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

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

Forgotten Ballet

You moved from St. Petersburg to South Korea to work. How popular is Asia now among our ballet dancers?

To be honest, my colleagues move to Europe and the USA many times more often. IN South Korea ballet is only about 50 years old, and the Universal Ballet company (the largest ballet company in South Korea, based in Seoul - Ed.), where I now work, is only 33 years old. In addition to it, the country also has the Korean National Ballet, where only Koreans can work. No discrimination: similar companies exist in other countries, for example, in France. There are also only French dancers there.

- Why did you decide to leave the Mariinsky Theater?

It all started when my colleague got a job at Universal Ballet. One day I asked her if they needed dancers there. I sent a video of my performances to the company, and soon they called me to work. I immediately agreed, because I had long wanted to change my ballet life in better side. And the Universal Ballet company has a very rich repertoire: there is something to dance.

The problem is that at the Mariinsky Theater on at the moment more attention is paid to opera and music than to ballet, which seems to have been forgotten. At first, the Mariinsky Theater still staged new performances and invited choreographers, including foreign ones. But then all this somehow gradually stopped.

The last of the iconic choreographers arrived two years ago, Alexey Ratmansky (permanent choreographer of the American Ballet Theater - Ed.), who staged the ballet Concerto DSCH to the music of Dmitry Shostakovich at the Mariinsky Theater. For a long time I danced in the same classical productions. But I also wanted some new repertoire, modern choreography.

But if we have wonderful classics - “The Nutcracker”, “Bakhchisarai Fountain”, “ Swan Lake", so maybe modern choreography and not needed?

Without new performances there will be no development of theater and artists. People abroad understand this. For example, in South Korea we recently danced “Little Death” by Jiri Kylian (Czech dancer and choreographer - Ed.). This modern classics, which is shown in theaters in many countries around the world. But for some reason not at the Mariinsky Theater. And here, among other things, there is the ballet “Romeo and Juliet” staged by Kenneth MacMillan (British choreographer, head of the Royal Ballet in 1970–1977 - Ed.), “Eugene Onegin” by John Neumeier (choreographer, head of the Hamburg Ballet since 1973 . - Ed.), In the Middle, Somewhat Elevated (“In the middle, something rose”) by William Forsyth (American choreographer, his ballet troupe “Forsyth Company” is engaged in experiments in the field modern dance. - Ed.).

Gergiev Factory

- Are we becoming a ballet province?

I wouldn't say that. It’s just that the Mariinsky Theater is turning into a kind of factory. An artist can have 30–35 ballet performances there per month. For example, sometimes I had to perform even twice a day. At first, people, opening such an intense poster for a month in advance, made surprised round eyes. But a person gets used to everything. So we got used to it over time. Every day they worked, went on stage, performed what they had to do. But no one had enough time or energy to prepare new performances, because old things, the repertoire that is currently on, also need to be rehearsed. Many ballet dancers left precisely because of this routine, monotonous work.

There are 6-7 performances a month here. And we carefully prepare for each of them, because time allows. For example, we recently danced a modern program, and from each foreign choreographer (whose performances were included in this program - Ed.) an assistant came with whom we worked together: he explained some nuances and details. Since January that I have been here, I have already received so many emotions and danced so much!

- Why do you think the Mariinsky Theater has such a conveyor belt?

It’s just that the person who is at the head of the theater (Valery Gergiev - Ed.) is the same himself. He is very efficient. One day he is in Moscow for a meeting, three hours later he flies to Munich to conduct symphony orchestra, and five hours later again in Moscow at the reception. He apparently decided that his theater should work very actively. Of course that's not bad. But sometimes I felt like a miner at the Mariinsky Theater: I worked from morning until night. For example, he often left home at 10 am and returned at midnight. Of course, it was very difficult. On the other hand, every theater in the world has its own problems.

“They are not afraid of North Korean bombs here”

How were you received by your fellow dancers in South Korea? Was there any increased interest in you since you are from the Mariinsky Theater?

I didn't notice any special excitement. Perhaps earlier Europeans in ballet world Korea was a novelty, but now everyone has long been accustomed to us. For example, at the Universal Ballet, approximately half of all dancers came from Europe. There are also Americans. By the way, in Korean ballet a lot is taken from Russian ballet. In particular, there are many productions of the Mariinsky Theater here. Therefore, it’s very easy for me here: just as I danced “The Nutcracker” or “Don Quixote” at the Mariinsky Theater, I dance here.

- What conditions do the Koreans provide to our dancers?

The conditions are very good, in this regard they are great. For example, I was immediately provided with housing - a small apartment, a good salary, which was many times higher than it was in St. Petersburg (however, prices are higher here), and medical insurance. By the way, at the Mariinsky Theater it was also done for ballet dancers. For example, a few years ago I had a knee operation using it.

- Is competition in the ballet world higher in Russia or South Korea?

Competition is everywhere, without it you simply cannot grow. But she is adequate and healthy. Neither in St. Petersburg nor in Seoul did I feel any sidelong glances or conversations behind my back. But even if they say something about me, I’m so immersed in work that I don’t notice it. In general, stories about broken glass in pointe shoes and smeared suits are a myth. In my entire ballet career I have never encountered this. And I've never even heard of this. No setups.

- Asia is a completely different world. What was the hardest thing for you to get used to in South Korea?

When colleagues at the Mariinsky Theater found out about my departure, they said that it would be psychologically very difficult for me to live there. But in Seoul, I was so immersed in my profession that I felt absolutely nothing. I just dance without this St. Petersburg race and feel absolutely happy. Unless you need to learn the language. But you can live without it in Korea. The fact is that local people are very friendly. Once you get lost in the subway or on the street, they immediately come up and English They offer help, ask where I need to go.

