Victor Vasiliev ballet. Vladimir Vasiliev

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Today, the soloist of the Bolshoi and Mikhailovsky theaters, Ivan Vladimirovich Vasiliev, despite his youth, is known throughout the world. Every day there is a new achievement, and all thanks to hard work and determination. However, 2015 was truly a landmark year for him. He married his stage partner, the incredibly beautiful ballerina Maria Vinogradova, and also made his debut as a choreographer, staging his first performance “Ballet No. 1” in the Barvikha Luxury Village hall. In this article we will tell you about early period life, about becoming a ballet dancer and about what kind of person the talented dancer and choreographer Ivan Vasiliev is off the stage.

Biography

The future star of the Bolshoi and St. Petersburg Mikhailovsky Theaters was born in the village of Tavrichanka (Primorsky Territory), in a family that had nothing to do with art. His father, Vladimir Viktorovich Vasiliev, by the way, the full namesake of the famous premiere of the Bolshoi Theater of the 60-70s, was a military officer, and his mother did not work anywhere, remaining his faithful companion, who was everywhere, from one republic to another, from military unit to unit , followed him, ran the household and raised their sons. When Vanya was 4 years old, the family moved to Ukraine, Dnepropetrovsk. Soon after this, my mother decided to send her eldest son to a children's folk ensemble. Vanya was still very young, but he liked it so much in the dance hall, and he began to do such things there that the leader of the ensemble became interested in the musical and flexible little one, and decided to make an exception for him, accepting him and his older brother into the group.

Introduction to ballet

It so happened in the life of a dancer that no matter where Ivan Vasiliev studied, he always found himself a couple of years younger than his classmates. At the age of 7, the boy and his mother went to ballet for the first time. Throughout the entire performance, he did not utter a word and only his enthusiastically sparkling eyes spoke better than any words about what was going on in his soul. He left the theater completely in love with this view. high art. At home, he began to ask his parents to send him to ballet school. It was not easy for the military man to get used to the idea that his son wanted to connect his life with such a “non-male” occupation. However, the mother managed to convince the father that their son was probably born just for this, and the father gave in. Soon on the list of those admitted to first grade in Dnepropetrovsk choreographic school Ivan Vasiliev was listed. From that moment on, ballet became an integral part of his life. The boy did not particularly stand out for his physical characteristics; on the contrary, some choreographers thought that with this type of figure, not at all slender and short legs (the main “tool” of a dancer), he would not be able to achieve great heights in this form dance art, however, time has shown that they were wrong. In the meantime, the boy surprised everyone with his efficiency, incredible energy and determination.

Education

Then fate brought the family of the future soloist the best theaters countries to the Republic of Belarus, and here Ivan Vladimirovich Vasiliev enters the Belarusian State Choreographic College, where he begins to study classical ballet under the guidance of the Honored Worker of the Republic of Belarus, choreographer A. Kolyadenko. By the way, despite his young age (12 years old), Vanya was accepted immediately into the 3rd year, since during the entrance exam he began to perform the following complex elements, which began to be taught in college only towards the end of the second year. Soon he was sent to a competition, where he performed variations that were part of the program for older dancers and, naturally, surprised the jury members.

External data

The dancer says that some teachers did not want to see the obvious and did not believe that something good would come of him, based on his physical parameters. They could not even imagine that Ivan Vasiliev would bring so many new things. Ballet, for which height is of great importance, is a rather conservative art. Ivan’s height, of course, was far from tall, and the choreographers doubted whether he could look beautiful on stage, and his legs were a bit short, and, as some teachers said, they betrayed his plebeian roots. But, as you can see, they were wrong. Ivan Vasiliev proved that to achieve heights in a dancer’s career, appearance is not the most important thing, although the young man worked on his body to the point of exhaustion, as a result of training, he, the word sculptor, sculpted something perfect out of it. It is impossible not to admire his torso; it is worthy of admiration, resembling an isosceles triangle with its apex turned towards the waist.

To Moscow

Having not yet graduated from college, Ivan Vasiliev, in whose life ballet played the most important role at that time, had an internship at the Belarusian Bolshoi Theater and performed solo parts in productions of Don Quixote and Corsair. However, all his thoughts were connected with Moscow - this is where he saw himself in the future. And so, having received his diploma, he took a train ticket and, at his own risk, went to the capital of the country, which he considered his homeland. He was, of course, dissuaded, but in Moscow, no matter what you say, true talent is valued.

