Kristina Kretova, ballerina. Biography, career, personal life. A native of Orel became the leading ballerina of the Bolshoi Theater: interview with Kristina Kretova Who is Kristina Kretova’s husband

04.11.2019

Kristina Kretova- famous Russian ballerina, prima of the Bolshoi Theater. Born on January 28, 1984 in the city of Orel.

Christina began studying ballet at the age of six. At ten she was invited to study at the choreographic academy in Moscow, after graduating from which she began working at the Kremlin Theater, then performed for a year on the stage of the Theater. Stanislavsky and Nemirovich-Danchenko, and in 2011 became a soloist of the Bolshoi Theater.

On the jury of the popular show “Dancing” on TNT (season 3)

IN dance world Kretova has long won great love from the audience, but mass fame came to her after her appearance on “ blue screen" In 2011, together with Alexei Yagudin, she won the Bolero show on Channel One. And in 2015, she became a member of the jury of the dance project “Dancing” on TNT.

With son Isa

Despite the dense tour schedule and constant rehearsals, Christina finds time for her personal life. She is married and has a growing son, Isa. The girl keeps her husband’s name a secret; there is not a single photo with her husband on her Instagram.

About her personal life prima Bolshoi Theater tells a little - it is known that she is married, she has a son, Isa. Apparently, Kristina Kretova’s husband is a businessman, since she talks about him as a very busy person who has to travel a lot on business. But, despite his busy schedule, he always finds the opportunity to attend his wife’s premieres, and this support means a lot to her. A busy work schedule leaves very little time for communication with her husband and child, so when this is possible, Christina tries to devote herself entirely to her family.

In the photo - Kristina Kretova with her son

The ballerina says that her relationship with her husband, despite the fact that they have been together for many years, is full of love and romance - her husband still presents her with flowers, not only at performances, but also in ordinary life. Christina appreciates this touching attitude, because she understands that being the husband of a ballerina is not easy. She tries to clearly separate work and home, and therefore, when she comes from a performance or after a rehearsal, she turns into a loving and caring wife and mother.

Unfortunately, she doesn’t have to communicate with her son as much as she would like, so Christina happy hours tries to give him maximum of her love and warmth. However, despite the complexity of her profession, she never regretted that she dedicated her life to ballet.

In the photo is the son of Kristina Kretova

Kristina Kretova began studying choreography at the age of seven and enjoyed going to choreography school, and when she turned ten, she went to Moscow to enter the State Academy of Choreography. The competition there was huge, but admissions committee I immediately identified the girl’s talent as a ballerina, and Christina was immediately enrolled. Her work history began with the Kremlin Theater, with whose troupe she visited many Russian and foreign theaters. Within the walls of this theater, her career skyrocketed, and Christina quickly became its prima. They began to trust her with solo roles, some of which are very complex, but the young ballerina successfully copes and performs roles of a wide variety of types.

Kristina Kretova met her husband during this period, then gave birth to a son, and after maternity leave she moved to another theater - named after Stanislavsky and Nemirovich-Danchenko. Working in this theater was very successful for Christina - she integrated well into the team, which she still remembers with great warmth. In 2011, she moved to the Bolshoi, and this became the next step in her career and a great personal achievement. Working in a theater of this magnitude is associated with great responsibility and enormous workload, and Christina understood that now she would have even less time for her personal life, but she could not refuse such a gift of fate.

Kristina Kretova’s husband supported his wife in this decision, and she is grateful to him for this support and understanding. She came to the Bolshoi Theater as an ordinary soloist, although in previous theaters she had been a prima singer, so she had to make considerable efforts to get the first roles in this theater, and she soon succeeded.

The ballerina’s talent has been repeatedly awarded with high awards, the first of which was a grant from the independent Triumph Award, which she received in 2003. Then there was second prize at the All-Russian competition of Yuri Grigorovich “Young Ballet of Russia”, First prize International competition“Young Ballet of the World”, “Ballet” magazine award “Soul of Dance” in the category “ Rising Star" The support of her beloved husband undoubtedly helped the ballerina achieve such success, without which it would have been difficult for her to cope with all the stress.

Russian ballerina, soloist of the Bolshoi Theater.

Kristina Kretova- direct heir to the traditions of the great ballerina Galina Ulanova: Kristina has been preparing her parts for many years under the guidance of her faithful student Ulanova Nina Semizorova.

