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Ballet troupe of the Mariinsky Theater. Three best dancers of the Mariinsky Theater perform the role of Anna Karenina Ballerina and the premiere on the big stage

State Academic Mariinskii Opera House has existed for more than two centuries. His repertoire includes classical and modern operas and ballets.

History of the Mariinsky Opera and Ballet Theater

Mariinsky State academic theater opera and ballet theater was opened in 1783. IN different years Such great artists as Fyodor Chaliapin, Mikhail Baryshnikov, Vaslav Nijinsky, Nikolai Figner, Matilda Kshesinskaya, Ivan Ershov, Rudolf Nureyev, Anna Pavlova and many others served here. The repertoire included not only ballets, operas and concerts, but also dramatic performances.

The theater building was built according to the design of the architect Antonio Rinaldi. In the 19th century it underwent reconstruction. The major reconstruction of the Mariinsky Theater was carried out by the architect and draftsman Thomas de Thomon. In 1818, the theater was seriously damaged by fire and underwent a new reconstruction.

Three troupes performed on its stage at that time: Russian, Italian and French.

In 1936 it was rebuilt auditorium in order to achieve better acoustics and visibility. In 1859, the building burned down, and a new one was built in its place, where the academic Mariinsky Theater is still located. It was designed by Alberto Cavos. The theater received its name in honor of Empress Maria, the wife of Alexander II.

In 1869, the ballet troupe was headed by the great Marius Petipa.

In 1885, the theater had to undergo another reconstruction. A three-story extension was made to the left wing of the building, which housed workshops, rehearsal rooms, a boiler room and a power plant. Another 10 years later, the foyer was expanded and the main façade was rebuilt.

In 1917, the Mariinsky Theater received state status, in 1920 - academic, and in 1935 it was named after S. M. Kirov.

In those years, in the repertoire, in addition to classical works there were operas and ballets Soviet composers.

IN post-war years the theater gave the audience the following productions: “The Legend of Love”, “Spartacus”, “Stone Flower”, “Twelve”, “ Leningrad Symphony" In addition to G. Verdi, P.I. Tchaikovsky, J. Bizet, M. Mussorgsky, N.A. Rimsky-Korsakov's repertoire included works by such composers as Dmitry Shostakovich, Sergei Prokofiev, Tikhon Khrennikov and so on.

In 1968–1970, the theater was again reconstructed. The project for the updated building was developed by architect Salome Gelfer. After this reconstruction, the theater became what we see it now.

In the 80s, a new generation came to the Mariinsky Theater opera artists. They clearly expressed themselves in the productions of “ Queen of Spades" and "Eugene Onegin". The director of these performances was Yuri Temirkanov.

In 1988, Valery Gergiev was appointed to the position of chief conductor, who soon became artistic director. Thanks to his efforts, in 1992 the theater again became known as the Mariinsky.

Several years ago, Mariinsky-2 was opened. The technical equipment of its stage makes it possible to create modern innovative productions that could only be dreamed of before. This unique complex will allow you to implement the most daring projects. The Mariinsky-2 hall is designed for 2000 spectators. The total area of ​​the building is almost 80 thousand square meters.

Opera repertoire

The Academic Mariinsky Theater offers its audience the following opera productions:

  • "Idomeneo, King of Crete";
  • "Lady Macbeth of Mtsensk";
  • "Christmas Eve";
  • "Pelleas and Mélisande";
  • "Mermaid";
  • "Sister Angelica";
  • "Khovanshchina";
  • "Spanish Hour";
  • "Flying Dutchman";
  • "Betrothal in a monastery";
  • "Turn the screw";
  • "The Legend of the Invisible City of Kitezh";
  • "Tristan and Isolde";
  • "Lohengrin";
  • "The Enchanted Wanderer";
  • "Journey to Reims";
  • "Trojans";
  • "Electra".

And others.

Ballet repertoire

The Academic Mariinsky Theater included the following ballet performances in its repertoire:

  • "Apollo";
  • "In the jungle";
  • "Jewelry";
  • "The Little Humpbacked Horse";
  • "Magic Nut"
  • "Leningrad Symphony";
  • "Five Tangos";
  • "The Young Lady and the Hooligan";
  • "La Sylphide";
  • "Infra";
  • "Shurale";
  • "Margarita and Arman";
  • "Where the golden cherries hang";
  • "Flora's Awakening";
  • "Adagio Hammerklavier";
  • "Clay";
  • "Romeo and Juliet";
  • "Symphony in three movements."

And others.

Mariinsky Theater Troupe

The Academic Mariinsky Theater brought together wonderful opera soloists, ballet dancers, choirs, and musicians on its stage. A huge team works here.

Mariinsky Theater Company:

  • Irina Gordey;
  • Maria Maksakova;
  • Mikhail Vekua;
  • Vasily Gerello;
  • Diana Vishneva;
  • Anton Korsakov;
  • Alexandra Iosifidi;
  • Elena Bazhenova;
  • Ilya Zhivoy;
  • Anna Netrebko;
  • Irina Bogacheva;
  • Dmitry Voropaev;
  • Evgeny Ulanov;
  • Ildar Abdrazakov;
  • Vladimir Felyauer;
  • Ulyana Lopatkina;
  • Irina Golub;
  • Maxim Zyuzin;
  • Andrey Yakovlev;
  • Victoria Krasnokutskaya;
  • Danila Korsuntsev.

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Mariinsky theater ballet, Mariinsky theater ballet
The history of the Mariinsky Theater ballet troupe began with court performances, where many professional dancers and dancers participated, who appeared after its establishment by Empress Anna Ioannovna in 1738 Dance school under the leadership of the French teacher Jean Baptiste Lande.