Premier of the country's main theater

In 2006, the talented dancer was accepted into the Bolshoi Theater, where he made his debut in the play “Don Quixote” in the role of Basil. After 4 years, he already became the premiere of the ballet troupe, bypassing the title of leading soloist, which happened extremely rarely. Here he performed the main roles V legendary performances: “Giselle”, “Spartacus”, “The Nutcracker”, “Don Quixote”, “Petrushka”. Its director and choreographer was Yuri Vladimirov. Before becoming prime minister, Ivan Vasiliev successfully took part in the magnificent international project “Kings of Dance” (2009). Here he danced on the same stage with such famous dancers as David Hallberg, Jose Manuel Carreno, Joaquin De Luz, and compatriots Nikolai Tsiskaridze, Denis Matvienko and others.

Ivan Vasiliev: Mikhailovsky Theater

It's no secret that being the premier of the Bolshoi Theater is cherished dream everyone ballet dancers, career pinnacle. And imagine the surprise of all the initiates when they learned that Ivan Vasiliev and Natalya Osipova (his partner in many performances and his girlfriend) refused to rehearse “Don Quixote” and decided to leave for St. Petersburg, and not to the Mariinsky, and the Mikhailovsky Theater. Of course, this sounded like a bolt from the blue. The Bolshoi management was at a loss. Contains such strange information professional biography. Ivan Vasiliev later explained his decision by saying that he needed a new incentive, a new tough motivation. However, the Bolshoi did not want to completely part with his favorite, and today he is a “guest star” for the theater. By the way, in the same capacity he performs at La Scala, the Rome Opera House, the Bavarian Ballet, the Mariinsky and Novosibirsk Opera and Ballet Theaters, and also regularly appears on the stage of the American Ballet Theater. He managed to raise the Mikhailovsky Theater to an incredible level. Here he performs leading roles in ballet productions of “Don Quixote”, “The Sleeping Beauty”, “La Bayadère”, “Giselle”, “Flames of Paris”, “Corsair”, “ Swan Lake", "Laurencia", "Halt of the Cavalry", "La Sylphide", "Vain Precaution", etc. Ivan Vasiliev, of course, managed to reach the very top in his dancer's career. He is one of the highest paid ballet dancers in the whole world. Isn't it everything he strived for?

Choreographer

No. I. Vasiliev says that already at the age of 12, analyzing the work of his choreographers, and in his heart disagreeing with them, he dreamed that the time would come when he himself would be able to create his own production. In 2015, at the end of spring, he managed to fulfill his dream. His debut performance was Ballet No. 1, where he used incredible tricks and elements, as if wanting to show where the possibilities could go human body, both in solo and duet parts. The premiere took place on the stage of the Barvikha Luxury Village hall and had incredible success. The main thing is that the choreographer himself was pleased with himself, and he said that this was just the beginning, new incredible productions awaited everyone.

Ivan Vasiliev: personal life

After Vasiliev arrived in Moscow and got a job at the Bolshoi Theater, he began a relationship with his colleague, Natalya Osipova. In tandem with her, over the course of 4 years they went to the title of premier and prima of the country's main theater. After that, all the acquaintances expected that the couple would legalize their relationship and have a grand wedding, but suddenly it broke up, and soon Ivan began to be noticed in the company of another Bolshoi Theater ballerina, Maria Vinogradova. They danced in a duet in the ballet “Spartacus”. After this, the young people started dating after rehearsals, and for the first date, I. Vasiliev invited his girlfriend to the Bolshoi Theater, but not to the ballet, but to the opera. Probably, it was funny for them to find themselves, although in a familiar environment, not on their own stage, but in front of it, in the auditorium.

Wedding

Vanya made his marriage proposal to Maria in a very romantic atmosphere. He covered the entire room with rose petals and decorated it balloons. He got down on one knee, like a medieval knight, and handed his beloved a box with an incredibly expensive ring. It turned out that it was a designer’s work from the famous jewelry brand “Graff”, which cost the artist $50,000. Well, what girl could resist such a confession? Maria, naturally, gave her consent, and they began to prepare for the wedding, which took place in the summer of 2015. The wedding ceremony was very beautiful, and the couple looked more than happy. Exactly a year after this, Maria and Ivan had their first child, daughter Anna.

Even on the Russian stage - the best ballet stage in the world - dancers with such expression, strength, courageous beauty of dance and breadth of creative range rarely appear.

