In pre-revolutionary Russia, ballet was very popular. Despite the fact that after the revolution many dancers of the imperial theater left the country and began performing on the stages of foreign theaters, there were many artists left in Russia who were able to revive the art of ballet in the country and found the Soviet ballet. And in this they were helped by the first People's Commissar for Education Anatoly Lunacharsky, who made a lot of efforts to preserve and develop this type of art in a dilapidated state. In the 30s of the 20th century, the first stars of Soviet ballet began to appear. Many of them received the title of People's Artist of the RSFSR and the USSR:
- Ekaterina Geltser;
- Agrippina Vaganova;
- Galina Ulanovna;
- Olga Lepeshinskaya;
- Vasily Tikhomirov;
- Mikhail Gabovich;
- Alexey Ermolaev;
- Rostislav Zakharov;
- Asaf Messerer;
- Konstantin Sergeev and others.
40s - 50s
During these years, the Imperial Theater of St. Petersburg was renamed the Ballet. Kirov (now the Mariinsky Theatre), and artistic director This theater became the honored ballerina Agrippina Vaganova, a student of Petipa and Cecchetti. She was forced to transform storylines, subordinating them to Soviet ideological principles. For example, the ending of the ballet “Swan Lake” was changed from tragic to sublime. And the Imperial Ballet School became known as the Leningrad State Choreographic Institute. Future stars of Soviet ballet studied here. After the death of the outstanding ballerina in 1957, this educational institution was renamed the Agrippina Vaganova Academy of Russian Ballet. That's what it's called to this day. The most popular ballet theaters in the country are the Bolshoi Theater in Moscow and the Theater named after. Kirov (Mariinsky Theater) in Leningrad. The theaters' repertoire included works by both foreign, Russian and Soviet composers. The ballets “Cinderella” and “Romeo and Juliet” and others were especially popular. The ballet did not stop performing during the Patriotic War. However, it reached its peak in the middle of the century. Starved of cultural events during the war years, Soviet people flooded the theater halls, and each new performance was sold out. Ballet dancers were very popular. During these years, new stars of Soviet ballet appeared: Tatyana Zimina, Maya Plisetskaya, Yuri Grigorovich, Maris Liepa, Raisa Struchkova, Boris Bregvadze, Vera Dubrovina, Inna Zubkovskaya, Askold Makarov, Tamara Seifert, Nadezhda Nadezhdina, Vera Orlova, Violetta Bovt and others.
60s - 70s
In subsequent years, Soviet ballet became business card USSR. The troupes of the Bolshoi and Kirov Theaters successfully toured all over the world, even traveling behind the Iron Curtain. Some Soviet ballet stars, finding themselves “over the hill” and weighing all the pros and cons, decided to stay there and asked for political asylum. They were considered traitors in their homeland, and the media wrote about famous “defectors.” Alexander Godunov, Natalya Markova, Valery Panov, Rudolf Nureyev - they all had great success and were in demand on the ballet stages of the most prestigious theaters in the world. However, the Soviet ballet dancer the Great Rudolf Nureyev gained the greatest popularity in the world. He became a legend in the history of world culture. Since 1961, he has not returned from the Parisian tour and became the premier at Covent Garden, and from the 1980s he became the director of the Grand Opera in Paris.
Conclusion
Today, Russian ballet does not lose its popularity, and young artists raised by Soviet choreographers are in demand all over the world. Russian ballet artists in the 21st century are free in their actions. They can freely enter into contracts and perform on the stages of foreign theaters and with their brilliant performances prove to everyone that Russian ballet is the best in the whole world.
Laying the foundation for her worldwide fame. Job Poster V. Serova with the silhouette of A. Pavlova forever became the emblem of the “Russian Seasons”. With 1910 Pavlova toured many countries around the world with her own troupe. Choreographer Mikhail Fokin staged several ballets especially for A. Pavlova’s troupe, one of which was “Seven Daughters of the Mountain King.” Last performance ballerinas in Mariinsky Theater took place in 1913, and in Russia- V 1914, after which she settled in England and never returned to Russia. 1921 -1925 Anna Pavlova toured USA, the organizer of her tour was the American impresario Russian origin Solomon Yurok. IN 1921 Anna Pavlova also performed in India and won the attention of the Indian public in Delhi , Bombay And Kolkata .Pavlova’s name became legendary during the ballerina’s lifetime.
Karsavina Tamara Platonovna
The ballerina was born on February 25 ( March 9) 1885 V St. Petersburg in the family of the dancer of the imperial troupe Platon Karsavin and his wife Anna Iosifovna, née Khomyakova, daughter of a cousin (that is, great-niece) famous Slavophile A.S. Khomyakov. Brother - Lev Karsavin, Russian philosopher. IN 1902 Graduated from the Imperial Theater School, where she learned the basics of ballet skills from teacher Alexander Gorsky, then joined the troupe Mariinsky Theater . Karsavina quickly achieved the status of a prima ballerina and performed leading roles in ballets of the classical repertoire - “Giselle”, “Sleeping Beauty”, “The Nutcracker”, “Swan Lake”, “Carnival”, etc. Since 1909, at the invitation of Sergei Diaghilev, Karsavina began performing in tours of Russian ballet dancers in Europe organized by him, and then in Diaghilev’s Russian Ballet. The ballerina’s most notable works during the period of collaboration with Diaghilev were leading roles in the ballets “Firebird”, “Phantom of the Opera”, “Petrushka” (staged by Mikhail Fokin), “Women’s Follies”, etc. In exile, she continued to perform on stage and toured with the Diaghilev Russian Ballet, and was engaged in teaching activities. In addition, in the early 1920s the ballerina appeared in cameo roles in several silent films produced in Germany and Great Britain, including in the film “The Path to Strength and Beauty” 1925. In 1930-1955. served as vice-president of the Royal Academy of Dance. Tamara Karsavina died on May 26, 1978 in London at the age of 93.
Ulanova Galina Sergeevna
Born on January 8, 1910 (new style) in St. Petersburg into an artistic family. In 1928 she graduated from the Leningrad Choreographic School, where she studied for the first six years with her mother M. F. Romanova, then with A. Ya. Vaganova, a famous teacher. After graduating from college she entered the Theater Opera and Ballet named after S. M. Kirov (since 1992 Mariinsky Theatre). She made her debut in the complex role of Odette-Odile in P. I. Tchaikovsky’s ballet “Swan Lake”. In 1941, Ulanova became a laureate of the Stalin Prize (this title was also awarded to her in 1946, 1947 and 1950). In 1944, the ballerina was invited to Moscow, and she became a soloist of the Bolshoi Theater. Ulanova danced on its stage until 1960, creating unforgettable images in both the classical Russian and foreign ballet repertoire. The ballerina also turned to the work of contemporary composers. Thus, Ulanova stunningly embodied the image of Juliet on stage in S. S. Prokofiev’s ballet “Romeo and Juliet.” In 1951, Galina Sergeevna was awarded the title of People’s Artist of the USSR. Her talent was recognized throughout the world. When the Bolshoi Theater first went on tour to London in 1956, Ulanova won a triumphant success in the roles of Giselle (in the ballet of the same name by A. Adam) and Juliet. Juliet was her favorite heroine.
She is the only ballerina to whom monuments were erected during her lifetime (in Leningrad and Stockholm). The last ballet in which Ulanova danced was “Chopiniana” to the music of F. Chopin. After leaving the stage, she continued to work at the Bolshoi Theater as a teacher-tutor. Among her students are E. Maksimova, V. Vasiliev, L. Semenyaka and many others. A. N. Tolstoy called Ulanova “an ordinary goddess.” She died on September 22, 1998 in Moscow.