Kristina Kretova. Biography

Kristina Kretova I started studying ballet at the age of six. In Orel she studied at a choreographic school. At the age of 10 she moved to Moscow and continued her studies at the Moscow State Academy of Arts. After graduating in 1994, she entered the Moscow State Choreographic School, where her teachers were Elena Bobrova, L. A. Kolenchenko And M. K. Leonova.

After graduating from the academy, since 2002, she has been a prima ballerina of the Kremlin Ballet, since 2010 - of the Theater. Stanislavsky and Nemirovich-Danchenko. Since 2011 - leading soloist of the Bolshoi Theater. In the repertoire Kristina Kretova almost all leading parties.

In 2011 Kristina Kretova took part in television project Ilya Averbukh and Channel One “Bolero”. Together with Alexei Yagudin, she won first place.

Kristina Kretova and the Bolero project: “I am incredibly happy that Slava Kulaev worked with me, I danced most of his numbers. For me, this is a new plasticity: not classic, not hip-hop - something unreal. If you look at my first program, I danced in boots. It was very cool, I enjoyed what we did. Then there was an amazing choreographer, who is very difficult to get to - he is very busy, he has his own troupe, his own productions - this is Rado Poklitaru. He lives in Ukraine; several years ago he staged a production of Romeo and Juliet at the Bolshoi Theater. He has a completely different understanding of plasticity. The music plays, and I think to myself that I would do it this way, but he says to do it completely differently, like black and white! I don’t know where else I would have worked with him if it weren’t for this project.”

Permanent participant in the project “Russian Seasons XXI Century” ( Charitable Foundation them. Marisa Liepa). He still performs at the Bolshoi Theater and takes part in tours.

In 2015, she participated as a guest judge in the show “Dancing on TNT. Season 2." In 2017, Kristina Kretova was invited to another dance show on NTV channel - international children's competition“You are great! Dancing". The host of the project is Alexander Oleshko, the other jury members are Egor Druzhinin, Evgeniy Papunaishvili and Anastasia Zavorotnyuk.

“I understand how important it is to be noticed at a young age. At the age of 10, my mother brought me to Moscow, to the Choreographic Academy, where I was very great selection! Then they gave me a chance, and I used it: now I have the happy opportunity to dance on all the famous stages of the world. I really want all participants in our program to have such a chance!”

Christina has a son, Isa, who was born in 2009.

Until 1994, she studied at a choreographic school, then entered the Moscow Choreographic School (since 1995 - Moscow State Academy of Choreography), where her teachers were Lyudmila Kolenchenko, Marina Leonova, Elena Bobrova.

After graduating in 2002, she was a soloist of the Kremlin Ballet Theater, and since 2010 she has danced at the Theater. Stanislavsky and Nemirovich-Danchenko. Since 2011 - leading soloist of the Bolshoi Theater; rehearses under the direction of Nina Semizorova.

In 2011, she participated in the Russian television project “Bolero” (Channel One), where she won first place together with Alexei Yagudin.

Creation

The ballerina is a permanent participant in the project of the Foundation named after. Marisa Liepa "Russian seasons of the XXI century." In 2007 she participated in the International Festival of Classical Ballet named after Rudolf Nureyev in Kazan. She has performed on the stage of the Yekaterinburg Opera and Ballet Theater (2008) and the Mikhailovsky Theater in St. Petersburg (2015).

Family

Christina is married and has a son, Isa.

Repertoire

Kremlin Ballet

Giselle- “Giselle” by A. Adam, choreography by J. Perrot, J. Coralli, M. Petipa, A. Petrov
Odette-Odile- “Swan Lake” by P. I. Tchaikovsky, choreography by L. Ivanov, M. Petipa, A. Gorsky, A. Messerer, A. Petrov
Marie- “The Nutcracker” by P. I. Tchaikovsky, choreography by A. Petrov
Kitri- “Don Quixote” by L. Minkus, choreography by A. Gorsky, edition by V. Vasiliev
Emmy Lawrence- “Tom Sawyer” by P. B. Ovsyannikov, choreography by A. Petrov
Naina- “Ruslan and Lyudmila” by M. I. Glinka -V. G. Agafonnikova, choreography by A. Petrov
Princess Florina; Princess Aurora- “The Sleeping Beauty” by P. I. Tchaikovsky, choreography by M. Petipa, A. Petrov
Esmeralda- “Esmeralda” by C. Pugni, R. Drigo, choreography by A. Petrov
Suzanne- “Figaro” to music by W. A. Mozart and G. Rossini, choreography by A. Petrov