In 1947, Volodya Vasiliev accidentally found himself in the classes of the choreographic circle of the Kirov House of Pioneers. Teacher Elena Rosse immediately noted the boy’s special talent and invited him to study in the senior group. IN next year He was already studying at the city Palace of Pioneers, with whose choreographic ensemble in 1948 he first performed in a concert on the stage of the Bolshoi Theater - these were Russian and Ukrainian dances. In 1949, Vasiliev was admitted to the Moscow Academic Choreographic School in the class of E.A. Lapchinskaya.

As many of his senior colleagues and tutors recalled, at that time he did not give the impression of a dancer capable of performing such diverse roles. At that time, the dancer looked somewhat rustic, with more developed muscles than is customary according to the classical canons, which is why he seemed a little squat. However, Vasiliev was completely transformed on stage, and his movements and face became so spiritual that the performance of any role, from heroic to lyrical-romantic, was organic for him. Excellent choreographic abilities and powerful jump-flight enhanced this impression.

In 1958 he graduated from college in the class of M.M. Gabovich, the famous premier of the Bolshoi Theater. At the graduation concert of graduates, he not only danced traditional variations and pas de deux, but also created a deeply tragic image of the sixty-year-old jealous Giotto in the ballet Francesca da Rimini.

On August 26, 1958, Vladimir Vasiliev was accepted into the ballet troupe of the Bolshoi Theater. He graduated from the school as a demi-character dancer and had no intention of dancing the classics. However, there was something about the young dancer that attracted the attention of the great Galina Ulanova, and she invited him to be her partner in the classical ballet Chopiniana.

Choreographer Yuri Nikolaevich Grigorovich, who had just joined the theater, also believed in his talent. He offered the eighteen-year-old college graduate the central role in his production of the ballet S.S. Prokofiev " Stone Flower", in which Vasiliev immediately won the love and recognition of viewers and critics.

The role of Danila the Master was followed by other main roles of the modern and classical repertoire: Prince (Cinderella, 1959), Andrei (Pages of Life, 1961), Basil (Don Quixote, 1962), Paganini (Paganini, 1962 ), Frondoso (Laurencia, 1963), Albert (Giselle, 1964), Romeo (Romeo and Juliet, 1973).

In 1964, he performed two diametrically opposed roles: the emotional, passionate Majnun (“Leili and Majnun” staged by K. Goleizovsky), whose plasticity is filled oriental flavor and expression - and Petrushka (ballet of the same name after M. Fokine, staged by Boyarsky), in the role of which Vasiliev managed to combine the “mechanical” plasticity of the doll, its internal and external constraint with deep drama.

All of Vladimir Vasiliev’s parts were distinguished by great diversity, requiring the artist to diversify his role. The image of the Nutcracker staged by Yuri Grigorovich that he created was very interesting. Vladimir Vasiliev was able, with his characteristic artistry, to show the transformation of the Nutcracker doll into an image filled with spirituality and nobility.

In 1968, Vladimir Vasiliev created the heroic image of Spartacus on stage, performing this role in Grigorovich’s ballet. The part of Spartacus was very difficult technically; the dancer needed to demonstrate the highest level of choreographic technique at that time, and Vasiliev coped with this task brilliantly. Vladimir Vasiliev's artistry allowed him to create not only a choreographically perfect, but also an extremely expressive, convincing image of a hero fighting for freedom. For this role, Vasiliev was awarded the Lenin Prize and the Lenin Komsomol.

His Romeo in the 1973 play “Romeo and Juliet” is not the young, tremulous hero who, as a rule, appeared in productions of this Shakespearean tragedy. Performed by Vasiliev, Romeo is no longer a boy. He is young, but has courage and tragedy.

In each new job Vasiliev argued that he was truly an “exception to the rule,” a person capable of embodying any image on stage.

It is impossible to talk about Vladimir Vasiliev without mentioning his constant partner, faithful comrade-in-arms and life partner - Ekaterina Maksimova, in duets with whom Vasiliev's best parts were created. Maximova’s fragility and childlike spontaneity contrasted with Vasiliev’s masculinity and strength. The Maksimov-Vasiliev duet became a symbol of the Bolshoi Theater and the entire Soviet ballet for many years.

During my creative career Vasiliev performed abroad a lot and with great success - in Paris Opera, La Scala, Metropolitan Opera, Covent Garden, Rome Opera, Teatro Colon. Maurice Bejart staged his version of Stravinsky’s ballet “Petrushka” (Ballet of the 20th Century, Brussels, 1977) especially for him. The standards of performance mastery declared by Vasiliev in many ways remain unattainable to this day - for example, the Grand Prix of the International Ballet Competition, which he won in 1964, was never awarded to anyone else at subsequent competitions.