The ballet troupe was part of the theaters:

  • St. Petersburg Bolshoi Theater (Kamenny; from 1783),
  • Mariinsky Theater since 1860,
  • State Mariinsky Theater (since 1917), which in 1920 was renamed the State Academic Opera and Ballet Theater (since 1935 named after S. M. Kirov), and in 1992 returned its former name - the Mariinsky Theater.
  • 1 XIX century
  • 2 XX century
  • 3 XXI century
    • 3.1 Ballet dancers
      • 3.1.1 Ballerinas and premieres
      • 3.1.2 First soloists
      • 3.1.3 Second soloists
      • 3.1.4 Character dance soloists
      • 3.1.5 Corypheas
  • 4 See also
  • 5 Notes
  • 6 Links

19th century

Ricardo Drigo, 1894 Lev Ivanov, 1885 Caesar Pugni, 1840 Marius Petipa, 1898 Leon Minkus, 1865 Pyotr Tchaikovsky Alexander Glazunov

S. L. Didelot had a noticeable influence on the development of St. Petersburg ballet. Didelot's dance poems "Zephyr and Flora" (1804), "Cupid and Psyche" (1809), "Acis and Galatea" (1816) by Kavos foreshadowed the onset of romanticism. 1823 the theater staged the ballet “Prisoner of the Caucasus, or the Shadow of the Bride” to music. Kavos (1823). The repertoire created by Didelot revealed the talents of M. I. Danilova, E. I. Istomina, E. A. Teleshova, A. S. Novitskaya, Auguste (O. Poirot), N. O. Golts. In 1837, the Italian choreographer F. Taglioni and his daughter M. Taglioni showed the ballet La Sylphide in St. Petersburg. 1842 in the ballet “Giselle”, staged by J. Coralli and J. Perrot, E. I. Andreyanova performed successfully. In 1848-1859, the St. Petersburg ballet was headed by J. Perrault, who staged the ballets “Esmeralda”, “Catarina” and “Faust” by Pugni. In 1859, the ballet was headed by choreographer A. Saint-Leon, who staged the ballets “The Little Humpbacked Horse” (1864) and “ gold fish"(1867). The successor to Perrault and Saint-Leon was Marius Petipa (ballet soloist from 1847, then choreographer, in 1869-1903 - chief choreographer theater).

During his stay in Russia, Marius Petipa staged ballets on the imperial stage: “The Pharaoh’s Daughter” to the music of Caesar Pugni, in 1862; "King Candaules" by Caesar Pugni, in 1868; “Don Quixote” by L. F. Minkus, 1869; “Two Stars” by Caesar Pugni, 1871; “La Bayadère” by L. F. Minkus, 1877; "The Sleeping Beauty of P. I. Tchaikovsky, edited by Drigo, (1890-1895), acts I and III, in collaboration with Lev Ivanov (Ivanov’s text - 2nd scene of the first act, Venetian and Hungarian dances in the second act, third act, with the exception of apotheosis); Swan Lake"(together with L.I. Ivanov, 1895); “Raymonda” to music by A.K. Glazunov, 1898; “Corsair” to the music of Adam, Pugni, Drigo, Delibes, Peter of Oldenburg, Minkus and Trubetskoy, 1898; “Paquita” by Deldevez, 1899; “The Trials of Damis” by A.K. Glazunov, 1900; “Seasons” (Four Seasons) by A.K. Glazunov, 1900; "Harlequinade" (Millions of Harlequin) Drigo, 1900; "Mr. Dupre's Disciples", 1900; “The Magic Mirror” by Koreshchenko, 1904; “Romance of a Rosebud”, Drigo (premiere did not take place).

Marius Petipa's ballets demanded high professionalism troupe, which was achieved thanks to the teaching talents of Christian Johanson and Enrico Cecchetti. The following performers performed in the ballets of Petipa and Ivanov: M. Surovshchikova-Petipa, Ekaterina Vazem, E. P. Sokolova, V. A. Nikitina, Maria Petipa, P. A. Gerdt, P. K. Karsavin, N. G. Legat, I. F. Kshesinsky, K. M. Kulichevskaya, A. V. Shiryaev.

XX century

A. V. Shiryaev, 1904 A. A. Gorsky, 1906 Mikhail Fokin, 1909

At the beginning of the 20th century, the custodians of academic traditions were artists: Olga Preobrazhenskaya (1871-1962), Matilda Kshesinskaya, Vera Trefilova, Yu. N. Sedova, Agrippina Vaganova, L. N. Egorova, N. G. Legat, S. K. Andrianov , Maria Kozhukhova (1897-1959), Olga Spesivtseva (1895-1991) (July 5 (18), 1895 - September 16, 1991)

In search of new forms, Mikhail Fokin relied on modern art. The choreographer’s favorite stage form was the one-act ballet with laconic continuous action and a clearly defined stylistic coloring.

Mikhail Fokin owns the following ballets: Armida's Pavilion, 1907; "Chopiniana", 1908; "Egyptian Nights", 1908; "Carnival", 1910; "Petrushka", 1911; “Polovtsian Dances” in the opera “Prince Igor”, 1909. Tamara Karsavina, Vaslav Nijinsky and Anna Pavlova became famous in Fokine’s ballets.

The first act of the ballet “Don Quixote”, to the music of Ludwig Minkus (based on the ballet by M. Petipa), reached contemporaries in the 1900 edition of Alexander Gorsky.

Later, in 1963, “The Little Humpbacked Horse” was staged (by Alexander Gorsky, revived by Mikhailov, Baltacheev and Bruskin.

Since 1924, Fyodor Lopukhov staged plays at the theater, the first production of which was the play “Night on Bald Mountain” (music - Modest Mussorgsky); then in 1927 - “The Ice Maiden”; 1929 - “Red Poppy”, together with Ponomarev and Leontyev; 1931 - “Bolt”, music - Dmitry Shostakovich, 1944 - “Vain Precaution” to the music of G. Hertel (Leningrad Maly Opera Theater in evacuation in Orenburg and Leningrad Opera and Ballet Theater named after S. M. Kirov); 1947 - " Spring Tale» music B. Asafieva (by musical materials Tchaikovsky) (Leningrad Opera and Ballet Theater named after S. M. Kirov)

In the first years after the October Revolution of 1917, the theater was faced with the task of preserving its heritage. Leading artists worked at the theater: E. Ville, E. P. Gerdt, Pyotr Gusev, A. V. Lopukhov, E. M. Lyuk, O. P. Mungalova, V. I. Ponomarev, V. A. Semenov, B. V. Shavrov.

  • In 1930, choreographers Vasily Vainonen, Leonid Yakobson and V.P. Chesnokov staged the Ballet “The Golden Age” to the music of Dmitry Shostakovich.
  • From 1932 to 1942 the following ballets were staged: “The Flames of Paris”, choreographer Vasily Vainonen, 1932; “The Bakhchisarai Fountain”, choreographer Rostislav Zakharov, 1934; in 1939 - “Laurencia”, choreographer Vakhtang Chabukiani.

In 1940, choreographer Leonid Lavrovsky staged the ballet Romeo and Juliet. This performance was later resumed by Semyon Kaplan in 1975.