Yuri Timofeevich Zhdanov
Yuri Timofeevich Zhdanov (November 29 [according to other data September 29] 1925, Moscow - 1986, Moscow) - People's Artist RSFSR, choreographer, teacher, artist. He graduated from the Moscow Choreographic School in the class of N.I. Tarasov in 1944, the choreographer’s department of GITIS. A.V. Lunacharsky (Prof. L.M. Lavrovsky and R.V. Zakharov) in 1968. In the period 1944-1967, he was the leading soloist of the Bolshoi Theater ballet. He performed the main roles in the ballets “Romeo and Juliet”, “Giselle”, “The Fountain of Bakhchisarai”, “ Bronze Horseman", "Red Poppy", "Chopiniana", "Swan Lake", "Sleeping Beauty", "Raymonda", "Don Quixote", "Flames of Paris", "Gayane", "Firebird", "Walpurgis Night" and etc., led a large concert activity. In 1951-1960 was a constant partner of Galina Ulanova, performed with her in the first six of the listed ballets and in the concert program. Together they toured the cities of the USSR (1952), and in subsequent years participated in the first tours of the Soviet ballet in Paris (1954, 1958), London (1956), Berlin (1954), Hamburg, Munich, Brussels (1958), New York, Washington, Los Angeles, San Francisco, Toronto, Ottawa, Montreal (1959), acted in films (“Romeo and Juliet”). In 1953, the film “Masters of Russian Ballet” was shot at the Lenfilm film studio. The film includes fragments of Boris Asafiev’s ballets “The Fountain of Bakhchisarai” and “The Flame of Paris”, as well as the ballet “Swan Lake” by P. I. Tchaikovsky. Yuri Zhdanov performed one of the main roles in this film. Yu. Zhdanov also performed with Svetlana Adyrkhaeva, Sofia Golovkina, Olga Lepeshinskaya, Ekaterina Maximova, Maya Plisetskaya, Raisa Struchkova, Nina Timofeeva, Alla Shelest and other Russian and foreign ballerinas. Spectators from more than thirty countries are familiar with the choreographic art of Yuri Zhdanov. At the end of his stage career, Yu. Zhdanov was the artistic director of the State Concert Ensemble “Classical Ballet” (1971-1976), for which he staged the ballets “Francesca da Rimini” by P. Tchaikovsky, “Spring Fantasy” by R. Drigo, “Choreographic Suite” by K. .Akimov, concert miniatures “Young Voices” by J. Benda, “Etude-Painting” by S. Rachmaninov and a number of others. For his productions, Yu. Zhdanov himself created the scenery and costumes. In 1981-1986. Zhdanov taught at GITIS, where he taught courses “The Art of the Choreographer” and “Ballet Theater and Artist”. Art education Yu. Zhdanov received in the studio famous artist corresponding member Academy of Arts of the USSR G. M. Shegal. Since the early 1950s. he systematically participated in all-Union and international exhibitions Soviet artists, had more than fifteen personal exhibitions in our country and abroad. Since 1967 - member of the Union of Artists of the USSR. More than 150 works by Yu. Zhdanov - paintings and graphics - are in museums in our country, about 600 works have been purchased into private collections. Yuri Timofeevich Zhdanov died on April 9, 1986 in Moscow from a heart attack. After Zhdanov's death, his fame as an artist increasingly increased. The television film “Yuri Zhdanov. Pages of the life of an artist and an artist" (1988). In recent years, the master’s personal exhibitions have been successfully held in Moscow and other cities; many works have been sold to private collections in Russia, England, the USA, Germany, Italy, Japan, Finland, and Greece.
Plisetskaya Maya Mikhailovna
Maya Mikhailovna was born on November 20, 1925. She is truly the greatest ballerina. She is beautiful, elegant, smart.
She danced in many performances:
In the plastic arts of Maya Plisetskaya dance art achieves high harmony .
The most famous roles: Odette-Odile in Swan Lake, Aurora in Sleeping Beauty » ( 1961 ), Raymonda ballet of the same name Glazunov, Mistress of the Copper Mountain in " Stone flower » Prokofiev, Mekhmene-Banu " Legend of love » Melikova, Carmen ( Carmen Suite Rodion Shchedrin).
Plisetskaya acted as a choreographer and staged the following ballets: "Anna Karenina" R.K. Shchedrin (1972, together with N. I. Ryzhenko and V.V. Smirnov-Golovanov, Bolshoi Theater; Plisetskaya - the first performer of the main role), "Gull" R. K. Shchedrin (1980, Bolshoi Theater; Plisetskaya - the first performer of the main role), “Raymonda” by A. K. Glazunov (1984, Opera House in the Baths of Caracalla, Rome), "Lady with a Dog" R.K. Shchedrin (1985, Bolshoi Theater; Plisetskaya - the first performer of the main role).
In the 1980s, Plisetskaya and Shchedrin spent a lot of time abroad, where she worked as artistic director Rome Opera and Ballet Theater (1983-1984), as well as the Spanish National Ballet in Madrid (1988-1990). She left the stage at the age of 65; after long time participated in concerts and conducts master classes. On her 70th birthday she made her debut in a number specially written for her. Bejara"Ave Maya" WITH 1994 Plisetskaya is the chairman of the annual international ballet competition named “Maya” ( Saint Petersburg).
Maksimova Ekaterina
In the seventh grade, she danced her first role - Masha in The Nutcracker. After college, she joined the Bolshoi Theater and immediately, practically bypassing the corps de ballet, began dancing solo parts.
From 1958 to 1988, she was a leading ballet dancer at the Bolshoi Theater. Excellent command of classical dance, excellent appearance, artistry and personal charm allowed Maximova to master the traditional repertoire of the theater. It was followed by the ballets Giselle (traditional version, music by A. Adam), Don Quixote by A.A. Gorsky (music by L. Minkus), The Sleeping Beauty (traditional edition, then edition by Yu.N. Grigorovich, music by Tchaikovsky) and others. Maksimova also performed in most of the new ballets staged in the 1960–1970s, in particular in Grigorovich’s performances , where she was often the first performer (The Nutcracker, 1966; Spartacus, music by A.I. Khachaturian, 1968, the role of Phrygia, etc.). Maksimova was the constant partner of her husband, V.V. Vasilyeva, and danced in performances staged by him at the Bolshoi Theater and beyond: Icarus (music by S.M. Slonimsky, 1976; Anyuta, music by V.A. Gavrilin, 1986; Cinderella, music by S.S. Prokofiev, 1991) . Abroad she performed leading roles in ballets by Maurice Bejart (Romeo and Julia to music by G. Berlioz), Roland Petit (The Blue Angel, to music by M. Constant), John Cranko (Onegin, to music by Tchaikovsky). K.Ya worked with Maximova. Goleizovsky, who staged one of his best numbers for her in 1960 - Mazurka to the music of A.N. Scriabin. Her career was almost put to an end by a spinal injury she received during a rehearsal for the ballet “Ivan the Terrible.” There was a difficult upper support, from which the ballerina came out unsuccessfully. As a result, her vertebra “popped out”. Her normal movement was in question. But she, with the help of her husband and her willpower, managed to cope with the disease. For a whole year she wore a special corset and did exercises developed for her by Vasiliev. On March 10, 1976, Ekaterina Maksimova again appeared on the Bolshoi stage. In “Giselle.” Of particular importance in Maximova’s work was her participation in television ballets, which revealed a new quality of her talent - comedic talent (Galatea after Pygmalion by B. Shaw, music by F. Lowe, arranged by T.I. Kogan, choreographer D.A. Bryantsev; Old tango, music by Kogan, same choreographer). Maksimova’s art and especially her participation in the famous duet Maksimova - Vasiliev, captured in the television film “Duet” (1973) and the French video film “Katya and Volodya” (1989), enjoys worldwide recognition. In 1980, Maksimova graduated from the State Institute theatrical arts named after A.V. Lunacharsky (now the Russian Academy of Theater Arts). Since 1982, she began teaching classical heritage and dance composition at the choreography department of this institute (in 1996 she was awarded the academic title of professor). Since 1990, Maksimova has been a teacher and tutor at the theater " Kremlin Ballet". Since 1998 - choreographer-repetiteur of the Bolshoi Theater (she ceased to be a soloist of the troupe in 1988).
Lopatkina Ulyana Vyacheslavovna
People's Artist of Russia (2005).
Laureate of the State Prize of Russia (1999).
Laureate of the International Competition Vaganova-Prix (1991).
Prize winner: “Golden Spotlight” (1995), “Divine” with the title “Best Ballerina” (1996), “Golden Mask” (1997), Benois de la danse(1997), “Baltika” (1997, 2001: Grand Prix for promoting world fame Mariinsky Theater), Evening Standard (1998), Monaco world dance awards(2001), "Triumph" (2004).
In 1998, he was awarded the honorary title “Artist of Her Majesty the Imperial Stage of Sovereign Russia” and was awarded the “Man-Creator” medal.
Born in Kerch (Ukraine).
Graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Professor Natalia Dudinskaya).
Since 1991 with the Mariinsky Theater troupe.
Since 1995 - soloist.