Vasiliev was the first performer of the central roles in many productions of Yuri Grigorovich, but gradually a serious difference in creative positions emerged between them, which developed into a conflict, as a result of which in 1988 V. Vasiliev, E. Maksimova, as well as a number of other leading soloists, were forced break up with Bolshoi Theater.

His choreographer debut was the ballet “Icarus” by S.M. Slonimsky on the stage of the Kremlin Palace of Congresses (1971 - first edition; 1976 - second). Already in the first work they showed distinctive features Vasiliev’s choreographic style – extraordinary musicality and ability to reveal the subtlest shades in plasticity human feelings. He staged chamber ballet evenings, in which everything is determined by music and the development of feelings, and not a specific plot, transferred to ballet stage Shakespeare's Macbeth (1980), Chekhov's Anna on the Neck (Anyuta, 1986), created his own versions classical performances. Having taken up production work, Vladimir Vasiliev, feeling the need for special knowledge, graduated from the ballet department of GITIS in 1982 and became a teacher there, and then the head of the department. In 1990 he received the title of professor of choreography.

In 1995, by Decree of the President of Russia, Vasiliev was appointed artistic director- Director of the Bolshoi Theater. He managed to bring the theater out of a severe crisis. A modern contract system was approved, and the traditions of benefit performances were revived. Every year, the theater hosted premieres that brought together the creative potential of the troupe, including with the participation of outstanding foreign masters: Peter Ustinov, Pierre Lacotte, John Taras, Susan Farrell.

Biography

Vladimir Viktorovich Vasiliev - Soviet and Russian ballet dancer, choreographer, choreographer, actor, theater director, teacher. People's Artist of the USSR (1973).
Spouse - Ekaterina Sergeevna Maksimova, outstanding ballerina, teacher, People's Artist of the USSR and Russia, laureate of State Prizes of the USSR and Russia (passed away in April 2009). In 1958 he graduated from MAKhU in the class of M. M. Gabovich, on August 26, 1958 he became a soloist ballet group Bolshoi Theater, where he worked for more than 30 years.

early years

Born on April 18, 1940 in Moscow. Father - Vasiliev Viktor Ivanovich (1912-1963), worked as a driver at a technical felt factory. Mother - Tatyana Yakovlevna Kuzmicheva (b. 1920), worked as head of the sales department at the same factory, currently retired.
In 1947, young Volodya Vasiliev accidentally found himself in the classes of the choreographic circle of the Kirov House of Pioneers. Teacher Elena Romanovna Rosse immediately noted the boy’s special talent and invited him to study in the senior group. The following year, he studied at the city Palace of Pioneers, with whose choreographic ensemble in 1948 he first performed in a concert on the stage of the Bolshoi Theater - these were Russian and Ukrainian dances.

In 1949, Vasiliev was admitted to the Moscow Academic Choreographic School in the class of E.A. Lapchinskaya. In 1958 he graduated from college, class M.M. Gabovich, the famous premier of the Bolshoi Theater. Already during his studies, Vasiliev amazed with his rare combination of expression, virtuosic technique with undoubted acting talent and the ability to transform. At the graduation concert of graduates, he not only danced traditional variations and pas de deux, but also created a deeply tragic image of the 60-year-old jealous Giotto in the ballet Francesca da Rimini. It was about this role that the prophetic words of the Moscow Art University teacher Tamara Stepanovna Tkachenko were spoken: “We are present at the birth of a genius!”

Grand Theatre

On August 26, 1958, Vladimir Vasiliev was accepted into the ballet troupe of the Bolshoi Theater. He graduated from the school as a demi-character dancer and did not even think about dancing the classics. And initially in the theater he really had characteristic roles: gypsy dance in the opera “Rusalka”, Lezginka in the opera “Demon”, Pan in the choreographic scene “Walpurgis Night” - the first big solo role. However, there was something about the young dancer that attracted the attention of the great Galina Ulanova, and she invited him to be her partner in the classical ballet Chopiniana. Galina Sergeevna will become Vasiliev’s friend, teacher and tutor for many years and will have a huge influence on the artist’s professional and spiritual formation.