During the Great Patriotic War artists remaining in besieged Leningrad, under the leadership of O.G. Jordan, they went to the front, performed in factories and hospitals. The main team was evacuated to Perm, where in 1942 the play “Gayane” was staged by choreographer Nina Anisimova

The soloists of the ballet theater of the period 1920-1940 were students of A. Ya. Vaganova, M. F. Romanova, E. P. Snetkova-Vecheslova and A. V. Shiryaev: Nina Anisimova, Fairy Balabina, Tatyana Vecheslova, Natalya Dudinskaya, A. N. Ermolaev, N. A. Zubkovsky, O. G. Jordan, Marina Semyonova, Konstantin Sergeev, Galina Ulanova, Vakhtang Chabukiani and Alla Shelest, Tatyana Vecheslova.

In 1941, after graduating from the Moscow Choreographic School in the class of St. Petersburg teacher Maria Kozhukhova, Inna Zubkovskaya entered the theater.

In the post-war period, new productions appeared in the ballet repertoire of the Kirov Theater, in which danced: I. D. Belsky, B. Ya. Bregvadze, Inna Zubkovskaya, Ninel Kurgapkina, Askold Makarov, Olga Moiseeva, N. A. Petrova, V. D. Ukhov, K.V. Shatilov, N.B. Yastrebova.

IN latest issues A. Ya. Vaganova of the 50s, two names appeared and sparkled: Irina Kolpakova and Alla Osipenko, from the 1957 season, V. S. Kostrovitskaya’s student Gabriela Komleva appeared in the theater, in 1958 N. A. Kamkova’s student Alla Sizova appeared in the theater , in 1959 E. V. Shiripina released the future world star Natalia Makarova, in 1963 L. M. Tyuntina’s student Natalya Bolshakova appeared in the theater, in 1966 - a student of the same teacher Elena Evteeva, in 1970 N. V. Belikova’s student Galina Mezentseva appeared in the theater, and also in 1970-1972 gg. a graduate of the same teacher, Lyudmila Semenyaka, danced in the theater; students of Alexander Pushkin, Rudolf Nuriev, since 1958, and Mikhail Baryshnikov, since 1958, worked in the Kirov ballet; since 1958, Yuri Solovyov (a student of Boris Shavrov).

In the 80s, the next generation came to the theater, among the new stars Altynai Asylmuratova, Farukh Ruzimatov, Elena Pankova, Zhanna Ayupova, Larisa Lezhnina, Anna Polikarpova.

XXI Century

In the new millennium, the theater’s ballet troupe includes: Ulyana Lopatkina, Diana Vishneva, Yulia Makhalina, Alina Somova and Victoria Tereshkina.

Ballet dancers

As of 2016, the core of the Mariinsky Theater ballet consists of the following artists:

Ballerinas and premieres

  • Ekaterina Kondaurova
  • Ulyana Lopatkina
  • Yulia Makhalina
  • Daria Pavlenko
  • Oksana Skorik
  • Alina Somova
  • Victoria Tereshkina
  • Diana Vishneva
  • Timur Askerov
  • Evgeniy Ivanchenko
  • Kimin Kim
  • Igor Kolb
  • Vladimir Shklyarov
  • Danila Korsuntsev
  • Denis Matvienko (guest soloist)

First soloists

Second soloists

Character dance soloists

Corypheas

    "Pharaoh's Daughter", 1898

    One of the performances, 2005

    "Swan Lake", 2004

    "La Bayadère", 2011

see also

  • History of the St. Petersburg ballet school

Notes

  1. Soloists of the Mariinsky Theater ballet. Mariinskii Opera House. Retrieved August 17, 2016.

Links

  • Ballet soloists - on the Mariinsky Theater website

Mariinsky Theater Ballet, Mariinsky Theater Ballet, Mariinsky Theater Ballet, Mariinsky Theater Ballet

Mariinsky Theater Ballet Information About

One of the oldest and leading musical theaters in Russia. The history of the theater dates back to 1783, when the Stone Theater was opened, in which drama, opera and ballet troupes performed. Department of opera (singers P.V. Zlov, A.M. Krutitsky, E.S. Sandunova, etc.) and ballet (dancers E.I. Andreyanova, I.I. Valberkh (Lesogorov), A.P. Glushkovsky, A.I. Istomina, E.I. Kolosova and others) troupes from the dramatic occurred in 1803. Foreign operas were performed on stage, as well as the first works of Russian composers. In 1836, the opera “Life for the Tsar” by M.I. Glinka was staged, which opened the classical period of Russian opera art. Outstanding Russian singers O.A. Petrov, A.Ya. Petrova, as well as M.M. Stepanova, E.A. Semyonova, S.S. Gulak-Artemovsky sang in the opera troupe. In the 1840s The Russian opera troupe was pushed aside by the Italian one, which was under the patronage of the court, and transferred to Moscow. Her performances were resumed in St. Petersburg only in the mid-1850s. on the stage of the Circus Theatre, which after a fire in 1859 was rebuilt (architect A.K. Kavos) and opened in 1860 under the name Mariinsky Theater (in 1883-1896 the building was reconstructed under the direction of architect V.A. Schröter). The creative development and formation of the theater are associated with the performance of operas (as well as ballets) by A.P. Borodin, A.S. Dargomyzhsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov, P.I. Tchaikovsky (many works for the first time) . High musical culture The collective was facilitated by the activities of conductor and composer E.F. Napravnik (1863-1916). Choreographers M.I. Petipa and L.I. Ivanov made a great contribution to the development of ballet art. Singers E.A. Lavrovskaya, D.M. Leonova, I.A. Melnikov, E.K. Mravina, Yu.F. Platonova, F.I. Stravinsky, M.I. performed on the stage of the Mariinsky Theater. and N.N. Figner, F.I. Chaliapin, dancers T.P. Karsavina, M.F. Kshesinskaya, V.F. Nizhinsky, A.P. Pavlova, M.M. Fokin and others. The performances were designed by major artists , including A.Ya. Golovin, K.A. Korovin.