Theater named after Stanislavsky and Nemirovich-Danchenko

Queen of the Dryads; Kitri- “Don Quixote” by L. Minkus, choreography by A. Gorsky, A. Chichinadze
Odette-Odile - « Swan Lake» P. I. Tchaikovsky, choreography by L. Ivanov, V. Burmeister
Esmeralda- “Esmeralda” by C. Pugni, choreography by W. Burmeister
"Sharpening to a sharp point" Slice to Sharp) directed by J. Elo

Bolshoi Theater

Queen of the Dryads- “Don Quixote” by L. Minkus, choreography by A. Gorsky, revised by A. Fadeechev
Giselle- “Giselle” by A. Adam, choreography by J. Perrot, J. Coralli, M. Petipa, revised by Y. Grigorovich
Marie- “The Nutcracker” by P. I. Tchaikovsky, choreography by Yu. Grigorovich

Odette-Odile
soloist - Cinque to music by A. Vivaldi, staged M. Bigonzetti
slave dance- “Corsair” by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaki
Mireille de Poitiers- “The Flame of Paris” by B. V. Asafiev, staged by A. Ratmansky using choreography by V. Vainonen
Anyuta- “Anyuta” to music by V. A. Gavrilin, choreography by V. Vasiliev
duet - Dream of Dream to music by S. V. Rachmaninov, staged by J. Elo
leading couple- “Classical Symphony” to the music of S. S. Prokofiev, staged by Y. Posokhov
Ramsey- “The Pharaoh’s Daughter” by C. Pugni, directed by P. Lacotte and scripted by M. Petipa
main party- “Rubies” (II part of the ballet “Jewels”) to the music of I. F. Stravinsky, choreography by J. Balanchine
Polyhymnia- “Apollo Musagete” by I. F. Stravinsky, choreography by J. Balanchine
Home washcloth- “Moidodyr” by E. I. Podgaits, directed by Y. Smekalov

Gamzatti- “La Bayadère” by L. Minkus, choreography by M. Petipa, revised by Yu. Grigorovich
Gulnara- “Corsair” by A. Adam, choreography by M. Petipa
stove, waltz, vacuum cleaners- “Apartment”, music Flashquartet, production by M. Ek
Olga; Tatiana- “Onegin” to the music of P. I. Tchaikovsky, choreography by J. Cranko
Prince's peers- “Swan Lake” by P. I. Tchaikovsky (debuted on tour of the Bolshoi Theater in London)
Kitri- “Don Quixote” by L. Minkus
Angela, Marquise Sampietri- “Marco Spada” to music by D. F. E. Aubert, choreography by P. Lacotte after J. Mazilier
Swanilda- “Coppelia” by L. Delibes, choreography by M. Petipa and E. Cecchetti, production and new choreographic version by S. Vikharev

Prince's peers- “Swan Lake” by P. I. Tchaikovsky in the second edition by Yu. Grigorovich
Prudence Duvernoy(first performer at the Bolshoi Theater); Manon Lescaut- “Lady with Camellias” to music by F. Chopin, choreography by J. Neumeier
Classical dancer- “Bright Stream” by D. D. Shostakovich, choreography by A. Ratmansky
Zhanna- “Flame of Paris” by B. Asafiev
Katarina- “The Taming of the Shrew” to music by D. D. Shostakovich, choreography J.-C. Mayo

Florina- “Lost Illusions” by L. A. Desyatnikov, directed by A. Ratmansky

In other theaters

Gulnara- “Corsair” by A. Adam, choreography by M. Petipa, K. Sergeev - Tatar Opera and Ballet Theater named after Musa Jalil (2007)
Lilac Fairy- “The Sleeping Beauty” by P. I. Tchaikovsky - Tatar Opera and Ballet Theater named after Musa Jalil (2007)
Mistress of the Copper Mountain- “Stone Flower” by S. S. Prokofiev, choreography by A. Petrov - premiere at the Yekaterinburg Opera and Ballet Theater (2008)
Kitri- “Don Quixote” by L. Minkus, choreography by M. Petipa, A. Gorsky, revised by M. Messerer - Mikhailovsky Theater (2015; Basil - Ivan Vasiliev)