"Giselle" (Myrtha, Giselle);
"Corsair" (Medora);
“La Bayadère” (Nikia) – edited by Vakhtang Chabukiani;
Grand pas from the ballet “Paquita” (soloist);
“Sleeping Beauty” (Lilac Fairy) – edited by Konstantin Sergeev;
“Swan Lake” (Odette-Odile);
"Raymonda" (Raymonda, Clémence);
“Swan”, “Scheherazade” (Zobeide) – choreography by Mikhail Fokin;
“Bakhchisarai Fountain” (Zarema);
“The Legend of Love” (Mekhmene Banu);
"Leningrad Symphony" (Girl);
Pas de quatre (Maria Taglioni) – choreography by Anton Dolin;
“Serenade”, “Symphony in C Major” (II part Adagio), “Jewels” (“Diamonds”), “Piano Concerto No. 2” ( Ballet Imperial), “Theme and Variations”, “Waltz”, “Scottish Symphony” – choreography by George Balanchine;
“In the Night” (Part III) – choreography by Jerome Robbins;
“Young Man and Death” – choreography by Roland Petit;
“Goya Divertimento” (Death); choreography by Jose Antonio;
“The Nutcracker” (fragment “Teacher and Student”) – choreography by John Neumeier;
“The Fairy’s Kiss” (Fairy), “Poem of Ecstasy”, “Anna Karenina” (Anna Karenina) – choreography by Alexei Ratmansky;
– choreography by William Forsyth;
Trois Gnossienes– choreography by Hans van Manen;
“Tango” – choreography by Nikolai Androsov;
Grand pas de deux– choreography by Christian Spuck
Zakharova Svetlana Yurievna
At the Mariinsky Theater
1996
Princess Florina(“Sleeping Beauty” by P. Tchaikovsky, choreography by M. Petipa, revised by K. Sergeev)
Queen of the Dryads(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky)
Pas de deux by Tchaikovsky(choreography by J. Balanchine)
"The Dying Swan"(to music by C. Saint-Saëns, choreography by M. Fokine)
Maria(“Bakhchisarai Fountain” by B. Asafiev, choreography by R. Zakharov)
Masha(“The Nutcracker” by P. Tchaikovsky, choreography by V. Vainonen)
1997
Gulnara(“Corsair” by A. Adam, choreography by M. Petipa, revised by P. Gusev)
Giselle(“Giselle” by A. Adam, choreography by J. Coralli, J. Perrot, M. Petipa)
Mazurka and seventh waltz(“Chopiniana”, choreography by M. Fokine)
1998
Princess Aurora("Sleeping Beauty")
Terpsichore(“Apollo” by I. Stravinsky, choreography by J. Balanchine)
Soloist(“Serenade” to music by P. Tchaikovsky, choreography by J. Balanchine)
Odette-Odile(“Swan Lake” by P. Tchaikovsky, choreography by M. Petipa, L. Ivanov, revised by K. Sergeev)
Soloist(“Poem of Ecstasy” to music by A. Scriabin, staged by A. Ratmansky)
1999
Soloist of the first part(“Symphony in C major” to music by J. Bizet, choreography by J. Balanchine)
Princess Aurora(“The Sleeping Beauty”, reconstruction of M. Petipa’s production by S. Vikharev)
Medora("Corsair")
Nikia(“La Bayadère” by L. Minkus, choreography by M. Petipa, revised by V. Ponomarev and V. Chabukiani)
2000
Soloist in “Diamonds” to the music of P. Tchaikovsky(“Jewels”, choreography by J. Balanchine)
Manon(“Manon” to music by J. Massenet, choreography by K. McMillan)
Kitri("Don Quixote")
2001
Soloist(“Now and Then” to music by M. Ravel, staged by J. Neumeier)
Young lady(“The Young Lady and the Hooligan” to music by D. Shostakovich, choreography by K. Boyarsky)
Zobeida(“Scheherazade” to music by N. Rimsky-Korsakov, choreography by M. Fokin)
2002
Juliet(“Romeo and Juliet” by S. Prokofiev, choreography by L. Lavrovsky)
Soloist(grand pas from the ballet “Paquita” by L. Minkus, choreography by M. Petipa)
Soloist(“Middle Duet” to music by Y. Khanon, staged by A. Ratmansky)
2003
Soloist(Etudes" to music by K. Czerny, choreography by H. Lander)
One of the ballerina’s regular partners was Igor Zelensky.
At the Bolshoi Theater
In season 2003/2004
Svetlana Zakharova moved to the Bolshoi Theater troupe, where she became her teacher-tutor Lyudmila Semenyaka
, also a representative of the St. Petersburg ballet school.
The ballerina was introduced to the theater staff at the traditional troupe meeting, held on August 26, 2003. Her debut as a soloist of the Bolshoi Theater took place on October 5 in the ballet “Giselle” (edited by V. Vasiliev). Before moving to Moscow, she danced this performance three times at the Bolshoi Theater.
2003
Giselle("Giselle")
Aspiccia(“The Pharaoh’s Daughter” by C. Pugni, staged by P. Lacotte after M. Petipa)
Odette-Odile(“Swan Lake” by P. Tchaikovsky in the second edition by Yu. Grigorovich, fragments of choreography by M. Petipa, L. Ivanov, A. Gorsky were used)
2004
Princess Aurora(“Sleeping Beauty” by P. Tchaikovsky, choreography by M. Petipa, revised by Yu. Grigorovich)
Soloist of Part II("Symphony in C major")
Nikia(“La Bayadère”, revised by Yu. Grigorovich)
Kitri(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky, revised by A. Fadeechev)
Hippolyta(Titania) (“A Midsummer Night’s Dream” to the music of F. Mendelssohn-Bartholdy and D. Ligeti, staged by J. Neumeier) -
2005
Raymonda(“Raymonda” by A. Glazunov, choreography by M. Petipa, revised by Yu. Grigorovich)
Carmen(“Carmen Suite” by J. Bizet - R. Shchedrin, staged by A. Alonso)
2006
Cinderella(“Cinderella” by S. Prokofiev, choreography by Y. Posokhov, director Y. Borisov) - first performer
2007
Soloist(“Serenade” to music by P. Tchaikovsky, choreography by J. Balanchine) - first performer at the Bolshoi Theater
Medora(“Corsair” by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaka) - first performer
Soloist(“Class-concert” to music by A. Glazunov, A. Lyadov, A. Rubinstein, D. Shostakovich, choreography by A. Messerer)
2008
Aegina(“Spartacus” by A. Khachaturian, choreography by Y. Grigorovich)
Couple in yellow(“Russian Seasons” to music by L. Desyatnikov, staged by A. Ratmansky) - was among the first ballet performers at the Bolshoi Theater
Paquita(Great classical pas from the ballet “Paquita” by L. Minkus, choreography by M. Petipa, production and new choreographic version by Y. Burlaka)
2009
Svetlana(“Zakhar’s Super Game” by E. Palmieri, staged by F. Ventriglia) - world premiere
2010
Death(“Youth and Death” to the music of J. S. Bach, staged by R. Petit) - first performer at the Bolshoi Theater
The first and two subsequent performances of “The Pharaoh’s Daughter” with the participation of Zakharova were filmed for the release of the ballet on DVD by the French company Bel Air Media.
On June 15, 2005, the first creative evening of Svetlana Zakharova took place on the Main Stage of the Bolshoi Theater, the program of which included the painting “Shadows” from the ballet “La Bayadere” (Solor - soloist of the Mariinsky Theater Igor Zelensky)
“Middle Duet” staged by A. Ratmansky(partner - soloist of the Mariinsky Theater Andrey Merkuryev)
duet from the ballet “A Little Elevated in the Middle” to music by T. Wilems, staged by W. Forsyth (partner - Andrey Merkuryev)
the third act from the ballet “Don Quixote” (Bazil - Andrei Uvarov) and a number of numbers performed by soloists of the Bolshoi Theater ballet
Vishnva Diana Viktorovna
People's Artist of Russia
Laureate of the State Prize of Russia
Laureate of the International Ballet Competition (Lausanne, 1994)
Award winner Benois de la Danse(1996), “Golden Spotlight” (1996, 2011), “Baltika” (1998), “Golden Mask” (2001), “Dancer of the Year - 2002” ( Dancer of Europe), prize from the magazine "Ballet" (2003)
National laureate theater award“Golden Mask” (2009) in three categories: “Best Actress”, “Contemporary Dance/Female Role” and “Critics Prize” (“Diana Vishneva: Beauty in Motion”, project by Sergei Danilyan, USA-Russia)
Diana Vishneva was born in Leningrad. Graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Professor Lyudmila Kovaleva). The last year of study was combined with an internship at the Mariinsky Theater. In 1995, Diana Vishneva was accepted into the troupe of the Mariinsky Theater, and since 1996 she has been a soloist of the Mariinsky Theater.
Diana Vishneva actively performs at leading theater venues in Europe. In 2001 she made her debut at the Munich Staatsballett (Manon by Kenneth MacMillan) and La Scala (Aurora - The Sleeping Beauty in Rudolf Nureyev's version), and in 2002 she performed on the stage of the Opera de Paris (Kitri - Don Quixote in version by Rudolf Nureyev). In 2003, she made her debut on the stage of the Metropolitan Opera in New York (Juliet - Romeo and Juliet, choreography by Kenneth MacMillan).
Since 2002, Diana Vishneva has been a guest soloist at the Staatsoper (Berlin), performing the main roles in the ballets “Giselle”, “La Bayadère”, “Swan Lake” (version by Patrice Barthes), “Ring Around the Ring” by Maurice Béjart, “Manon” and “ Sleeping Beauty". Since 2005, the ballerina has been performing as a guest soloist on the stage of the American Ballet Theater (she danced in the ballets Swan Lake, Giselle, Don Quixote, Manon, Romeo and Juliet, Ballet Imperial, "Sleeping Beauty", The Dream, "La Bayadère"). At the American Ballet Theater, Diana Vishneva performed the main roles in the ballets: “Sylvia” and Thaïs Pas de deux(choreography by Frederick Ashton), “On the Dnieper” (choreography by Alexei Ratmansky), “Lady with Camellias” (choreography by John Neumeier) and “Onegin” (choreography by John Cranko).