After the October Revolution, the theater became state, and since 1919 - academic. Since 1920 it was called the State Academic Opera and Ballet Theater, since 1935 - named after Kirov. Along with classics, the theater staged operas and ballets by Soviet composers. A great contribution to the development of musical and theatrical art was made by singers I.V. Ershov, S.I. Migai, S.P. Preobrazhenskaya, N.K. Pechkovsky, ballet dancers T.M. Vecheslova, N.M. Dudinskaya, A. V. Lopukhov, K. M. Sergeev, G. S. Ulanova, V. M. Chabukiani, A. Ya. Shelest, conductors V. A. Dranishnikov, A. M. Pazovsky, B. E. Khaikin, directors V. A. Lossky, S. E. Radlov, N. V. Smolich, I. Yu. Shlepyanov, choreographers A. Ya. Vaganova, L. M. Lavrovsky, F. V. Lopukhov. During the Great Patriotic War, the theater was located in Perm, continuing to work actively (several premieres took place, including the opera “Emelyan Pugachev” by M.V. Koval, 1942). Some theater artists who remained in besieged Leningrad, including Preobrazhenskaya, P.Z. Andreev, performed in concerts, on the radio, and participated in opera performances. In the post-war years, the theater paid great attention Soviet music. Artistic achievements theater are associated with the activities of the main conductors S.V. Yeltsin, E.P.Grikurov, A.I.Klimov, K.A.Simeonov, Yu.X.Temirkanov, directors E.N.Sokovnin, R.I.Tikhomirov, choreographers I.A. Belsky, K.M. Sergeev, B.A. Fenster, L.V. Yakobson, artists V.V. Dmitriev, I.V. Sevastyanov, S.B. Virsaladze and others. In the troupe (1990) : chief conductor V.A. Gergiev, chief choreographer O.I. Vinogradov, singers I.P. Bogacheva, E.E. Gorokhovskaya, G.A. Kovaleva, S.P. Leiferkus, Yu.M. Marusin, V. M. Morozov, N. P. Okhotnikov, K. I. Pluzhnikov, L. P. Filatova, B. G. Shtokolov, ballet dancers S. V. Vikulov, V. N. Gulyaev, I. A. Kolpakova, G. T. Komleva, N.A. Kurgapkina, A.I. Sizova and others. Awarded the Order of Lenin (1939), the Order of the October Revolution (1983). Large circulation newspaper "For soviet art"(since 1933).

Honored Artist of the RSFSR Vladimir KINYAEV began creative activity at the Donetsk Opera House (1965). In the same year, the singer was accepted through a competition into the Kirov Theater.
A strong, smooth dramatic baritone with a beautiful velvety timbre, acting talent, and interesting stage solutions for the parts he performed soon brought the artist the sympathy of the audience. The roles he plays as Rigoletto, Escamillo, Amonasro, and Count di Luna are imbued with sincerity and powerful drama. The singer is especially creatively convincing in the leading roles of the Russian classical repertoire, such as Demon, Mazepa, Prince Igor (see photo), Gryaznoy, Prince in “The Enchantress”. One of the artist’s recent successful works is the role of Tsar Boris in the opera “Boris Godunov”.
Interesting and varied concert program V. Kinyaev, including both opera arias and old romances, folk songs.
Kinyaev has repeatedly successfully performed in opera performances and concerts on stages in our country and abroad (France, Switzerland, East Germany, Poland, Yugoslavia, etc.).

People's Artist of the RSFSR Galina KOVALEVA rightfully occupies one of the leading places in Soviet operatic performing arts. Brilliant lyric-coloratura soprano of silvery timbre, wonderful vocal and acting, expressive phrases, subtlety and richness of nuance, dramatic talent distinguish the singer’s performing style.
A student of the Saratov Conservatory (1959), Kovaleva made her debut on the Leningrad stage in 1960. The entire repertoire includes the roles of Lyudmila, Antonida, Marfa, Violetta, Gilda (see photo), Rosina, Michaela, Margarita and others. One of Kovaleva’s recent creative successes is the role of Lucia di Lammermoor, performed by her with an amazing sense of style, brilliantly, freely and dramatically. In the opera “Il Trovatore” she recreated the captivating image of Leonora.
The singer's concert repertoire is extensive and interesting. She's a winner International competition vocalists in Toulouse (1962), laureate of international competitions in Sofia (1961) and Montreal (1967). Kovaleva performed in plays and concerts in France, Czechoslovakia, Bulgaria, Japan and other countries.

One of the remarkable masters of the Soviet opera theater, People's Artist of the USSR Boris Shtokolov, is a singer of rare charm and rich artistic talent.
Beautiful, deep and soft bass, emotionality, sincerity, sincerity contribute to the artist’s successful disclosure artistic image. Shtokolov is characterized by an inquisitive creative search.
Boris came to the Kirov Theater in 1959 from the Sverdlovsk Opera. Great vocal skill and acting talent helped him embody a number of bright, memorable images, including Ivan Susanin, Ruslan, Demon, Gremin, Dositheus, Mephistopheles, Don Basilio and others. Shtokolov’s talent was most fully revealed in two roles, very different: in the opera “Boris Godunov” (see photo) he paints an impressive image of Tsar Boris; Sincerely and soulfully, he sings the part of the Soviet soldier Andrei Sokolov in the opera “The Fate of a Man,” in the creation of which the artist took a direct part.
Shtokolov performed on opera stages in Austria, Hungary, the German Democratic Republic, Finland, Canada, Spain and other countries more than once. The singer's activities are not limited to opera stage. He often performs in concerts, captivating listeners with his wonderful performances of arias, romances, folk songs.
Shtokolov is a laureate of vocal competitions at the world festivals of youth and students in Moscow (1957) and Vienna (1959).

Distinctive features performing style of Honored Artist of the RSFSR Irina BOGACHEVA - emotionality, dramatic expressiveness; She is close to strong, bright, deep characters. The singer has a beautiful mezzo-soprano voice with a wide range. On the stage of the Kirov Theater, where she has been performing since 1963, after graduating from the Leningrad Conservatory, the artist performs a number of leading roles in the repertoire, such as Carmen, Amneris, Azucena, Marfa (see photo), Lyubasha, Ulrika and others. Bogacheva is one of the creators of the role of Aksinya in “Quiet Don”. A significant event in the singer’s life was also the work on creating the image of the Commissioner in the opera “An Optimistic Tragedy”. The singer leads the big concert activities. She is a laureate of the All-Union Glinka Vocal Competition (1962), winner of the International Vocal Competition in Rio de Janeiro (1967). Bogacheva successfully completed her creative work at the Milan Opera House "La Scala" (1968-1970), took part in concerts and performances of the famous theater.

People's Artist of the RSFSR Rimma BARINOVA is a student of the Moscow Conservatory. IN opera troupe She joined the Kirov Theater in 1954. The singer's works are marked by vocal mastery, psychological sharpness and dramatic expressiveness.
The owner of a sonorous mezzo-soprano, over the years she has become a performer of a whole gallery of stage images. Her repertoire includes Joanna, Lyubasha, Martha, Ortrud in the opera “Lozngrin” (see photo), Amneris, Ulrika, Azucena, Preziosilla in “Force of Destiny”, Natela in “Abesaloms and Eteri”, and a number of other leading and solo roles.
At the World Festival of Youth and Students in Berlin in 1951, Barinova won the title of laureate.