Awards and recognition

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Excerpt characterizing Kretova, Kristina Aleksandrovna

“Show me off, show me off, I’ll... I’ll... I’ll do it,” Pierre said hastily in a breathless voice.
The dirty girl came out from behind the chest, tidied up her braid and, sighing, walked forward along the path with her blunt bare feet. Pierre seemed to suddenly come to life after a severe faint. He raised his head higher, his eyes lit up with the sparkle of life, and he with quick steps he followed the girl, overtook her and went out to Povarskaya. The entire street was covered in a cloud of black smoke. Tongues of flame burst out here and there from this cloud. A large crowd of people crowded in front of the fire. A French general stood in the middle of the street and said something to those around him. Pierre, accompanied by the girl, approached the place where the general stood; but French soldiers stopped him.
“On ne passe pas, [They don’t pass here,”] a voice shouted to him.
- Here, uncle! - said the girl. - We'll go through the Nikulins along the alley.
Pierre turned back and walked, occasionally jumping up to keep up with her. The girl ran across the street, turned left into an alley and, after passing three houses, turned right into the gate.
“Right here now,” said the girl, and, running through the yard, she opened the gate in the plank fence and, stopping, pointed to Pierre a small wooden outbuilding that burned brightly and hotly. One side of it collapsed, the other was burning, and the flames were shining brightly from under the window openings and from under the roof.
When Pierre entered the gate, he was overcome with heat, and he involuntarily stopped.
– Which, which is your house? – he asked.
- Oh oh oh! - the girl howled, pointing to the outbuilding. “He’s the one, she’s the one who was our Vatera.” You burned, my treasure, Katechka, my beloved young lady, oh, oh! - Aniska howled at the sight of the fire, feeling the need to express her feelings.
Pierre leaned towards the outbuilding, but the heat was so strong that he involuntarily described an arc around the outbuilding and found himself next to a large house, which was still burning only on one side of the roof and around which a crowd of French were swarming. Pierre at first did not understand what these French were doing, carrying something; but, seeing in front of him a Frenchman who was beating a peasant with a blunt cleaver, taking away his fox fur coat, Pierre vaguely understood that they were robbing here, but he had no time to dwell on this thought.
The sound of the crackling and roar of collapsing walls and ceilings, the whistle and hiss of flames and the animated cries of the people, the sight of wavering, now scowling thick black, now soaring lightening clouds of smoke with sparkles and sometimes solid, sheaf-shaped, red, sometimes scaly golden flame moving along the walls , the sensation of heat and smoke and the speed of movement produced on Pierre their usual stimulating effect of fires. This effect was especially strong on Pierre, because Pierre suddenly, at the sight of this fire, felt freed from the thoughts that were weighing him down. He felt young, cheerful, agile and determined. He ran around the outbuilding from the side of the house and was about to run to the part of it that was still standing, when a cry of several voices was heard above his head, followed by the cracking and ringing of something heavy that fell next to him.
Pierre looked around and saw the French in the windows of the house, who had thrown out a chest of drawers filled with some kind of metal things. Other French soldiers below approached the box.
“Eh bien, qu"est ce qu"il veut celui la, [This one still needs something," one of the French shouted at Pierre.
- Un enfant dans cette maison. N"avez vous pas vu un enfant? [A child in this house. Have you seen the child?] - said Pierre.
– Tiens, qu"est ce qu"il chante celui la? Va te promener, [What else is this interpreting? “Get to hell,” voices were heard, and one of the soldiers, apparently afraid that Pierre would take it into his head to take away the silver and bronze that were in the box, advanced threateningly towards him.
- Un enfant? - the Frenchman shouted from above. - J"ai entendu piailler quelque chose au jardin. Peut etre c"est sou moutard au bonhomme. Faut etre humain, voyez vous... [Child? I heard something squeaking in the garden. Maybe it's his child. Well, it is necessary according to humanity. We are all human...]
– Ou est il? Ou est il? [Where is he? Where is he?] asked Pierre.
- Par ici! Par ici! [Here, here!] - the Frenchman shouted to him from the window, pointing to the garden that was behind the house. – Attendez, je vais descendre. [Wait, I'll get off now.]
And indeed, a minute later a Frenchman, a black-eyed fellow with some kind of spot on his cheek, in only his shirt, jumped out of the window of the lower floor and, slapping Pierre on the shoulder, ran with him into the garden.
“Depechez vous, vous autres,” he shouted to his comrades, “commence a faire chaud.” [Hey, you're more lively, it's starting to get hot.]
Running out behind the house onto a sand-strewn path, the Frenchman pulled Pierre's hand and pointed him towards the circle. Under the bench lay a three-year-old girl in a pink dress.
– Voila votre moutard. “Ah, une petite, tant mieux,” said the Frenchman. - Au revoir, mon gros. Faut être humaine. Nous sommes tous mortels, voyez vous, [Here is your child. Ah, girl, so much the better. Goodbye, fat man. Well, it is necessary according to humanity. All people,] - and the Frenchman with a spot on his cheek ran back to his comrades.
Pierre, gasping for joy, ran up to the girl and wanted to take her in his arms. But, seeing a stranger, the scrofulous, unpleasant-looking, scrofulous, mother-like girl screamed and ran away. Pierre, however, grabbed her and lifted her into his arms; she screamed in a desperately angry voice and with her small hands began to tear Pierre’s hands away from her and bite them with her snotty mouth. Pierre was overcome by a feeling of horror and disgust, similar to the one he experienced when touching some small animal. But he made an effort over himself so as not to abandon the child, and ran with him back to big house. But it was no longer possible to go back the same way; the girl Aniska was no longer there, and Pierre, with a feeling of pity and disgust, hugging the painfully sobbing and wet girl as tenderly as possible, ran through the garden to look for another way out.