Diana Vishneva actively collaborates with famous contemporary choreographers and directors. In 2005, the premiere of Peter Zuska’s ballet “Hands of the Sea,” staged especially for Diana Vishneva, took place on the stage of the Mariinsky Theater. In 2007, Andrei Moguchiy and Alexey Kononov staged the play “Silenzio. Diana Vishneva." In February 2008, Diana Vishneva, in collaboration with Ardani Artists Management and the Orange County Performing Arts Center, presented the program “Beauty in Motion” (“Pierrot Lunaire” by Alexei Ratmansky, “Turns of Love” by Dwight Rodin, F.L.O.W. Moses Pendleton).
In March 2011, the ballet “Park” premiered on the stage of the Mariinsky Theater (choreography by Angelin Preljocaj) with the participation of Diana Vishneva. In October of the same year, the ballerina presented the project “Diana Vishneva: Dialogues”, carried out with the support of the Mariinsky Theater, the Diana Vishneva Foundation and the Ardani Artists company.
Repertoire on the stage of the Mariinsky Theater:
“Giselle” (Myrtha, Zulma) – choreography by Jean Coralli, Jules Perrot, Marius Petipa;
“Corsair” (Gulnara, Medora) – production by Pyotr Gusev based on the composition and choreography of Marius Petipa;
Grand pas from the ballet Paquita (variation) – choreography by Marius Petipa;
“La Bayadère” (Nikia); choreography by Marius Petipa, revised by Vladimir Ponomarev and Vakhtang Chabukiani;
“The Sleeping Beauty” (Aurora); choreography by Marius Petipa, revised by Konstantin Sergeev;
“The Nutcracker” (Masha) – choreography by Vasily Vainonen, as well as production by Mikhail Shemyakin with choreography by Kirill Simonov;
“Swan Lake” (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised by Konstantin Sergeev;
“Raymonda” (Raymonda); choreography by Marius Petipa, revised by Konstantin Sergeev;
ballets by Mikhail Fokine: Scheherazade (Zobeide), The Firebird (Firebird), The Vision of a Rose, The Swan;
Pas de quatre(Fanny Cerrito) – choreography by Anton Dolin;
Grand pas classique – choreography by Viktor Gzovsky;
“The Legend of Love” (Mekhmene-Banu) – choreography by Yuri Grigorovich;
“Carmen Suite” (Carmen); choreography by Alberto Alonso;
ballets by George Balanchine: “Apollo” (Terpsichore), “Symphony in C major” (III movement), Tchaikovsky Pas de deux, “Jewels” (“Rubies”), Piano Concerto No. 2 ( Ballet Imperial);
“In the Night” (I duet) – choreography by Jerome Robbins;
“Young Man and Death”, “Carmen” (Carmen) – choreography by Roland Petit;
“Manon” (Manon); choreography by Kenneth MacMillan;
Spring and Fall, Now and Then,“The Sound of Blank Pages” – choreography by John Neumeier;
ballets by Alexei Ratmansky: “Poem of Ecstasy”, “Cinderella” (Cinderella), “Anna Karenina” (Anna Karenina);
ballets by William Forsythe: In the Middle, Somewhat Elevated And Steptext;
“Park” – choreography by Angelin Preljocaj;
“Diana Vishneva: Beauty in Motion” (“Pierrot Lunaire” by Alexei Ratmansky, “For the Love of a Woman” by Dwight Rhoden, “Turns of Love” by Moses Pendleton);
“Diana Vishneva: Dialogues” (“Labyrinth” by Martha Graham, “Dialogue” by John Neumeier, “Object of Change” by Paul Lightfoot and Sol Leon).
Tereshkina Victoria Valerievna
Honored Artist of Russia (2008)
Laureate of the IX International Ballet Competition “Arabesque-2006” (Perm, 2006). Winner of the “Ballet” magazine prize – “Soul of Dance” in the category “ Rising Star"(2006)
Winner of the highest theater award of St. Petersburg “Golden Sofit” in the category “Best actress in a ballet performance” for the role of the Queen of the Sea in the ballet “Ondine” (2006)
Winner of the highest theater award of St. Petersburg “Golden Sofit” in the nomination “Best female role in a ballet performance” in a ballet performance Approximate Sonata- choreography by William Forsyth. (2005)
Winner of the International Ballet Award “DANCE OPEN” in the “Miss Virtuosity” category (2010 and 2011)
Born in Krasnoyarsk.
In 2001 she graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Marina Vasilyeva).
Since 2001 with the Mariinsky Theater troupe.
In the repertoire:
“Giselle” (Giselle, Myrta, Zulma);
"Corsair" (Medora);
“La Bayadère” (Nikia, Gamzatti);
“Sleeping Beauty” (Aurora, Fairy of Gold, Fairy of Diamonds);
“Swan Lake” (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised by Konstantin Sergeev;
“Raymonda” (Raymonda); choreography by Marius Petipa, revised by Konstantin Sergeev;
“Don Quixote” (Kitri) – choreography by Alexander Gorsky;
“Scheherazade” (Zobeide) – choreography by Mikhail Fokin;
“Spartacus” (Phrygia) – choreography by Leonid Yakobson;
“Romeo and Juliet” (Juliet) – choreography by Leonid Lavrovsky;
“The Legend of Love” (Mekhmene Banu) – choreography by Yuri Grigorovich;
Grand pas classique– choreography by Viktor Gzovsky;
ballets by George Balanchine: “Apollo” (Polyhymnia, Terpsichore, Calliope), “Serenade”, “Symphony in C Major” (I movement), “A Midsummer Night’s Dream” (Titania), “Theme and Variations”, “The Four Temperaments”, Tchaikovsky Pas de deux, “Jewels” (“Rubies”, “Diamonds”), “Piano Concerto No. 2” ( Ballet Imperial), Tarantella;
“In the Night” – choreography by Jerome Robbins;
“Young Man and Death” (Death) – choreography by Roland Petit;
“Manon” (Courtesans); choreography by Kenneth MacMillan;
“Etudes” (soloist) – choreography by Harald Lander;
“Ondine” (Queen of the Sea); choreography by Pierre Lacotte;
ballets by Alexei Ratmansky: “Anna Karenina” (Anna Karenina), “Cinderella” (Khudyshka, women’s dance), “The Little Humpbacked Horse” (The Tsar Maiden);
"Gently, with fire" ( Dolce, con fuoco) – choreography by Svetlana Anufrieva;
“The Nutcracker” (Masha, the Nutcracker’s sisters) – production by Mikhail Shemyakin, choreography by Kirill Simonov;
ballets by William Forsythe: Approximate Sonata, In the Middle, Somewhat Elevated;
“Ring” – choreography by Alexey Miroshnichenko;
“Aria Interrupted” (soloist) – choreography by Peter Quantz;
“Bolero Factory” (Soul) – choreography by Yuri Smekalov;
“Park” (soloist) – choreography by Angelin Preljocaj.
The first performer of the roles of the Queen of the Sea (Ondine, choreographed by Pierre Lacotte, 2006), the Tsar Maiden (The Little Humpbacked Horse, choreographed by Alexei Ratmansky, 2009) and Phrygia (Spartacus, choreographed by Leonid Yakobson, 2010).
Pleiades rising stars Russian ballet
Christina Shapran
Anna Tikhomirova
Sergei Polunin
Artem Ovcharenko
Kristina Andreeva and Oleg Ivenko
Ballet is called an integral part of the art of our country. Russian ballet is considered the most authoritative in the world, the standard. This review contains the success stories of five great Russian ballerinas who are still looked up to today.
Anna Pavlova
Outstanding ballerina Anna Pavlova was born into a family far from art. She developed the desire to dance at the age of 8 after the girl saw ballet performance"Sleeping Beauty". At the age of 10, Anna Pavlova was accepted into the Imperial Theater School, and after graduation, she was accepted into the troupe of the Mariinsky Theater.
What is curious is that the aspiring ballerina was not placed in the corps de ballet, but immediately began to give her responsible roles in productions. Anna Pavlova danced under the direction of several choreographers, but the most successful and fruitful tandem, which had a fundamental influence on her performance style, was with Mikhail Fokin.
Anna Pavlova supported the choreographer’s bold ideas and readily agreed to experiments. The miniature "The Dying Swan", which later became the hallmark of Russian ballet, was practically impromptu. In this production, Fokine gave the ballerina more freedom, allowing her to independently feel the mood of “The Swan” and improvise. In one of the first reviews, the critic admired what he saw: “If a ballerina on stage can imitate the movements of the noblest of birds, then this has been achieved:.”
Galina Ulanova
Galina Ulanova's fate was predetermined from the very beginning. The girl’s mother worked as a ballet teacher, so Galina, even if she really wanted to, was unable to bypass the ballet barre. Years of grueling training led to Galina Ulanova becoming the most titled artist of the Soviet Union.
After graduating from the choreographic technical school in 1928, Ulanova was accepted into the ballet troupe of the Leningrad Opera and Ballet Theater. From the very first performances, the young ballerina attracted the attention of spectators and critics. A year later, Ulanova was entrusted with performing the leading role of Odette-Odile in Swan Lake. Giselle is considered one of the ballerina’s triumphant roles. Performing the scene of the heroine's madness, Galina Ulanova did it so soulfully and selflessly that even the men in the audience could not hold back their tears.