Choreographer Yuri Nikolaevich Grigorovich, who had just joined the theater, also believed in his talent. He offered the 18-year-old college graduate the central role in his production of the ballet S.S. Prokofiev's "Stone Flower", in which Vasiliev immediately won the love and recognition of viewers and critics. Other main roles of the modern and classical repertoire followed: Prince (Cinderella, 1959), Andrei (Pages of Life, 1961), Basil (Don Quixote, 1962), Paganini (Paganini, 1962), Frondoso ( Laurencia”, 1963), Albert (“Giselle”, 1964), Romeo (“Romeo and Juliet”, 1973).

Almost all the performances of the best period of Yu.N. Grigorovich is also associated with the name of Vladimir Vasiliev, who was the first performer of the central roles in his productions: The Nutcracker (1966), The Blue Bird (1963) and Prince Désiré (1973) in the ballets of P.I. Tchaikovsky's "Nutcracker" and "Sleeping Beauty"; the famous Spartacus in the ballet of the same name by A.I. Khachaturian (1968; for this role Vasiliev was awarded the Lenin Prize and the Lenin Komsomol Prize), Ivan the Terrible in the ballet of the same name to the music of S.S. Prokofiev (1975, second premiere), Sergei in “The Hangar” by A.Ya. Eshpaya (1976; State Prize). However, gradually a serious difference in creative positions emerged between V. Vasiliev and Yu. Grigorovich, which developed into a conflict, as a result of which in 1988 V. Vasiliev, E. Maksimova, as well as a number of other leading soloists, were forced to part with the Bolshoi Theater.

International recognition

In 1982, Franco Zeffirelli invited him and Ekaterina Maximova to participate in the filming of the opera film La Traviata ( Spanish dance- production and performance). In 1987, Vasiliev performed as Professor Unrath in Roland Petit's production of The Blue Angel to the music of M. Constant (Marseille Ballet). 1988 marked the first performance main party The Zorbas staged by Lorca Massine "Zorba the Greek" to the music of M. Theodorakis (Arena di Verona), as well as the first performance of the main parts of Leonide Massine's one-act ballets "Pulcinella" by I.F. Stravinsky (Pulcinella) and “Parisian Gay” to the music of J. Offenbach (Baron) in the revival of Lorca Massine at the San Carlo Theater (Naples).

In 1989, Beppe Menegatti staged the play “Nijinsky” with Vasiliev in the title role (Teatro San Carlo). Vasiliev’s performances (and later his ballets) always evoked a special attitude from the public - the French called him “the god of dance”, the Italians carried him in their arms, in Argentina after the premiere of his production to the music of Argentine composers “Fragments of a Biography” he simply became national hero and an honorary citizen of Buenos Aires, the Americans named him an honorary citizen of the city of Tucson, etc.

In addition to Ekaterina Maksimova - Vladimir Vasiliev’s constant partner, whom he always called his Muse - such people danced with him famous ballerinas as Galina Ulanova, Maya Plisetskaya, Olga Lepeshinskaya, Raisa Struchkova, Marina Kondratyeva, Nina Timofeeva, Natalya Bessmertnova, Irina Kolpakova, Lyudmila Semenyaka, Alicia Alonso and Josefina Mendez (Cuba), Dominique Calfuni and Noel Pontois (France), Liliana Causey and Carla Fracci (Italy), Rita Pulvoord (Belgium), Zsuzsa Kun (Hungary), etc.

The dancer's incredible virtuosity, plastic expressiveness, exceptional musicality, dramatic talent, depth of thought and enormous power of emotional impact demonstrated new type a modern ballet dancer for whom there are neither technical difficulties nor limitations of role or plot. The standards of performance mastery declared by Vasiliev in many ways remain unattainable to this day - for example, the Grand Prix of the International Ballet Competition, which he won in 1964, was never awarded to anyone else at subsequent competitions. It is natural that at the end of the 20th century, according to a survey of leading experts in the world, it was Vladimir Vasiliev who was recognized as the “Dancer of the 20th century”.