Honored Artist of the RSFSR Vladimir MOROZOV is the creator of a number of vocal and stage images in new Soviet operas. Andrei Sokolov in “The Fate of Man”, Leader in “Optimistic Tragedy” (see photo), Andrei in the opera “October”, Grigory in “Quiet Don” - this is not a complete list of the singer’s works during his activity on the stage of the Kirov Theater , where he began performing in 1959. The artist’s classical repertoire is no less extensive - Dosifey, Pimen, Varlaam, Tokmakov, Farlaf, Svetozar, Gudal, Gremim. Mephistopheles, Ramfis, Sarastro, Mendoza and many other parties.
A strong, expressive bass, excellent stage performance and skill put Morozov among the leading soloists of the opera.

People's Artist of the RSFSR Valentina MAKSIMOVA has been performing on the stage of the theater for more than two decades. The singer graduated from the Leningrad Conservatory in 1950 and was immediately accepted as a soloist of the opera.
Maximova's distinctive features are her light coloratura soprano with a beautiful timbre, perfect vocal technique, and acting skills. Over the years of work in the theater, the artist performed many leading roles, including Antonida, Lyudmila, Violetta, Marfa, Gilda, Lucia, Rosina, Louise (“Betrothal in a Monastery”, see photo) and others. Maksimova pays a lot of attention to the chamber repertoire. She is a laureate of the vocal competition at the World Festival of Youth and Students in Berlin (1951).

Honored Artist of the RSFSR Matvey GAVRILKIN embodied a number of interesting characters on the theater stage. Among the many leading parts of the repertoire sung by the artist are Herman (see photo), Faust, Jose, Werther, Alvaro, Manrico. Sobinin, Golitsyn, Pretender, Shuisky, Peter Grimes, Vladimir Igorevich, Masalsky (October), Alexey (Optimistic Tragedy) and others. Having graduated from the Sverdlovsk Conservatory in 1951, the singer first performed at the Perm Opera House, and in 1956 he successfully debuted on the stage of the Kirov Theater. Grateful vocal and stage abilities, a lyrical and dramatic tenor with a bright timbre, temperament, vocal and acting skills contributed to the artist’s promotion to the number of leading opera soloists.

Tatiana in the opera Eugene Onegin, Michaela in Carmen, Pamina in The Magic Flute (see photo), Margarita in Faust, Amelia in Un ballo in maschera, Aida, Yaroslavna in Prince Igor, Tanya in “Dubrovsky”, Lisa in “The Queen of Spades”, Elsa in “Lohengrin” - these are the main works of the opera soloist Ona GLINSKAITE. The young singer graduated from the Leningrad Conservatory in 1965 and was immediately accepted into the theater troupe.
The artist is endowed with a beautiful, rich timbre, flexible and strong lyric-dramatic soprano of a wide range.
Artistry, stage presence, and vocal technique contributed to the singer’s success. Her concert repertoire widely includes classical and modern music. vocal music.

The repertoire of Honored Artist of the RSFSR Vladimir KRAVTSOV testifies to the breadth of his acting range and vocal skill. Lensky, Faust (see photo), Lohengrin, Werther, Almaviva, Alfred, Duke, Manrico, Lykov, Vladimir Dubrovsky, Holy Fool, Pretender, Indian Guest, Alexey in “An Optimistic Tragedy” - these are his main works.
A graduate of the Moscow Conservatory, Kravtsov came to the Kirov Theater in 1958 from the troupe of the Stanislavsky and Nemirovich-Danchenko Theater. A bright, sincere lyrical tenor with a beautiful timbre, the desire to reveal through vocal expressiveness inner world his hero - these are the main features of the artist’s creative image.

Honored Artist of the RSFSR Igor NAVOLOSHNIKOV, a graduate of the Ural Conservatory (1958), while still performing on the stage of the Sverdlovsk Opera House, sang many leading roles. Having become a soloist of the Kirov Theater in 1963, the singer expanded his repertoire. Ivan Susanin, Boris Godunov, Kochubey, Gremin, Galitsky, Konchak, Sobakin, Ruslan, Varlaam, Ramfis, Mephistopheles, Don Basilio (see photo), Monterone, Sarastro - these are his main roles.
A high, soft bass of an even range, vocal mastery, and the desire for a deep and truthful implementation of the stage concept helped the artist to occupy the position of one or the leading soloists of the opera. Navoloshnikov is the winner of the All-Union Mussorgsky Vocal Competition (1964).

Opera soloist Mikhail EGOROV, a graduate of the Moscow Conservatory (1964), was invited to join the troupe of the Kirov Theater in 1965. Behind a short time the artist became a performer of a number of leading roles: Lensky (see photo), Vladimir Igorevich, Lykov, Guidon, Holy Fool, Faust, Lohengrin, Duke, Alfred, Almaviva, Edgar in Lucia di Lammermoor, Tamino in The Magic Flute, Vladislav in "Gunyadi Laszlo" and others.
Egorov has a fresh lyric-dramatic tenor, artistic temperament, musicality, and brilliant stage talent. The artist performs a lot in concerts. His extensive repertoire includes classics, folk songs, works by Soviet and foreign composers.

The creative path of the remarkable Soviet ballerina, People's Artist of the USSR Irina KOLPAKOVA, began in 1951. Over the years, the dancer's skill has reached brilliance, earning her well-deserved fame throughout the world. Kolpakova’s dance captivates with its lightness, plasticity, and openwork pattern. The images she created are deeply authentic, lyrical, and unusually soulful.
The artist's repertoire is varied: Giselle, Raymonda, Cinderella, Aurora (see photo), Juliet, Maria and many other roles. Kolpakova was the first creator of leading roles in many Soviet productions. The stage images of Katerina (Stone Flower), Shirin (Legend of Love), His Beloved (The Shore of Hope), Ala (Scythian Suite), Eva (Creation of the World), Snow Maiden (Choreographic Miniatures), the central roles choreographed for her are uniquely original and modern. creative evening of one-act ballets “Two” and “Romeo and Julia”.
Kolpakova is a laureate of ballet competitions at the world festivals of youth and students in Berlin (1951) and Vienna (1959). At the International Dance Festival in Paris (1965) she won gold medal.