Galina Ulanova reached . They imitated her, teachers of the leading ballet schools in the world demanded that their students do steps “like Ulanova.” The famous ballerina is the only one in the world to whom monuments were erected during her lifetime.
Galina Ulanova danced on stage until she was 50 years old. She was always strict and demanding of herself. Even in old age, the ballerina began every morning with classes and weighed 49 kg.
Olga Lepeshinskaya
For passionate temperament, sparkling technique and precision of movements Olga Lepeshinskaya nicknamed "Dragonfly Jumper". The ballerina was born into a family of engineers. From early childhood, the girl literally raved about dancing, so her parents had no choice but to send her to the ballet school at the Bolshoi Theater.
Olga Lepeshinskaya easily coped with both classic ballet (“Swan Lake”, “Sleeping Beauty”) and modern productions (“Red Poppy”, “Flames of Paris”.) During the Great Patriotic War, Lepeshinskaya fearlessly performed at the front, raising the fighting soldier spirit.
Title="Olga Lepeshinskaya -
ballerina with a passionate temperament. | Photo: www.etoretro.ru." border="0" vspace="5">!}
Olga Lepeshinskaya -
ballerina with a passionate temperament. | Photo: www.etoretro.ru.
Despite the fact that the ballerina was Stalin’s favorite and had many awards, she was very demanding of herself. Already at an advanced age, Olga Lepeshinskaya said that her choreography could not be called outstanding, but her “natural technique and fiery temperament” made her inimitable.
Maya Plisetskaya
Maya Plisetskaya- another outstanding ballerina, whose name is inscribed in golden letters in the history of Russian ballet. When the future artist was 12 years old, she was adopted by Aunt Shulamith Messerer. Plisetskaya’s father was shot, and her mother and little brother were sent to Kazakhstan to a camp for the wives of traitors to the Motherland.
Aunt Plisetskaya was a ballerina at the Bolshoi Theater, so Maya also began attending choreography classes. The girl achieved great success in this field and after graduating from college she was accepted into the Bolshoi Theater troupe.
Plisetskaya's innate artistry, expressive plasticity, and phenomenal jumps made her a prima ballerina. Maya Plisetskaya performed leading roles in all classical productions. She was especially successful tragic images. Also, the ballerina was not afraid of experiments in modern choreography.
After the ballerina was fired from the Bolshoi Theater in 1990, she did not despair and continued to give solo performances. The overflowing energy allowed Plisetskaya to make her debut in the production of “Ave Maya” on her 70th birthday.
Lyudmila Semenyaka
Beautiful ballerina Lyudmila Semenyaka performed on the stage of the Mariinsky Theater when she was only 12 years old. The talented talent could not go unnoticed, so after some time Lyudmila Semenyaka was invited to the Bolshoi Theater. Significant influence Galina Ulanova, who became her mentor, influenced the ballerina’s work.
Semenyaka coped with any part so naturally and effortlessly that from the outside it seemed as if she was not making any effort, but was simply enjoying the dance. In 1976, Lyudmila Ivanovna was awarded the Anna Pavlova Prize from the Paris Academy of Dance.
At the end of the 1990s, Lyudmila Semenyaka announced her retirement from her ballerina career, but continued her activities as a teacher. Since 2002, Lyudmila Ivanovna has been a teacher-tutor at the Bolshoi Theater.
But he mastered the art of ballet in Russia, and spent most of his life performing in the USA.
Alonso Alicia(b. 1921), Cuban prima ballerina. A dancer of a romantic nature, she was especially magnificent in “Giselle.” In 1948 she founded the Alicia Alonso Ballet in Cuba, which later became known as the National Ballet of Cuba. Stage life Alonso herself had a very long career; she stopped performing at the age of over sixty.
Andreyanova Elena Ivanovna(1819-1857), Russian ballerina, the largest representative of romantic ballet. The first performer of the title roles in the ballets "Giselle" and "Paquita". Many choreographers created roles in their ballets especially for Andreyanova.
Ashton Frederick(1904-1988), English choreographer and director of the Royal Ballet of Great Britain in 1963-1970. Several generations of English ballet dancers grew up on the performances he staged. Ashton's style determined the characteristics of the English ballet school.
Balanchine George(Georgy Melitonovich Balanchivadze, 1904-1983), outstanding Russian-American choreographer of the 20th century, innovator. He was convinced that dance needed no help literary plot, scenery and costumes, and most importantly - the interaction of music and dance. Balanchine's influence on world ballet is difficult to overestimate. His legacy includes more than 400 works.
Baryshnikov Mikhail Nikolaevich(b. 1948), dancer of the Russian school. Virtuoso classical technique and the purity of style made Baryshnikov one of the most famous representatives of male dance in the 20th century. After graduating from the Leningrad Choreographic School, Baryshnikov was accepted into the ballet troupe of the S.M. Kirov Opera and Ballet Theater and soon performed leading classical roles. In June 1974, while on tour with the Bolshoi Theater troupe in Toronto, Baryshnikov refused to return to the USSR. In 1978, he joined J. Balanchine's New York City Ballet troupe, and in 1980 he became artistic director of the American Ballet Theater and remained in this position until 1989. In 1990, Baryshnikov and choreographer Mark Morris founded the White Oak Dance Project, which over time grew into a large traveling troupe with a modern repertoire. Among Baryshnikov's awards are gold medals at international ballet competitions.
Bejar Maurice(b. 1927), French choreographer, born in Marseille. He founded the troupe "Ballet of the 20th Century" and became one of the most popular and influential choreographers in Europe. In 1987, he moved his troupe to Lausanne (Switzerland) and changed its name to “Béjart Ballet in Lausanne”.
Blasis Karlo(1797-1878), Italian dancer, choreographer and teacher. Led dance school at the La Scala theater in Milan. Author of two famous works on classical dance: “Treatise on Dance” and “Code Terpsichore”. In the 1860s he worked in Moscow, at the Bolshoi Theater and ballet school.
Bournonville August(1805-1879), Danish teacher and choreographer, was born in Copenhagen, where his father worked as a choreographer. In 1830 he headed the ballet of the Royal Theater and staged many performances. They are carefully preserved by many generations of Danish artists.
Vasiliev Vladimir Viktorovich(b. 1940), Russian dancer and choreographer. After graduating from the Moscow Choreographic School, he worked in the Bolshoi Theater troupe. Possessing a rare gift of plastic transformation, he had an unusually wide range of creativity. His performing style is noble and courageous. Winner of many international awards and prizes. He was repeatedly named the best dancer of the era. His name is associated with the highest achievements in the field of male dance. Permanent partner of E. Maksimova.
Vestris Auguste(1760-1842), French dancer. His creative life was extremely successful at the Paris Opera until the revolution of 1789. He then emigrated to London. He is also famous as a teacher: among his students are J. Perrault, A. Bournonville, Maria Taglioni. Vestris, the greatest dancer of his era, possessed a virtuoso technique and a large jump, had the title "god of dance."
Geltser Ekaterina Vasilievna(1876-1962), Russian dancer. She was the first ballet dancer to be awarded the title "People's Artist of the RSFSR". A bright representative of the Russian school classical dance. In her performance she combined lightness and swiftness with breadth and softness of movements.
Goleizovsky Kasyan Yaroslavovich(1892-1970), Russian choreographer. Participant in the innovative experiments of Fokin and Gorsky. Musicality and rich imagination determined the originality of his art. In his work he sought a modern sound of classical dance.
Gorsky Alexander Alekseevich(1871-1924), Russian choreographer and teacher, ballet reformer. He strove to overcome the conventions of academic ballet, replaced pantomime with dance, and achieved historical accuracy in the design of the performance. A significant phenomenon was the ballet "Don Quixote" in its production, which to this day is in the repertoire of ballet theaters around the world.
Grigorovich Yuri Nikolaevich(b. 1927), Russian choreographer. For many years he was the chief choreographer of the Bolshoi Theater, where he staged the ballets “Spartacus”, “Ivan the Terrible” and “The Golden Age”, as well as his own editions of ballets from the classical heritage. His wife, Natalia Bessmertnova, performed in many of them. He made a great contribution to the development of Russian ballet.
Grisi Carlotta(1819-1899), Italian ballerina, first performer of the role of Giselle. She performed in all European capitals and at the St. Petersburg Mariinsky Theater. Distinguished by her extraordinary beauty, she possessed in equal measure the passion of Fanny Elsler and the lightness of Maria Taglioni.
Danilova Alexandra Dionisevna(1904-1997), Russian-American ballerina. In 1924 she left Russia with J. Balanchine. She was a ballerina in Diaghilev's troupe until his death, then danced in the Russian Ballet of Monte Carlo troupe. Did a lot for development classical ballet in the West.
De Valois Ninet(b. 1898), English dancer, choreographer. In 1931 she founded the Vic Wells Ballet troupe, which later became known as the Royal Ballet.