Choreographer's talent

Still in the prime of his performing skills, Vasiliev feels the need for a more complete realization of his creative potential and turns to choreography. His choreographer debut was the ballet “Icarus” by S.M. Slonimsky on the stage of the Kremlin Palace of Congresses (1971 - 1st edition; 1976 - 2nd edition). Already in the first work, the distinctive features of Vasiliev’s choreographic style are revealed - extraordinary musicality and the ability to reveal the subtlest shades of human feelings in plasticity. Not limiting himself to just one genre, in the future he staged chamber ballet evenings, in which everything is determined by music and the development of feelings, and not by a specific plot: “These enchanting sounds...” (to the music of V.A. Mozart, G. Torelli, A. Corelli and J.F. Rameau, Bolshoi Theater, 1978; filmed on TV in 1981), “I want to dance” (“Nostalgia”) on piano music Russian composers and “Fragments of a Biography” to the music of Argentine composers ( Concert hall"Russia", 1983; filmed on TV in 1985); brings literary works to life on stage: “Macbeth” (K.V. Molchanov, Bolshoi Theater, 1980; a television recording of the performance was made in 1984); “Anyuta” (based on the story “Anna on the Neck” by A.P. Chekhov, music by V.A. Gavrilin; San Carlo Theater, Bolshoi Theater, 1986), “Romeo and Juliet” (S.S. Prokofiev, Musical academic theater named after K.S. Stanislavsky and V.I. Nemirovich-Danchenko, 1990, Lithuanian Opera, 1993, Latvian Opera, 1999), “Cinderella” (S.S. Prokofiev, Kremlin Ballet Theater, 1991), “Balda” (based on the fairy tale by A.S. Pushkin to music by S.S. Prokofiev, Bolshoi Theater, 1999); offers his vision of classical ballets: “Don Quixote” (American Ballet Theatre, 1991, Kremlin Ballet, 1994, Lithuanian Opera, 1995), “Swan Lake” (SABT, 1996), “Giselle” (Roman Opera, 1994; SABT, 1997 ), Paganini (Teatro San Carlo, 1988, Bolshoi Theater, 1995, Teatro Argentino, 2002).

At different times he staged concert numbers and choreographic miniatures: “Two”, “Classical pas de deux”, “Russian”, “Two German Dances” and “Six German Dances”, “Aria”, “Minuet”, “Waltz” ", "Caruso", "Jester", "Petrushka", "Elegy", "Overture on Jewish Themes", "Sinkops", etc.; large choreographic compositions to the music of the Sixth Symphony by P.I. Tchaikovsky and Overture to the opera “Ruslan and Lyudmila” by M.I. Glinka. Vasiliev considers the most important thing in his work to be the desire to convey to the viewer what he feels in the music, to make the dance tangible, to achieve a fusion of thought and feeling that can emotionally capture and captivate the viewer. Vasiliev's productions are enthusiastically received by the public, especially those where he and Ekaterina Maksimova perform the central roles - Icarus and Aeolus, Macbeth, Soloist in "Enchanting Sounds", Anyuta and Pyotr Leontyevich, Cinderella and Stepmother, the heroes of "Nostalgia" and "Fragments of a Biography" " Currently, ballets staged by Vladimir Vasiliev are performed not only on the stage of the Bolshoi Theater, but also in 19 other theaters in Russia and the world.

Work in cinema, opera and drama theater

Creative interests Vasiliev extends into other areas of art - he acts as a dramatic actor in feature films“Gigolo and Gigolette” (Sid, 1980), “Fouette” (Andrei Novikov, Master, 1986), in the oratorio film “The Gospel for the Evil One” (central roles, 1992); here, as well as in the original television ballets “Anyuta” (Petr Leontyevich, 1982) and “House on the Road” (Andrey, 1983), he acts not only as a performer, but also as a choreographer and director.

Vasiliev stages operas: the opera-ballet “Tahir and Zukhra” to the music of T.D. Jalilova (Theater named after A. Navoi, Tashkent, 1977), requiem “Oh, Mozart! Mozart...” to music by V.A. Mozart, A. Salieri, N.A. Rimsky-Korsakov (theater " New Opera", Moscow, 1995), "La Traviata" by G. Verdi (SABT, 1996) and choreographic scenes in the operas "Aida" by G. Verdi (Roman Opera, 1993, Arena di Verona, 2002) and "Khovanshchina" by M.P. Mussorgsky (SABT, 1995).

His works on the dramatic stage will be interesting experiments: choreography of the fairy tale-comedy “The Princess and the Woodcutter” at the Sovremennik Theater (1969) and the rock opera “Juno” and “Avos” at the Lenkom Theater (1981), directing and choreography of the musical -dramatic compositions “The Tale of the Pope and his worker Balda” (P.I. Tchaikovsky Concert Hall, 1989), “The Artist Reads the Bible” (A.S. Pushkin Museum of Fine Arts, 1994).