- How do they treat them there? North Korea? Do you feel tension from such a difficult neighbor?

No. It seems to me that no one even thinks about this and is not afraid of Korean bombs. Everything is very calm here, and it seems like nothing is happening at all. There are no terrorist attacks, no disasters, or even any major scandals. But, despite the fact that it is so comfortable here, I still miss St. Petersburg, my family and the Mariinsky Theater. This theater really gave me a lot. I studied there, gained experience, formed my taste, I danced there. And this will forever remain in my memory.

Publications in the Theaters section

Modern Russian ballerinas. Top 5

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

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

Ulyana Lopatkina

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

Ulyana Lopatkina in the choreographic miniature “The Dying Swan”

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

Diana Vishneva

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

Documentary film “Always on the move. Diana Vishneva"

Svetlana Zakharova

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

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

Maria Alexandrova

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

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

Documentary film “Monologues about myself. Maria Alexandrova"

Victoria Tereshkina

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

Documentary film “The Royal Box. Victoria Tereshkina"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

When planning material about ballerinas for the May holidays, we did not know that such sad news would come from Germany... Today, when the whole world mourns the legend of Russian ballet Maya Plisetskaya, we honor her memory and remember modern soloists who will never replace the prima of the Bolshoi Theater, but they will worthily continue the history of Russian ballet.

The Bolshoi Theater showered ballerina Maria Alexandrova with attention from the first meeting. The first prize won in 1997 at the International Ballet Competition in Moscow became a ticket for the then student of the Moscow State Academy of Arts to the main troupe of the country. In the very first season of work at the Bolshoi, without long languor, the ballerina, still with the rank of corps de ballet dancer, received her first solo role. And the repertoire grew and expanded. Interesting fact: in 2010, the ballerina became the first woman in the history of ballet to perform the title role in Stravinsky’s Petrushka. Today Maria Alexandrova is a prima ballerina of the Bolshoi.

The turning point in the fate of the aspiring ballerina Svetlana Zakharova was receiving second prize in the Vaganova-Prix competition for young dancers and the subsequent offer to become a student graduation year Academy of Russian Ballet named after. Vaganova. And the Mariinsky Theater became a reality in the ballerina’s life. After graduating from the academy, the ballerina joined the Mariinsky Theater troupe, after working for a season, she received an offer to become a soloist. The history of Zakharova’s relationship with the Bolshoi began in 2003 with the solo part in “Giselle” (edited by V. Vasiliev). In 2009, Zakharova surprised the audience with the premiere of E. Palmieri’s unusual ballet “Zakharova. Super game." The Bolshoi did not plan it, but Zakharova organized it, and the theater supported the experiment. By the way, a similar experience of staging in Bolshoi Ballet for the only ballerina there was already, but only once: in 1967, Maya Plisetskaya shone in Carmen Suite.

What can I say, those who are taking their first steps in ballet from Zakharova’s repertoire are dizzy and envy appears. To date, her track record includes all solo parts of the main ballets - “Giselle”, “Swan Lake”, “La Bayadère”, “Carmen Suite”, “Diamonds”...

The beginning of Ulyana Lopatkina's ballet career was the role of Odette in Swan Lake, of course, at the Mariinsky Theater. The performance was so skillful that the ballerina soon received the Golden Sofit award for the best debut on the St. Petersburg stage. Since 1995, Lopatkina has been a prima ballerina of the Mariinsky Theater. The repertoire again includes familiar titles - “Giselle”, “Corsair”, “La Bayadère”, “Sleeping Beauty”, “Raymonda”, “Diamonds”, etc. But geography is not limited to work on one stage. Lopatkina conquered the main stages of the world: from the Bolshoi Theater to NHK in Tokyo. At the end of May on stage Musical theater them. Stanislavsky and Nemirovich-Danchenko Lopatkina will perform in collaboration with “Stars of Russian Ballet” in honor of Tchaikovsky’s anniversary.

At the end of March, the name of Diana Vishneva, prima ballerina of the Mariinsky Theater since 1996, was on everyone’s lips. The Bolshoi hosted the premiere of the play “Grani,” a Golden Mask Award nominee. The event is vibrant and discussed. The ballerina gave interviews, joked in response to questions about her close acquaintance with Abramovich and pointed to her husband accompanying her everywhere. But the performance ended, and a course was set for London, where on April 10, Vishneva and Vodianova held a charity evening for the Naked Heart Foundation. Vishneva actively performs at best scenes Europe, does not refuse experimental, unexpected proposals.

Balanchine’s “Diamonds” was mentioned above. Ekaterina Shipulina, a graduate of the Moscow State Academy of Arts, shines in “Emeralds” and “Rubies.” And not only, of course. The ballerina's repertoire includes leading roles in such ballets as Swan Lake, Cathedral Notre Dame of Paris", "Lost Illusions", "Cinderella", "Giselle", and collaboration with the best choreographers - Grigorovich, Eifman, Ratmansky, Neumeier, Roland Petit...

Evgenia Obraztsova, graduate of the Academy of Russian Ballet named after. Vaganova, first became a prima ballerina at the Mariinsky Theater, where she performed La Sylphide, Giselle, La Bayadère, Princess Aurora, Flora, Cinderella, Ondine... In 2005, the ballerina gained cinematic experience by playing in Cedric Klapisch’s film “Beauties”. In 2012, she joined the Bolshoi troupe, where, as a prima ballerina, she performed solo roles in the plays “Don Quixote,” “The Sleeping Beauty,” “La Sylphide,” “Giselle,” “Eugene Onegin,” and “Emeralds.”