Didelot Charles Louis(1767-1837), French choreographer and teacher. For a long time he worked in St. Petersburg, where he staged more than 40 ballets. His activities in Russia helped propel Russian ballet to one of the first places in Europe.
Geoffrey Robert(1930-1988), American dancer, choreographer. In 1956 he founded the Joffrey Ballet troupe.
Duncan Isadora(1877-1927), American dancer. One of the founders of modern dance. Duncan put forward the slogan: “Freedom of body and spirit gives rise to creative thought.” She sharply opposed the school of classical dance and advocated the development of mass schools where children would learn through dance the beauty of the natural movements of the human body. Duncan's ideal was ancient Greek frescoes and sculpture. She replaced the traditional ballet costume with a light Greek tunic and danced without shoes. This is where the name "barefoot dance" comes from. Duncan improvised talentedly; her movements consisted of walking, running on half-toes, light jumps and expressive gestures. At the beginning of the 20th century, the dancer was very popular. In 1922 she married poet S. Yesenin and accepted Soviet citizenship. However, in 1924 she left the USSR. Duncan's art has undoubtedly influenced modern choreography.
Diaghilev Sergei Pavlovich(1872-1929), Russian theater figure, ballet impresario, director of the famous Russian Ballet. In an effort to introduce Russian art to Western Europe, Diaghilev organized an exhibition of Russian painting and a series of concerts in Paris in 1907, and the following season, the production of a number of Russian operas. In 1909, he assembled a troupe consisting of dancers from the Imperial Theaters, and during the summer vacation he took it to Paris, where he held the first “Russian Season”, in which such dancers as A.P. participated. Pavlova, T.P. Karsavina, M.M. Fokin, V.F. Nijinsky. "The Season", which was a huge success and stunned the audience with its novelty, became a real triumph of Russian ballet and, of course, had a huge influence on the subsequent development of world choreography. In 1911, Diaghilev created a permanent troupe, Diaghilev's Russian Ballet, which existed until 1929. He chose ballet as a vehicle for new ideas in art and saw in it a synthesis modern music, painting and choreography. Diaghilev was an inspiration for the creation of new masterpieces and a skillful discoverer of talent.
Ermolaev Alexey Nikolaevich(1910-1975), dancer, choreographer, teacher. One of the most prominent representatives of the Russian ballet school of the 20-40s of the twentieth century. Ermolaev destroyed the stereotype of a courteous and gallant gentleman dancer, changed the idea of the possibilities of male dance and brought it to new level virtuosity. His performance of parts of the classical repertoire was unexpected and profound, and his style of dancing itself was unusually expressive. As a teacher, he trained many outstanding dancers.
Ivanov Lev Ivanovich(1834-1901), Russian choreographer, choreographer of the Mariinsky Theater. Together with M. Petipa he staged the ballet "Swan Lake", the author of the "swan" acts - the second and fourth. The genius of his production has stood the test of time: almost all choreographers who turn to " Swan Lake", leave the "swan acts" intact.
Istomina Avdotya Ilyinichna(1799-1848), leading dancer of the St. Petersburg Ballet. She had rare stage charm, grace, and virtuoso dance technique. In 1830, due to a leg illness, she switched to mime roles, and in 1836 she left the stage. Pushkin in “Eugene Onegin” has lines dedicated to her:
Brilliant, half-airy,
I obey the magic bow,
Surrounded by a crowd of nymphs,
Worth Istomin; she,
One foot touching the floor,
The other slowly circles,
And suddenly he jumps, and suddenly he flies,
Flies like feathers from the lips of Aeolus;
Either the camp will sow, then it will develop
And with a quick foot he hits the leg.
Camargo Marie(1710-1770), French ballerina. She became famous for her virtuoso dance while performing at the Paris Opera. The first women began to perform cabriole and entrechat, which were previously considered a part of the exclusively male dance technique. She also shortened her skirts to allow her to move more freely.
Karsavina Tamara Platonovna(1885-1978), leading ballerina of the St. Petersburg Imperial Ballet. She performed in Diaghilev's troupe from the first performances and was often Vaslav Nijinsky's partner. The first performer in many of Fokine's ballets.
Kirkland Gelsey(b. 1952), American ballerina. Extremely gifted, as a teenager she received leading roles from J. Balanchine. In 1975, at the invitation of Mikhail Baryshnikov, she joined the American Ballet Theater troupe. She was considered the best performer of the role of Giselle in the United States.
Kilian Jiri(b. 1947), Czech dancer and choreographer. Since 1970 he danced in the troupe of the Stuttgart Ballet, where he performed his first productions, and since 1978 he has been the director of the Dutch Ballet dance theater", which thanks to him won world fame. His ballets are staged in all countries of the world; they are distinguished by a special style based mainly on adagio and emotionally rich sculptural structures. The influence of his work on modern ballet very large.
Kolpakova Irina Aleksandrovna(b. 1933), Russian ballerina. She danced at the Opera and Ballet Theater. CM. Kirov. Ballerina classic style, one of the best performers of the role of Aurora in Sleeping Beauty. In 1989, at the invitation of Baryshnikov, she became a teacher at the American Ball Theater.
Cranko John(1927-1973), English choreographer of South African origin. His productions of multi-act narrative ballets became very famous. From 1961 until the end of his life he directed the Stuttgart Ballet.
Kshesinskaya Matilda Feliksovna(1872-1971), Russian artist, teacher. She had a bright artistic personality. Her dance was distinguished by bravura, cheerfulness, flirtatiousness and at the same time classical completeness. In 1929 she opened her studio in Paris. Prominent foreign dancers, including I. Shovir and M. Fontaine, took lessons from Kshesinskaya.
Lepeshinskaya Olga Vasilievna(b. 1916), Russian dancer. In 1933-1963 she worked at the Bolshoi Theater. She had sparkling technique. Her performance was distinguished by its temperament, emotional richness, and precision of movements.
Liepa Maris Eduardovich(1936-1989), Russian dancer. Liepa's dance stood out for its courageous, confident manner, breadth and strength of movements, clarity, and sculptural design. The thoughtfulness of all the details of the role and the bright theatricality made him one of the most interesting “dancing actors” of the ballet theater. Liepa's best role was the role of Crassus in the ballet "Spartacus" by A. Khachaturian, for which he received the Lenin Prize.
Makarova Natalia Romanovna(b. 1940), dancer. In 1959-1970 - artist of the Opera and Ballet Theater. CM. Kirov. Unique plastic abilities, perfect skill, external grace and internal passion - all this is characteristic of her dance. Since 1970, the ballerina has lived and worked abroad. Makarova’s work increased the glory of the Russian school and influenced the development of foreign choreography.
McMillan Kenneth(1929-1992), English dancer and choreographer. After the death of F. Ashton, he was recognized as the most influential choreographer in England. MacMillan style - combination classical school with a more free-spirited, flexible and acrobatic one, which was developed in Europe.
Maksimova Ekaterina Sergeevna(b. 1939), Russian ballerina. She joined the Bolshoi Theater troupe in 1958, where Galina Ulanova rehearsed with her, and soon began playing leading roles. He has great stage charm, filigree precision and purity of dance, grace, elegance of plasticity. She has equal access to comedic colors, subtle lyricism and drama.
Markova Alicia(b. 1910), English ballerina. As a teenager she danced in Diaghilev's troupe. One of the most famous performers of the role of Giselle, she was distinguished by her exceptional ease of dance.
Messerer Asaf Mikhailovich(1903-1992), Russian dancer, choreographer, teacher. He started studying at ballet school at the age of sixteen. Very soon he became a classical virtuoso dancer of an unusual style. Constantly increasing the complexity of the movements, he introduced energy, athletic strength and passion into them. On stage he seemed like a flying athlete. At the same time, he had a bright comedic gift and a unique artistic humor. He became especially famous as a teacher, since 1946 he taught a class for leading dancers and ballerinas at the Bolshoi Theater.
Messerer Sulamif Mikhailovna(b. 1908), Russian dancer, teacher. Sister of A. M. Messerer. In 1926-1950 - artist of the Bolshoi Theater. A dancer of an unusually wide repertoire, she performed roles from lyrical to dramatic and tragic. Since 1980 he has lived abroad and taught in different countries.
Moiseev Igor Alexandrovich(b. 1906), Russian choreographer. In 1937 he created the USSR Folk Dance Ensemble, which became an outstanding phenomenon in the history of world dance culture. The choreographic suites he staged are real examples of folk dance. Moiseev - honorary member Dance Academy in Paris.
Myasin Leonid Fedorovich(1895-1979), Russian choreographer and dancer. He studied at the Moscow Imperial Ballet School. In 1914 he joined the ballet troupe of S.P. Diaghilev and made his debut in “Russian Seasons”. Massine's talent as a choreographer and character dancer developed rapidly, and the dancer soon gained worldwide fame. After Diaghilev's death, Massine became head of the Russian Ballet of Monte Carlo.