Pedagogical activity. Big again

Vasiliev and pedagogical activity. In 1982, he graduated from the choreographic department of GITIS with a degree in choreography and began teaching there in the same year. From 1985 to 1995, Vasiliev was the head of the choreography department of GITIS (RATI). In 1989 he was awarded the academic title of professor.

In 1995, by Decree of the President of the Russian Federation V.V. Vasiliev was appointed Artistic Director of the Bolshoi Theater. Vasiliev managed to bring the theater out of the severe crisis state in which it was in those years. Every year, the theater hosted premieres that brought together the creative potential of the troupe, including with the participation of outstanding foreign masters: Peter Ustinov, Pierre Lacotte, John Taras, Susan Farrell, Hubert de Givenchy, etc. Large-scale foreign tours of the theater made the world talk about the revival of the Bolshoi theater In September 2000, Vasiliev was relieved of his position “due to its abolition.”

Last decade

Vladimir Vasiliev actively collaborates with many theaters in the country and around the world, heads and participates in the work of the jury of various international ballet competitions, gives master classes, rehearses, and prepares new performances and roles. At the end of 2000, the premiere of the play “The Long Journey on Christmas Night” about P.I. was a triumphant success at the Rome Opera. Tchaikovsky (directed by B. Menegatti), in which the main role was played by Vladimir Vasiliev, and in 2001 - the premiere of Vasiliev’s productions “Don Quixote” in the Tokyo Ballet troupe (Japan) and “Cinderella” at the Chelyabinsk Opera and Ballet Theater, in 2002 - production of the ballet “Romeo and Juliet” at the Municipal Theater of Rio de Janeiro.
Heading the Galina Ulanova Foundation, Vasiliev stages and conducts annual gala concerts “Dedicated to Galina Ulanova” (Novaya Opera, 2003, Bolshoi Theater, 2004 and 2005).

The following films are dedicated to the work of V. Vasiliev: “Duet” (1973), “Katya and Volodya” (USSR-France, 1989), “And, as always, something left unsaid...” (1990), “Reflections” ( 2000); photo albums: R. Lazzarini. Maximova & Vasiliev at the Bolshoi (London: Dance Books, 1995), E.V. Fetisova “Ekaterina Maksimova. Vladimir Vasiliev" (M.: Terra, 1999), Pedro Simon "Alicia Alonso. Vladimir Vasiliev. Giselle" (Editorial Arte Y Literatura, Ciudad de la Habana, 1981); monograph by B.A. Lvov-Anokhin “Vladimir Vasiliev” (M.: Tsentrpoligraf, 1998); encyclopedia compiled by E.V. Fetisova “Vladimir Vasiliev: Encyclopedia of a Creative Personality” (M.: Teatralis, 2000), V. Golovitser photo album “Ekaterina Maksimova and Vladimir Vasiliev (Moscow-New York, Ballet, 2001).

Honorary Professor of Moscow State University, full member International Academy creativity and the Academy of Russian Art, secretary of the Union of Theater Workers of Russia, deputy chairman of the executive committee Russian Center International Dance Council of UNESCO.

Personal life

Free time Vasiliev mainly devotes himself to painting - his most serious and long-standing hobby (six personal exhibitions of his works have been held). His especially favorite artists are Van Gogh, Monet, Rembrandt, Bosch, Durer, Serov, Levitan, Korovin, Vrubel, Fonvizin, Zverev, Maslov. The main theme of Vasiliev’s paintings is landscapes, in which he tries to convey the beauty of Russian nature. He writes, as a rule, at his dacha in Snegiri or in the village of Ryzhevka, Kostroma Region, where he always spends his holidays.

IN different periods got carried away with life various types sports: played football, volleyball, fencing, boxing, diving, swimming. Currently prefers tennis. He reads a lot - memoirs, historical literature, books on art. Favorite writers - Dostoevsky, Chekhov, Bulgakov, Astafiev; poets - Pushkin, Bunin, Akhmatova. Favorite composers: Mozart, Bach, Tchaikovsky, Mussorgsky, Stravinsky, Prokofiev.

Vasiliev developed a new hobby - he began writing poetry, and in 2000 his first poetry collection, “Chain of Days,” was published.
In 1995, Vladimir Vasiliev was granted Lithuanian citizenship.
Lives and works in Moscow.