People's Artist of the RSFSR Yuri SOLOVIEV combines in his art the perfection of classical technique with inspired figurative expressiveness. His dance amazes with its extraordinary flight, dynamics, and plasticity.
The artist's creative path began in 1958. His repertoire is very diverse. With great skill he performs the roles of Siegfried, Desiree, the Blue Bird, Albert, Solor, Frondoso, Ferkhad, Danila, Ali-batyr, the Prince in “Cinderella” (see photo), God in “The Creation of the World”, leading roles in one-act ballets "Two" and "Oresteia". The artist starred as Prince Désiré in the film-ballet “Sleeping Beauty.”
At the ballet competition of the World Festival of Youth and Students in Vienna (1959) and at the International Dance Festival in Paris (1965), the artist won the title of best dancer. In 1963, in Paris, “cosmic Yuri” - as reviewers of foreign newspapers called him for his light, airy jump - was awarded a Nijinsky diploma and the title of the best dancer in the world.

The young ballet soloist Mikhail BARYSHNIKOV, having started dancing on the stage of the theater in 1967, is rapidly gaining recognition for his musicality, plastic sensitivity, precision and grace of movements, expression and flight of dance, virtuosity of classical technique.
Baryshnikov is the winner of the International Competition for Young Ballet Dancers in Varna (1966). In 1969 he received a gold medal and the title of laureate International Festival dance in Moscow.
The artist performs in the roles of Desiree, Blue Bird, Basil (see photo), Albert, Mercutio, in the choreographic miniatures Vestris, Eternal Spring, etc. Among his recent creative successes are the roles of the romantically pure Hamlet and the temperamental, courageous Adam in The Creation of the World "

Performing Arts People's Artist The RSFSR of Sergei VIKULOV is characterized by poetry, flight, and perfect technique of classical dance. Having started your creative path in 1956, the artist gradually became a performer of many leading roles and received wide recognition.
The dancer's repertoire is very diverse. Prince Desiree and the Blue Bird, Siegfried (see photo), Albert. Solor, the Prince in Cinderella, Vaclav, Paris and Mercutio, Jean de Brien - all these virtuoso roles are inspired by Vnkulov with inner content and depth of feeling.
In 1964, Vikulov became the winner of the International Competition for Young Ballet Artists in Varna, and in 1965 in Paris he was awarded the title of best dancer in the world and a diploma named after Nijinsky.

The characteristic features of the performing style of People's Artist of the RSFSR Kaleria FEDICHEVA are temperament, expression, and romantic elation. Her dance is flexible, large-scale, and technically perfect. With her characteristic brightness and originality, the artist performs the roles of Raymonda, Laurencia (see photo), Odette - Odillni, Kitri, Gamzatti, Nikia, Mistress of the Copper Mountain, Zarema, Aegina, Mehmepe-Baiu, Angry, Gertrude, Devil and others.
The peculiarity of Fedicheva’s talent is her tireless creative search. Clytemnestra staged for her creative evening one act ballet"Oresteia" is one of her best roles. Fedicheva is a laureate of the World Festival of Youth and Students in Helsinki (1962).

The art of People's Artist of the RSFSR Ninella KURGAPKINA is cheerful and emotional. Her dance is marked by lightness, brilliance, swiftness, impeccability of movements, virtuoso classical technique. She is not characterized by poetic dreaminess, psychological complexity, her element is a dynamic allegro. The artist is especially successful in major roles, filled with spiritual clarity, bursting with enthusiasm and fun. Aurora, Kitri, Gamzatti, Colombina, Shirin (see photo), Parasha, Bird Girl, Tsar Maiden, Jeanne in “The Flames of Paris” - these are some of her works. At the ballet competition of the World Festival of Youth and Students in Bucharest (1953), Kurgapkina was awarded a gold medal.

The characters are strong, integral, effective, the performances with acute dramatic intensity are close to the creative individuality of the Honored Artist of the RSFSR Olga MOISEEVA. Her dance is expressive, emotionally filled, marked by spirituality and originality of performing style.
The artist's repertoire includes the roles of Odette-Odile, Nikni, Egiiya, Raymonda, Krivlyaki, Laureieii, Kitri, Zarema, Nntntsi Girls, Sari in “The Path of Thunder” (see photo) and others. Moiseeva is one of the creators of the images of Mekhmene-Banu in “The Legend of Love” and Gertrude in “Hamlet”. In 1951, the artist became the winner of the ballet competition at the World Festival of Youth and Students in Berlin.

Cordiality and spontaneity, brilliance and classical completeness of plasticity - these are the features that define the performing style of People's Artist of the RSFSR Alla SIZOVA.
Among the images embodied by the artist on the theater stage (since 1958) are Aurora, Giselle, Sylphide (see photo), Kitri, Katerina, Cinderella, Maria, Juliet, Ophelia and others.
The actress starred in the role of Aurora in the film-ballet “Sleeping Beauty”. At the ballet competition of the World Festival of Youth and Students in Vienna (1959) and the International Competition of Young Ballet Artists in Varna (1964), Sizova won gold medals. In 1964, in Paris, she was awarded an honorary diploma named after Anna Pavlova.

The stage career of the Honored Artist of the RSFSR and the Dagestan Autonomous Soviet Socialist Republic, laureate of the State Prize of the RSFSR Gabriela Komleva began in 1957.
Great musicality, virtuoso classical technique, lightness, accuracy and completeness of the dance helped the artist to recreate a number of bright plastic images: Raymond Odette - Odile, Aurora, Kitri, Giselle Myrtha, Nikia, Cinderella, Mistress of the Copper Mountain, Pannochka, Ophelia and others. In performing these very different roles, the artist achieved convincing stage images of impeccable skill and brilliance. Big creative luck Komleva - she created a strong and truthful image of the brave mountain girl Asiyat in the ballet “Mountain Woman” (see photo).
Komleva was awarded the title of laureate of the International Competition of Young Ballet Artists in Varna (1966).

One of the best character dancers of the ballet troupe, Honored Artist of the RSFSR Irina GENSLER, temperamentally and truthfully reveals in her character dance the psychological features of the image, its dramatic sound.
Among the artist’s numerous works, in which her unique talent was clearly demonstrated, are Hungarian and Spanish dancing in “Swan Lake”, Tsygansky and Mercedes in “Don Quixote”, Hindu in “La Bayadère”, Hungarian and Panaderos in “Raymond”, Mazurka in “Cinderella”, Lezginka in “Mountain Woman”, roles of Teresa in “The Flames of Paris”, Gaditanekoy maidens in “Spartacus”, Matchmakers in “Shural”, Fanny in “Path of Thunder”, “Spanish miniatures” (see photo), choreographic miniatures “Kumushki”, “Troika” and many others.
Gensler is the pioneer of the bright, dynamic stage image of the Young Gypsy in The Stone Flower.