Nijinsky Vaslav Fomich(1889-1950), outstanding Russian dancer and choreographer. At the age of 18 he performed leading roles at the Mariinsky Theater. In 1908, Nijinsky met S.P. Diaghilev, who invited him as a leading dancer to participate in the “Russian Ballet Season” of 1909. The Parisian public enthusiastically greeted the brilliant dancer with his exotic appearance and amazing technique. Nijinsky then returned to the Mariinsky Theater, but was soon fired (he appeared in a too revealing costume in the play "Giselle", which was attended by the Dowager Empress) and became a permanent member of Diaghilev's troupe. Soon he tried his hand as a choreographer and replaced Fokine in this post. Nijinsky was an idol throughout Europe. His dance combined strength and lightness, and he amazed the audience with his breathtaking leaps. It seemed to many that the dancer was freezing in the air. He had a wonderful gift of transformation and extraordinary facial abilities. On stage, Nijinsky emanated powerful magnetism, although everyday life he was timid and silent. Mental illness prevented the full development of his talent (since 1917 he was under medical supervision).
Nijinska Bronislava Fominichna(1891-1972), Russian dancer and choreographer, sister of Vaslav Nijinsky. She was an artist of Diaghilev's troupe, and from 1921 she was a choreographer. Her productions, modern in theme and choreography, are currently considered classics of ballet art.
Nover Jean Georges(1727-1810), French choreographer and dance theorist. In the famous “Letters on Dance and Ballets” he outlined his views on ballet as an independent performance with a plot and developed action. Nover introduced serious dramatic content into the ballet and established new laws of stage action. Unofficially considered the “father” of modern ballet.
Nureyev Rudolf Khametovich(also Nuriev, 1938-1993), dancer. After graduating from the Leningrad Choreographic School, he became the leading soloist of the ballet troupe of the Opera and Ballet Theater. CM. Kirov. In 1961, while on tour with the theater in Paris, Nureyev asked to be provided with political asylum. In 1962, he performed in the London Royal Ballet's "Giselle" in a duet with Margot Fonteyn. Nureyev and Fontaine - the most famous ballet couple 1960s. In the late 1970s, Nureyev turned to modern dance and acted in films. From 1983 to 1989 he was the director of the Paris Opera ballet troupe.
Pavlova Anna Pavlovna(Matveevna, 1881-1931), one of the greatest ballerinas of the twentieth century. Immediately after graduating from the St. Petersburg Theater School, she made her debut on the stage of the Mariinsky Theater, where her talent quickly received recognition. She became a soloist, and in 1906 she was promoted to the highest rank - the rank of prima ballerina. In the same year, Pavlova connected her life with Baron V.E. Dandre. She participated in performances of Diaghilev's Russian Ballet in Paris and London. Pavlova's last performance in Russia took place in 1913, then she settled in England and toured with her own troupe around the world. An outstanding actress, Pavlova was a lyrical ballerina, distinguished by her musicality and psychological content. Her image is usually associated with the image of the dying swan in the ballet number, which was created especially for Pavlova by Mikhail Fokin, one of her first partners. Pavlova's fame is legendary. Her ascetic service to dance aroused worldwide interest in choreography and gave impetus to the revival of foreign ballet theater.
Perrot Jules(1810-1892), French dancer and choreographer of the Romantic era. He was Maria Taglioni's partner at the Paris Opera. In the mid-1830s he met Carlotta Grisi, for whom he staged (together with Jean Coralli) the ballet Giselle, the most famous of the romantic ballets.
Petit Roland(b. 1924), French choreographer. He headed several companies, including the Ballet of Paris, the Roland Petit Ballet and the National Ballet of Marseille. His performances - both romantic and comedic - always bear the imprint of the author’s bright personality.
Petipa Marius(1818-1910), French artist and choreographer, worked in Russia. The greatest choreographer of the second half of the 19th century, he headed the St. Petersburg Imperial Ballet Company, where he staged over 50 performances that became examples of the style of “grand ballet” that emerged in Russia during this era. It was he who proved that composing ballet music does not in the least degrade the dignity of a serious musician. Collaboration with Tchaikovsky became a source of inspiration for Petipa, from which brilliant works were born, and above all “The Sleeping Beauty,” where he reached the heights of perfection.
Plisetskaya Maya Mikhailovna(b. 1925), an outstanding dancer of the second half of the twentieth century, who went down in the history of ballet with her phenomenal creative longevity. Even before graduating from college, Plisetskaya danced solo roles at the Bolshoi Theater. Very quickly becoming famous, she created a unique style - graphic, distinguished by grace, sharpness and completeness of every gesture and pose, every individual movement and choreographic pattern as a whole. The ballerina has the rare talent of a tragic ballet actress, a phenomenal jump, expressive plasticity and a keen sense of rhythm. Her performing style is characterized by technical virtuosity, expressiveness of her hands and a strong acting temperament. Plisetskaya is the first performer of many roles in the Bolshoi Theater ballets. Since 1942 she has been dancing M. Fokine's miniature "The Dying Swan", which has become a symbol of her unique art.
As a choreographer, Plisetskaya staged ballets by R.K. Shchedrin "Anna Karenina", "The Seagull" and "The Lady with the Dog", playing the main roles in them. She starred in many ballet films, as well as feature films as a dramatic actress. She has been awarded many international prizes, including the Anna Pavlova Prize, the French orders of Commander and Legion of Honor. She was awarded the title of Doctor of the Sorbonne. Since 1990, he has performed concert programs abroad and conducted master classes. Since 1994, the international competition "Maya" has been held in St. Petersburg, dedicated to creativity Plisetskaya.
Rubinstein Ida Lvovna(1885-1960), Russian dancer. She took part in “Russian Seasons” abroad, then organized her own troupe. She had expressive appearance and plasticity of gesture. Several ballets were specially written for her, including “Bolero” by M. Ravel.
Salle Marie(1707-1756), French ballerina, performed at the Paris Opera. Rival Marie Camargo. Her dancing style, graceful and full of feeling, differed from Camargo's technical, virtuoso performance.
Semenova Marina Timofeevna(1908-1998), dancer, teacher. Semyonova's contribution to the history of Russian ballet theater is extremely great: it was she who made a breakthrough into the unexplored areas of classical ballet. The almost superhuman energy of her movements gave her dance a new dimension and pushed the limits of virtuosic technique. At the same time, she was feminine in every movement, every gesture. Her roles amazed with artistic brilliance, drama and depth.
Spesivtseva Olga Aleksandrovna(1895-1991), Russian dancer. She worked at the Mariinsky Theater and Diaghilev's Russian Ballet. Spesivtseva’s dance was distinguished by its sharp graphic poses, perfect lines, and airy lightness. Her heroines, far from real world, were marked by exquisite, fragile beauty and spirituality. Her gift was most fully demonstrated in the role of Giselle. The part was built on contrasts and was fundamentally different from the performance of this image by the largest ballerinas of that time. Spesivtseva was the last ballerina of the traditional romantic style. In 1937, she left the stage due to illness.
Taglioni Maria(1804-1884), representative of the Italian ballet dynasty of the 19th century. Under the guidance of her father, Filippo, she studied dance, although her physical characteristics did not quite suit her chosen profession: her arms seemed too long, and some claimed that she was stooped. Maria first performed at the Paris Opera in 1827, but achieved success in 1832, when she performed main party in the ballet La Sylphide staged by her father, which later became a symbol of Taglioni and the entire romantic ballet. Before Maria Taglioni, pretty ballerinas captivated audiences with their virtuosic dance technique and feminine charm. Taglioni, by no means a beauty, created a new type of ballerina - spiritual and mysterious. In "La Sylphide" she embodied the image of an unearthly creature personifying an ideal, an unattainable dream of beauty. In a flowing white dress, soaring in light leaps and freezing on her fingertips, Taglioni became the first ballerina to use pointe shoes and make them an integral part of classical ballet. All the capitals of Europe admired her. In her old age, Maria Taglioni, lonely and impoverished, taught dance and good manners to the children of London nobles.
Tallchief Maria(b. 1925), outstanding American ballerina. She performed mainly in troupes headed by J. Balanchine. In 1980 she founded the Chicago City Ballet troupe, which she led throughout the years of its existence - until 1987.
Ulanova Galina Sergeevna(1910-1998), Russian ballerina. Her work was characterized by a rare harmony of all expressive means. She imparted spirituality to even a simple, everyday movement. Back at the very beginning creative path Ulanova's critics wrote about the complete unity in her performance of dance technique, dramatic acting and plasticity. Galina Sergeevna performed the main roles in ballets of the traditional repertoire. Her highest achievements were the roles of Mary in The Fountain of Bakhchisarai and Juliet in Romeo and Juliet.
Fokin Mikhail Mikhailovich(1880-1942), Russian choreographer and dancer. Overcoming ballet traditions, Fokine sought to get away from the generally accepted ballet costume, stereotypical gestures and routine construction of ballet numbers. He saw ballet technique not as a goal, but as a means of expression. In 1909, Diaghilev invited Fokine to become the choreographer of the Russian Season in Paris. The result of this union was world fame, which accompanied Fokin until the end of his days. He staged more than 70 ballets in the best theaters Europe and America. Fokine's productions are still being revived by leading ballet companies peace.