When Pierre, having run around courtyards and alleys, came back with his burden to Gruzinsky’s garden, on the corner of Povarskaya, at first he did not recognize the place from which he had gone to fetch the child: it was so cluttered with people and belongings pulled out of houses. In addition to Russian families with their goods, fleeing here from the fire, there were also several French soldiers in various attire. Pierre did not pay attention to them. He was in a hurry to find the official’s family in order to give his daughter to his mother and go again to save someone else. It seemed to Pierre that he had a lot more to do and quickly. Inflamed from the heat and running around, Pierre at that moment felt even more strongly than before that feeling of youth, revival and determination that overwhelmed him as he ran to save the child. The girl now became quiet and, holding Pierre’s caftan with her hands, sat on his hand and, like a wild animal, looked around her. Pierre occasionally glanced at her and smiled slightly. It seemed to him that he saw something touchingly innocent and angelic in this frightened and painful face.
Neither the official nor his wife were in their former place. Pierre walked quickly among the people, looking around different faces that came his way. Involuntarily he noticed a Georgian or Armenian family, consisting of a handsome, very old man with an oriental face, dressed in a new covered sheepskin coat and new boots, an old woman of the same type and a young woman. This very young woman seemed to Pierre the perfection of oriental beauty, with her sharp, arched black eyebrows and long, unusually delicately ruddy and beautiful face without any expression. Among the scattered belongings, in the crowd in the square, she, in her rich satin cloak and a bright purple scarf covering her head, resembled a delicate greenhouse plant thrown out into the snow. She sat on the bundles somewhat behind the old woman and motionless with large black oblong, with long eyelashes, looked at the ground with her eyes. Apparently, she knew her beauty and was afraid for it. This face struck Pierre, and in his haste, walking along the fence, he looked back at her several times. Having reached the fence and still not finding those he needed, Pierre stopped, looking around.
The figure of Pierre with a child in his arms was now even more remarkable than before, and several Russian men and women gathered around him.
– Or lost someone, dear man? Are you one of the nobles yourself, or what? Whose child is it? - they asked him.
Pierre answered that the child belonged to a woman in a black cloak, who was sitting with the children in this place, and asked if anyone knew her and where she had gone.
“It must be the Anferovs,” said the old deacon, turning to the pockmarked woman. “Lord have mercy, Lord have mercy,” he added in his usual bass voice.
- Where are the Anferovs! - said the woman. - The Anferovs left in the morning. And these are either the Marya Nikolaevnas or the Ivanovs.
“He says she’s a woman, but Marya Nikolaevna is a lady,” said the yard man.
“Yes, you know her, long teeth, thin,” said Pierre.
- And there is Marya Nikolaevna. “They went into the garden, when these wolves swooped in,” the woman said, pointing at the French soldiers.
“Oh, Lord have mercy,” the deacon added again.
- You go over there, they are there. She is. “I kept getting upset and crying,” the woman said again. - She is. Here it is.
But Pierre did not listen to the woman. For several seconds now, without taking his eyes off, he looked at what was happening a few steps away from him. He looked at the Armenian family and two French soldiers who approached the Armenians. One of these soldiers, a small, fidgety man, was dressed in a blue overcoat belted with a rope. He had a cap on his head and his feet were bare. The other, who especially struck Pierre, was a long, stooped, blond, thin man with slow movements and an idiotic expression on his face. This one was dressed in a frieze hood, blue trousers and large torn boots. A little Frenchman, without boots, in a blue hiss, approached the Armenians, immediately, saying something, took hold of the old man’s legs, and the old man immediately began hastily to take off his boots. The other, in a hood, stopped opposite the beautiful Armenian woman and silently, motionless, holding his hands in his pockets, looked at her.