Generosity of imagination, dramatic expression and inner fullness, high technique of classical and character dance define the creative personality of ballet soloist Anatoly GRIDINA.
The dancer has been performing on the theater stage since 1952. He performed in many leading and solo roles in the repertoire, including Rothbart (Swan Lake), Fairy Carabosse (Sleeping Beauty), Hans (Giselle), Gamache and Espada (Don Quixote), Pierrot (Carnival), Drosselmeyer (Nutcracker), Commander and Mengo (Laurencia), Giray (Bakhchisarai Fountain), Tybalt (Romeo and Juliet), Crase (Spartacus), King of Monsters (Wonderland), Mako (Path of Thunder), Prisypkin (Bedbug), choreographic miniatures “Troika” and “ Stronger than death", "Spanish miniatures" (see photo).
The images of Severyan for “The Stone Flower” and the Vizier in “The Legend of Love” created by Gridin are among the most interesting roles of the Soviet ballet theater.

The plastic images created by Honored Artist of the RSFSR Anatoly SAPOGOV have a special power of expressiveness. Classical perfection of form, virtuoso, clear dance pattern are combined in them with great temperament and acting originality.
Sapogov made his debut on the theater stage in 1949. Here he created a number of diverse, memorable images. Shurale, Fairy Carabosse, Nurali, Mako, King of Monsters, Ali in "The Mountain Woman", Agamemnon in "The Oresteia", Claudius in "Hamlet", characteristic dances in the ballets "Swan Lake", "Don Quixote", "Raymonda", "La Bayadère" ", "Laurencia" - this is an incomplete list of the artist’s works. The roles of the Young Gypsy in “The Stone Flower” and the Stranger in “The Legend of Love” (see photo), created by Sapogov, are of the greatest interest in the artist’s work in terms of depth and expressiveness and occupy a special place in the Soviet ballet theater.

Grace, elegance, liveliness and grace of characteristic dance, combined with a strict classical form and a subtle sense of style - these are the features of the performing style of the Honored Artist of the RSFSR Olga ZABOTKINA.
On the stage of the theater, where the dancer has been performing since 1953, she is one of the leading performers of character dances in the ballets “Swan Lake” (see photo), “Raymonda”, “The Nutcracker”, “Laurencia”, “Cinderella”, “The Bronze Horseman” ", "Mountain Woman", "Bakhchisarai Fountain" and many others, the parts of Mercedes and the Street Dancer in "Don Quixote", the Colored Girl in "Path of Thunder", the Young Gypsy in "Stone Flower", Aisha in "Gayane" and others. Zabotkina starred in the films “Two Captains” (Katya), “Don Cesar de Bazan” (Maritana), “Sleeping Beauty” (Queen Mother) and “Cheryomushki” (Lida). She is a laureate of the World Festival of Youth and Students in Bucharest (1953).

Honored Artist of the RSFSR Konstantin RASSADIN, a bright, characterful dancer of a wide range, began his creative activity on the theater stage in 1956. With his characteristic temperament and expressiveness, the artist performs many characteristic roles in classical and Soviet performances: Espada, Nurali, Mengo, Shurale, Severyan in “The Stone Flower”, the Stranger in “The Legend of Love”, Mako in “The Path of Thunder”, characteristic dances in ballets “Swan Lake” (see photo), “Raymonda”, “Cinderella” and others. Rassadin’s unique acting talent found especially vivid expression in the creation of satirical, acutely grotesque roles - Polichinelle and Toady in “Choreographic Miniatures”, Prisypkin in the ballet “The Bedbug”.
At the All-Union Competition in Moscow (1969), Rassadin was awarded first prize for his performance of the Russian folk humoresque “The Man and the Devil,” which he staged.

Publications in the Theaters section

Modern Russian ballerinas. Top 5

The proposed five leading ballerinas include artists who began their careers in the main musical theaters of our country - the Mariinsky and the Bolshoi - in the 90s, when the situation in politics, and then in culture, was rapidly changing. Ballet theater became more open due to the expansion of the repertoire, the arrival of new choreographers, the emergence of additional opportunities in the West, and at the same time more demanding of performing skills.

This short list of stars of the new generation opens with Ulyana Lopatkina, who came to the Mariinsky Theater in 1991 and is now almost finishing her career. At the end of the list is Victoria Tereshkina, who also began working in the era of perestroika in ballet art. And right behind her comes the next generation of dancers, for whom the Soviet legacy is only one of many directions. These are Ekaterina Kondaurova, Ekaterina Krysanova, Olesya Novikova, Natalya Osipova, Oksana Kardash, but more about them another time.

Ulyana Lopatkina

Today's media call Natalia Dudinskaya's student Ulyana Lopatkina (born in 1973) a “style icon” of Russian ballet. There is a grain of truth in this catchy definition. She is the ideal Odette-Odile, the true “two-faced” heroine of “Swan Lake” in the coldly refined Soviet version by Konstantin Sergeev, who also managed to develop and convincingly embody on stage another swan image in Mikhail Fokine’s decadent miniature “The Dying Swan” by Camille Saint-Saëns. From these two works of hers, recorded on video, Lopatkina is recognized on the street by thousands of fans all over the world, and hundreds of young ballet students are trying to master the craft and unravel the mystery of transformation. The refined and sensual Swan is Ulyana, and for a long time, even when the new generation of dancers eclipses the brilliant galaxy of ballerinas of the 1990–2000s, Odetta-Lopatkina will bewitch. She was also unattainable, technically precise and expressive in “Raymond” by Alexander Glazunov, “The Legend of Love” by Arif Melikov. She would not have been called a “style icon” without her contribution to the ballets of George Balanchine, whose American heritage, imbued with the culture of the Russian Imperial Ballet, was mastered by the Mariinsky Theater when Lopatkina was at the very peak of her career (1999–2010). Her best roles, namely roles, and not parts, since Lopatkina knows how to dramatically fill plotless compositions, she became solo works in “Diamonds”, “Piano Concerto No. 2”, “Theme and Variations” to the music of Pyotr Tchaikovsky, “Waltz” by Maurice Ravel. The ballerina participated in all the avant-garde projects of the theater and, based on the results of collaboration with modern choreographers, will give a head start to many.