Fontaine Margot(1919-1991), English prima ballerina, one of the most famous dancers of the twentieth century. She started studying ballet at the age of five. She made her debut in 1934 and quickly attracted attention. Fontaine's performance as Aurora in The Sleeping Beauty made her famous throughout the world. In 1962, Fontaine began a successful partnership with R.H. Nureyev. The performances of this couple became a real triumph of ballet art. Since 1954, Fontaine has been president of the Royal Academy of Dance. Awarded the Order of the British Empire.
Cecchetti Enrico(1850-1928), Italian dancer and outstanding teacher. He developed his own pedagogical method, in which he sought the maximum development of dance technique. He taught at the St. Petersburg Theater School. Among his students were Anna Pavlova, Tamara Karsavina, Mikhail Fokin, Vaslav Nijinsky. His teaching method is outlined in the work “Textbook on the Theory and Practice of Classical Theater Dance.”
Elsler Fanny(1810-1884), Austrian ballerina of the Romantic era. A rival of Taglioni, she had a dramatic, passionate temperament and was a superb actress.
Finally, I would like to quote the words of our outstanding ballerina Maya Plisetskaya, which she said in one of her interviews: “I think that ballet is an art with a great and exciting future. It will certainly live, seek, develop. It will certainly change. But how exactly, in what way?” which direction he will go, it is difficult to predict with complete accuracy. I know one thing: all of us - both performers and choreographers - need to work very hard, seriously, not sparing ourselves. People, their faith in art, their devotion to the theater can do miracles. And what these “miracles” of the ballet of the future will turn out to be will be decided by life itself.”
If there is an art that can conquer everyone’s heart without exception, penetrate the soul, fill it with joy, empathy, make it rejoice or cry, while capturing the entire auditorium - then this is the art of ballet.
Classical Russian ballet includes not only famous ballerinas and dancers, but also composers who wrote specifically for Russian ballet. To this day, all over the world, Russian ballerinas are considered the best, the most slender, hardy, and efficient.
Ulyana Lopatkina - famous prima ballerina Mariinsky Theater. Inspired by the work of G. Ulanova and M. Plisetskaya, she forever connected her life with ballet and entered the choreographic school. However, upon admission she was given a very modest assessment. She fully revealed herself in the pre-graduation class. Everyone saw in her dance not only impeccable technical mastery of dance, but also character, grace, and zest. Talent or the fruits of a lot of work? Later, in one of her interviews, she admits: “Stars are not born!” This means, after all, hard work and will determine success. This is actually true. Ulyana Lopatkina is a very hardworking student, only this ability allowed her to become a real virtuoso in ballet.
Ulyana Lopatkina is a stately ballerina with individual style performance and with a certain attitude towards the hero, the audience, and oneself. Maybe that’s why she now has Maria Taglioni’s medallion, which was in the custody of the great Galina Ulanova and given to Ulyana Lopatkina, according to her will.
Much has been said and written about the beauty and grace of Maya Plisetskaya.
The whole world admires Maya Plisetskaya. Often the movements of her flexible arms and body are compared to the flutter of the wings of a swimming swan, the transformation of a girl into a bird. Odetta, performed by Maya Plisetskaya, eventually became a world legend. A critic of the Parisian newspaper Le Figaro assured that her hands in Swan Lake move “not humanly” and that “when Plisetskaya begins the wave-like movements of her hands, you no longer know whether these are hands or wings, or whether her hands turn into the movement of the waves along which the swan floats away.”
Vladimir Vasiliev can rightfully be considered a legend of the Russian Ballet. The only ballet dancer who was awarded the title “Best Dancer of the World” by the Paris Academy of Dance and who was declared by critics as “the god of dance”, “a miracle of art”, “perfection”. At one time he introduced a new technique, which, combined with his characteristic deep artistry of its execution, is still considered the standard of male dance.
Ekaterina Maksimova is a famous Soviet ballerina, whose work has taken its rightful place among the masterpieces of this art. Her images had an amazing quality: they combined childlike inspiration, purity and the actions of an adult personality. This feature was achieved by the extraordinary lightness and grace of Maximova’s choreography, whose design was characterized by tones of light and joy. Each dancer's appearance on stage was an ode to lyricism and youth. Thanks to the teacher of the choreographic school, E.P. Gerdt, Ekaterina Maksimova focused not only on the impeccable performance of the dance, but also on conveying the whole range of feelings that excite her heroine. The inner world of the created images was conveyed by special facial expressions and special acting talent.
Natalya Bessmertnova is the most romantic ballerina of the twentieth century.
A master of lyricism, she captivated not with the technical “collapse” of thirty-two fouettes, but with the atmosphere (now they will say - the aura) of the dance. Her art is the strongest impression that will last a lifetime. The ability to take the viewer for several hours into a world where there is nothing mortal, this is precisely why her fans and admirers adored her.
The dancing abilities and artistry of Lyudmila Semenyaka first appeared in the choreographic circle of the Zhdanov Palace of Pioneers.
At the age of 10 she entered the Leningrad Academic Choreographic School. Vaganova, at 12 - she made her debut on the stage of the Kirov Opera and Ballet Theater in the solo role of little Marie in the ballet “The Nutcracker”.
In 1969, she was awarded III prize at the First International Ballet Competition in Moscow.
From 1970 to 1972 she worked at the Kirov Opera and Ballet Theater. She continued to study under the guidance of Irina Kolpakova.
In 1972, Yuri Grigorovich invited her to the Bolshoi Theater. In the same year, the artist successfully debuted in the Bolshoi Theater play Swan Lake.
In 1976 she won 1st prize and gold medal I International Ballet Competition in Tokyo, and in Paris Serge Lifar presents her with the Anna Pavlova Prize of the Paris Academy of Dance.
Svetlana Zakharova was born in Lutsk on June 10, 1979. In 1989 she entered the Kiev Choreographic School. After studying there for six years, she took part in the Vaganova-Prix competition for young dancers in St. Petersburg. Received second prize and an offer to switch to graduate course to the Academy of Russian Ballet named after A. Ya. Vaganova. In 1996, Zakharova graduated from the academy, being among the first graduates of Elena Evteeva, a former famous ballerina Mariinsky Theater. That same year she was accepted into the Mariinsky Theater troupe and already in the next season she took the position of soloist.
In April 2008, Svetlana Zakharova was recognized as the star of the famous Milan theater La Scala.
She performed in Moscow, St. Petersburg, London, Berlin, Paris, Vienna, Milan, Madrid, Tokyo, Baku, New York, Amsterdam, etc.
About M. V. Kondratieva
“If Terpsichore existed in reality, Marina Kondratieva would be her embodiment. You don’t know and can’t catch when it falls to the ground. Either you see only her eyes, then her light graceful legs, then only her expressive hands. Together they tell wonderful stories in compelling language. But then a barely noticeable turn of the shoulder - and she’s gone... and it seems like she wasn’t there at all. She, like an early pink cloud, appears and then melts before our eyes.”
Kasyan Goleizovsky, ballet dancer, outstanding Russian choreographer
“Her dance evoked in me associations with Japanese painting, with the finest and most expressive strokes, with transparent strokes of watercolor paints.”
Lyudmila Semenyaka, People's Artist of the USSR
“Kondratieva’s highest professionalism is admired not only in her solo performances, but also in duets and ensembles with other soloists. Being a reliable partner is also an art. And how to achieve it remains a secret for many.”
Maris Liepa, People's Artist of the USSR
“Purity and lightness were inherent not only in her dance, but also in her soul. Of course, this was the real Muse.
Yaroslav Sekh, dancer of the Bolshoi Theater
There are special, “star” people in art, endowed, in addition to talent, hard work, charm and creative power, with some kind of light and flight. About Maris Liepa: he is in flight, in jumps, long, as if protracted, across the entire space of the stage. Like a straightened spring. On the day of the performance, in the morning, it was compressed like a spring, and it was important not to lose this state, the spring was activated when the curtain rose.
Thirteen-year-old serious Riga boy: first participation in a competition in Moscow. The first pas de deux from The Nutcracker. First success. Only from that moment did he decide that ballet was his destiny
He was passionate, passionate in every form. . Liepa skips to class with his students, light, indistinguishable from them, young ones, in the crowd. And he also teaches easily and passionately, falling to his knees, lighting himself up and praising, praising uncontrollably, because he knows: ballet is a gigantic work.
He lived his life like a torch or a star - it flashed and went out. He probably wouldn’t be able to survive, to fade away. He knew how and wanted only to live. “I feel like a race car driver, I’m flying and flying and I can’t stop.” "When I leave the Bolshoi, I will die." The Bolshoi was his only theater. He was a maximalist, a romantic. And ballet was his only destiny.
Of course, these are not all the stars of Russian ballet who have shone and are now shining on many stages around the world. But it’s impossible to talk about them all at once in one message. Thank you for your attention.