I became interested in Kristina Kretova quite recently. I saw these unusual beautiful photos and immediately wanted to know more about her.

What beautiful makeup here! What a facial expression!

She was born in Orel. In 2002 she graduated from the Moscow State Academy of Choreography and was accepted into the theater " Kremlin Ballet", where she performed the leading roles - Giselle, Odette-Odile, Masha, Kitri, Esmeralda

as well as Emmy Lawrence (“Tom Sawyer” by P. Ovsyannikov, choreography by A. Petrov),

Naina (“Ruslan and Lyudmila” by V. Agafonnikov, choreography by A. Petrov), etc.

In 2008, she performed the role of the Mistress of the Copper Mountain at the premiere of the ballet “The Stone Flower” by S. Prokofiev at the Yekaterinburg State Theater academic theater opera and ballet (choreography by A. Petrov).

** By the way, I didn’t know about this. I didn’t go to the premiere performance; I saw it much later. It turns out that she visited us too)))

In 2010 she joined the troupe of the Moscow Academic Musical theater them. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko, taking the position of prima ballerina. In the 2011/12 season she entered ballet troupe Bolshoi Theater. Rehearses under the direction of Nina Semizorova.

Kristina Kretova in Vadim Vernik's author's program "Who's There". Broadcast from 02/10/2012

Variation from "The Nutcracker", 2011

Now Kristina Kretova is the leading soloist of the Bolshoi Theater. Over these two seasons she has already danced many roles, as in classical ballets, and modern productions - (Soloist (“Cinque” to the music of A. Vivaldi, staged by M. Bigonzetti),

Mireille de Poitiers (“Flames of Paris”), Anyuta, duet (“Dream of Dream”)

Leading couple (“Classical Symphony” to the music of S. Prokofiev, staged by Y. Posokhov), Ramsey (“Pharaoh’s Daughter”), Polyhymnia (“Apollo Musagete”), etc.

Awards:

2003 - youth grant of the independent award "Triumph". 2004 - won 2nd prize All-Russian competition Yuri Grigorovich "Young Ballet of Russia" (Krasnodar).

2006 - awarded the 1st prize at the International Competition “Young Ballet of the World” (Sochi) and the “Soul of Dance” award from the “Ballet” magazine (in the “Rising Star” category).

"Swan Lake" with S. Chudin

**
Maybe she's not a perfect dancer. In some places there is a lack of coordination between the positions of the head and the body (for example, in Giselle), in some places the transitions are rough, and there are not enough nuances in some adagios. But overall she is a very expressive, well-trained, experienced ballerina, with a chiseled figure, beautiful legs, and dramatic talent. At least that's how I saw her.

It's amazing how they suit her dramatic roles, and characteristic.

"Giselle" with Dmitry Gudanov

Kristina Kretova / V. Lantratov - Sleeping Beauty

Performance by Bolshoi Theater artists at the Festival of Arts in Odessa. 2012 Benefit performance of Vladimir Vasiliev.

Gala concert "Dedication to Maris Liepa"

Pas de deux from the ballet Don Quixote. Kristina Kretova (Music Theater named after Stanislavsky and Nemirovich-Danchenko) and Mikhail Martynyuk (Kremlin Ballet), aired: 07/27/2011

Http://vk.com/ballerina_kretova

Very nice profile!

But here Gamzatti has a very interesting view! You can see fear in her face, she still doesn’t know how to start a conversation with Nikiya.... very interesting!