Ulyana Lopatkina in the choreographic miniature “The Dying Swan”

Documentary“Ulyana Lopatkina, or Dancing on Weekdays and on Holidays”

Diana Vishneva

Second by birth, only three years younger than Lopatkina, student of the legendary Lyudmila Kovaleva Diana Vishneva (born in 1976), in reality she never “came” second, but only first. It so happened that Lopatkina, Vishneva and Zakharova, separated from each other by three years, walked side by side at the Mariinsky Theater, full of healthy rivalry and at the same time admiration for the enormous, but completely different possibilities each other. Where Lopatkina reigned as the languid, graceful Swan, and Zakharova formed a new - urban - image of the romantic Giselle, Vishneva performed the function of the goddess of the wind. Having not yet graduated from the Academy of Russian Ballet, she already danced on the stage of the Mariinsky Theater Kitri, the main character in Don Quixote, and a few months later she showed her achievements in Moscow on the stage of the Bolshoi Theater. And at the age of 20 she became a prima ballerina of the Mariinsky Theater, although many have to wait until they are 30 or more years old to be promoted to this status. At 18 (!), Vishneva tried on the role of Carmen in a number composed specially for her by Igor Belsky. In the late 90s, Vishneva was rightfully considered the best Juliet in Leonid Lavrovsky’s canonical version, and she also became the most graceful Manon Lescaut in Kenneth MacMillan’s ballet of the same name. Since the early 2000s, in parallel with St. Petersburg, where she participated in many productions of such choreographers as George Balanchine, Jerome Robbins, William Forsythe, Alexei Ratmansky, Angelen Preljocaj, she began performing abroad as a guest etoile (“ballet star”). Now Vishneva works more often in her own projects, ordering ballets for herself famous choreographers(John Neumayer, Alexei Ratmansky, Caroline Carlson, Moses Pendleton, Dwight Rhoden, Jean-Christophe Maillot). The ballerina regularly dances in premieres of Moscow theaters. Vishneva enjoyed enormous success in the Bolshoi Theater ballet choreographed by Mats Ek “The Apartment” (2013) and in John Neumeier’s play “Tatyana” based on “Eugene Onegin” by Alexander Pushkin at the Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater in 2014. In 2013 she became one of the organizers of the November festival modern dance Context, which since 2016 has been taking place not only in Moscow, but also in St. Petersburg.

Documentary film “Always on the move. Diana Vishneva"

Svetlana Zakharova

The youngest of the three famous chicks of the A. Vaganova Academy from the 90s, Svetlana Zakharova (born in 1979) instantly caught up with her rivals and in some ways surpassed them, acting like the once great Leningrad ballerinas Marina Semyonova and Galina Ulanova, “to serve” at the Moscow Bolshoi Theater in 2003. She had behind her her studies with the excellent ARB teacher Elena Evteeva, experience working with Olga Moiseeva, the star of the Kirov Ballet of the 70s, and a gigantic track record. In any of the performances of the St. Petersburg period, Zakharova stood out clearly. Her strong point, on the one hand, was the interpretation of heroines in ancient ballets Marius Petipa, restored by Sergei Vikharev, and soloists in avant-garde productions by leading choreographers - on the other. According to natural data and " technical specifications“Zakharova not only surpassed her colleagues at the Mariinsky Theater and then at the Bolshoi, she entered the cohort of the most sought-after ballerinas in the world who dance everywhere in guest status. And the most important ballet company in Italy - La Scala Ballet - offered her a permanent contract in 2008. Zakharova at some point admitted that she danced “Swan Lake”, “La Bayadère” and “The Sleeping Beauty” in all possible stage versions from Hamburg to Paris and Milan. IN Bolshoi Theater, shortly after Zakharova moved to Moscow, John Neumeier staged his program ballet A Midsummer Night's Dream, and the ballerina shone in it in the double role of Hippolyta-Titania paired with Nikolai Tsiskaridze's Oberon. She also took part in the production of “Lady with Camellias” by Neumeier at the Bolshoi. Zakharova successfully collaborates with Yuri Posokhov - she danced the premiere of his “Cinderella” at the Bolshoi Theater in 2006 and in 2015 she performed the role of Princess Mary in “A Hero of Our Time.”

Documentary film “Prima ballerina of the Bolshoi Theater Svetlana Zakharova. Revelation"

Maria Alexandrova

At the same time, when the triad of St. Petersburg dancers conquered Northern Palmyra, the star of Maria Alexandrova (born in 1978) rose in Moscow. Her career developed with a slight delay: when she came to the theater, ballerinas of the previous generation - Nina Ananiashvili, Nadezhda Gracheva, Galina Stepanenko - had finished their time dancing. In the ballets with their participation, Alexandrova - bright, temperamental, even exotic - was in the supporting roles, but it was she who received all the experimental premieres of the theater. Not at all young ballerina critics saw Alexei Ratmansky's ballet "Dreams of Japan", soon she interpreted Catherine II in Boris Eifman's ballet "Russian Hamlet" and others. And debuts in the main roles of such ballets as "Swan Lake", "Sleeping Beauty", "Raymonda" ", "The Legend of Love", she waited patiently for years.

The year 2003 became fateful when the choreographer chose Alexandrova as Juliet new wave Radu Poklitaru. It was an important performance that opened the way for new choreography (without pointe shoes, without classical positions) at the Bolshoi Theater, and Alexandrova held the revolutionary banner. In 2014, she repeated her success in another Shakespearean ballet - The Taming of the Shrew, choreographed by Mayo. In 2015, Alexandrova began collaborating with choreographer Vyacheslav Samodurov. He staged a ballet about the theater behind the scenes - “Curtain” in Yekaterinburg, and in the summer of 2016 he chose her for the role of Ondine in the ballet of the same name at the Bolshoi Theater. The ballerina managed to use the forced waiting time to hone the dramatic side of the role. The secret source of her creative energy aimed at acting does not dry out, and Alexandrova is always on alert.

Documentary film “Monologues about myself. Maria Alexandrova"

Victoria Tereshkina

Like Alexandrova at the Bolshoi, Victoria Tereshkina (born 1983) was in the shadow of the aforementioned trio of ballerinas. But she did not wait for anyone to retire; she began to energetically capture parallel spaces: she experimented with novice choreographers, did not get lost in the difficult ballets of William Forsythe (Approximate Sonata, for example). She often did what others did not undertake, or attempted, but could not cope with, but Tereshkina succeeded and is succeeding in absolutely everything. Her main strength was impeccable mastery of technique, helped by endurance and the presence of a reliable teacher nearby - Lyubov Kunakova. It is curious that, unlike Alexandrova, who went into genuine drama, which is only possible in ballet stage, Tereshkina “focused” on improving technology and elevated triumphant plotlessness to a cult. Her favorite plot, which she always plays on stage, grows out of a sense of form.

Documentary film “The Royal Box. Victoria Tereshkina"