yours 75th anniversary last year, the legendary dancer and choreographer celebrated at the Bolshoi Theater, where a performance based on Bach’s Mass in B minor entitled Dona Nobis Pacem ("Give us peace") , which Vasiliev staged in Tatarsky academic theater Opera and Ballet named after. Musa Jalil. This is an opera, a ballet, and a 3D installation. A philosophical parable about the fate of humanity and each person individually. The Mass is about love and joys, about losses, insults and bitterness.
Vasiliev at the final rehearsal of the play
Congratulations from Ilze Liepa, co-chairman of the Strategic Council of the Union of Women's Forces
It is an incredible joy to write such posts; it fills you with a sense of pride for your country, which is so rich in talented people!
Even on the Russian stage - the best ballet stage in the world - dancers with such expression, strength, courageous beauty of dance and breadth of creative range rarely appear.
In 1947, Volodya Vasiliev accidentally found himself in the classes of the choreographic circle of the Kirov House of Pioneers. Teacher Elena Rosse immediately noted the boy’s special talent and invited him to study in the senior group. The following year, he studied at the city Palace of Pioneers, with whose choreographic ensemble in 1948 he first performed in a concert on the stage of the Bolshoi Theater - these were Russian and Ukrainian dances. In 1949, Vasiliev was admitted to the Moscow Academic Choreographic School in the class of E.A. Lapchinskaya.
As many of his senior colleagues and tutors recalled, at that time he did not give the impression of a dancer capable of performing such diverse roles. At that time, the dancer looked somewhat rustic, with more developed muscles than is customary according to the classical canons, which is why he seemed a little squat. However, Vasiliev was completely transformed on stage, and his movements and face became so spiritual that the performance of any role, from heroic to lyrical-romantic, was organic for him. Excellent choreographic abilities and powerful jump-flight enhanced this impression.
In 1958 he graduated from college in the class of M.M. Gabovich, the famous premier of the Bolshoi Theater. At the graduation concert of graduates, he not only danced traditional variations and pas de deux, but also created a deeply tragic image of the sixty-year-old jealous Giotto in the ballet Francesca da Rimini.
On August 26, 1958, Vladimir Vasiliev was accepted into the ballet troupe of the Bolshoi Theater. He graduated from the school as a demi-character dancer and had no intention of dancing the classics. However, there was something about the young dancer that attracted the attention of the great Galina Ulanova, and she invited him to be her partner in the classical ballet Chopiniana.
Choreographer Yuri Nikolaevich Grigorovich, who had just joined the theater, also believed in his talent. He offered the eighteen-year-old college graduate the central role in his production of the ballet S.S. Prokofiev's "Stone Flower", in which Vasiliev immediately won the love and recognition of viewers and critics.
The role of Danila the Master was followed by other main roles of the modern and classical repertoire: Prince (Cinderella, 1959), Andrei (Pages of Life, 1961), Basil (Don Quixote, 1962), Paganini (Paganini, 1962 ), Frondoso (Laurencia, 1963), Albert (Giselle, 1964), Romeo (Romeo and Juliet, 1973).
In 1964, he performed two diametrically opposed roles: the emotional, passionate Majnun (Leili and Majnun, staged by K. Goleizovsky), whose plasticity is filled with oriental flavor and expression, and Petrushka (ballet of the same name after M. Fokin, staged by Boyarsky), in the role of which Vasiliev managed to combine the “mechanical” nature of the doll’s plasticity, its internal and external constraint with deep drama.
All of Vladimir Vasiliev’s parts were distinguished by great diversity, requiring the artist to diversify his role. The image of the Nutcracker staged by Yuri Grigorovich that he created was very interesting. Vladimir Vasiliev was able, with his characteristic artistry, to show the transformation of the Nutcracker doll into an image filled with spirituality and nobility.
In 1968, Vladimir Vasiliev created the heroic image of Spartacus on stage, performing this role in Grigorovich’s ballet. The part of Spartacus was very difficult technically; the dancer needed to demonstrate the highest level of choreographic technique at that time, and Vasiliev coped with this task brilliantly. Vladimir Vasiliev's artistry allowed him to create not only a choreographically perfect, but also an extremely expressive, convincing image of a hero fighting for freedom. For this role, Vasiliev was awarded the Lenin Prize and the Lenin Komsomol Prize.
His Romeo in the 1973 play “Romeo and Juliet” is not the young, tremulous hero who, as a rule, appeared in productions of this Shakespearean tragedy. Performed by Vasiliev, Romeo is no longer a boy. He is young, but has courage and tragedy.
In each new work, Vasiliev proved that he was truly an “exception to the rule,” a person capable of embodying any image on stage.
It is impossible to talk about Vladimir Vasiliev without mentioning his constant partner, faithful comrade-in-arms and life partner – Ekaterina Maksimova, with whom Vasiliev’s best parts were created in duets. Maximova’s fragility and childlike spontaneity contrasted with Vasiliev’s masculinity and strength. The Maksimov-Vasiliev duet became a symbol of the Bolshoi Theater and the entire Soviet ballet for many years.
During his creative career, Vasiliev performed abroad a lot and with great success - at the Paris Opera, La Scala, Metropolitan Opera, Covent Garden, Rome Opera, Teatro Colon. Maurice Bejart staged his version of Stravinsky’s ballet “Petrushka” (Ballet of the 20th Century, Brussels, 1977) especially for him. The standards of performance mastery declared by Vasiliev in many ways remain unattainable to this day - for example, the Grand Prix of the International Ballet Competition, which he won in 1964, was never awarded to anyone else at subsequent competitions.
Vasiliev was the first performer of the central roles in many productions of Yuri Grigorovich, but gradually a serious difference in creative positions emerged between them, which developed into a conflict, as a result of which in 1988 V. Vasiliev, E. Maksimova, as well as a number of other leading soloists, were forced part with the Bolshoi Theater.
His choreographer debut was the ballet “Icarus” by S.M. Slonimsky on the stage of the Kremlin Palace of Congresses (1971 - first edition; 1976 - second). Already in the first work, the distinctive features of Vasiliev’s choreographic style were revealed - extraordinary musicality and the ability to reveal the subtlest shades of human feelings in plastic. He staged chamber ballet evenings, in which everything is determined by music and the development of feelings, and not a specific plot, transferred Shakespeare’s “Macbeth” (1980), Chekhov’s “Anna on the Neck” (“Anyuta”, 1986) to the ballet stage, created his own versions of classical performances. Having taken up production work, Vladimir Vasiliev, feeling the need for special knowledge, graduated from the ballet department of GITIS in 1982 and became a teacher there, and then the head of the department. In 1990 he received the title of professor of choreography.
In 1995, by Decree of the President of Russia, Vasiliev was appointed artistic director - director of the Bolshoi Theater. He managed to bring the theater out of a severe crisis. A modern contract system was approved, and the traditions of benefit performances were revived. Every year, the theater hosted premieres that brought together the creative potential of the troupe, including with the participation of outstanding foreign masters: Peter Ustinov, Pierre Lacotte, John Taras, Susan Farrell.