Filmography

2011 Iya Savvina. Explosive mixture with bell (documentary)
2009 Lifelong Fouette... (documentary)
2009 Blue sea...white steamer... Valeria Gavrilina (documentary)
2009 Savely Yamshchikov. I am listed in Russia (documentary)
2005 Vladimir Vasiliev. Bolshoi Ballet (documentary)
2005 The Rise and Fall of Maris Liepa (documentary)
2000 Reflections (documentary)
2000 Maya / Maïa (documentary)
1993 Comme les oiseaux
1990 Katya and Volodya (documentary)
1988

Born on April 18, 1940 in Moscow. Father - Vasiliev Viktor Ivanovich (1912–1963), worked as a driver at a technical felt factory. Mother - Kuzmicheva Tatyana Yakovlevna (born 1920), worked as head of the sales department at the same factory, currently retired. Wife – Ekaterina Sergeevna Maksimova, outstanding ballerina, teacher, People's Artist USSR and Russia, laureate of State Prizes of the USSR and Russia.

In 1947, young Volodya Vasiliev accidentally found himself in the classes of the choreographic circle of the Kirov House of Pioneers. Teacher Elena Romanovna Rosse immediately noted the boy’s special talent and invited him to study in the senior group. The following year, he studied at the city Palace of Pioneers, with whose choreographic ensemble in 1948 he first performed in a concert on the stage of the Bolshoi Theater - these were Russian and Ukrainian dances.

In 1949, Vasiliev was admitted to the Moscow Academic Choreographic School in the class of E.A. Lapchinskaya. In 1958 he graduated from college, class M.M. Gabovich, the famous premier of the Bolshoi Theater. The professional look of Mikhail Markovich accurately noted characteristic feature dance student: “...Volodya Vasiliev dances not only with his whole body, but with every cell of it, with a pulsating rhythm, dance fire and explosive force.” Already during his studies, Vasiliev amazed with his rare combination of expression, virtuosic technique with undoubted acting talent and the ability to transform. At the graduation concert of graduates, he not only danced traditional variations and pas de deux, but also created a deeply tragic image of the 60-year-old jealous Giotto in the ballet Francesca da Rimini. It was about this role that the prophetic words of the Moscow Art University teacher Tamara Stepanovna Tkachenko were spoken: “We are present at the birth of a genius!”

On August 26, 1958, Vladimir Vasiliev was accepted into the ballet troupe of the Bolshoi Theater. He graduated from the school as a demi-character dancer and did not even think about dancing the classics. And initially in the theater he really had characteristic roles: a gypsy dance in the opera “Rusalka”, a Lezginka in the opera “Demon”, Pan in the choreographic scene “Walpurgis Night” - the first big solo role. However, there was something about the young dancer that attracted the attention of the great Galina Ulanova, and she invited him to be her partner in the classical ballet Chopiniana. Galina Sergeevna will become Vasiliev’s friend, teacher and tutor for many years and will have a huge influence on the artist’s professional and spiritual formation.

Choreographer Yuri Nikolaevich Grigorovich, who had just joined the theater, also believed in his talent. He offered

The 18-year-old college graduate played the central role in his production of the ballet S.S. Prokofiev's "Stone Flower", in which Vasiliev immediately won the love and recognition of viewers and critics. Other main roles of the modern and classical repertoire followed: Prince (Cinderella, 1959), Andrei (Pages of Life, 1961), Basil (Don Quixote, 1962), Paganini (Paganini, 1962), Frondoso ( Laurencia”, 1963), Albert (“Giselle”, 1964), Romeo (“Romeo and Juliet”, 1973).

The choreographers not only offered Vasiliev the main roles, but also choreographed them especially for him. He was the first performer of the solo part in “Dance Suite” (staged by A.A. Varlamov, 1959), the part of Ivanushka in R.K. Shchedrin’s ballet “The Little Humpbacked Horse” (staged by A.I. Radunsky, 1960), Rab in “ Spartak" by A.I. Khachaturian (staged by L.V. Yakobson, 1960, 1962), Lukash in "Forest Song" by G.L. Zhukovsky (staged by O.G. Tarasova and A.A. Lapauri, 1961), Soloist in “Class Concert” (staged by A.M. Messerer, 1963), Petrushka in the ballet by I.F. Stravinsky's "Petrushka" (staged by K.F. Boyarsky after M.M. Fokin, 1964), performed by Batyr in "Shural" by F.Z. Yarullina. In each new work, Vasiliev refuted the established opinion about his capabilities as an artist and dancer, proving that he is truly an “exception to the rule,” a person capable of embodying any image on stage - the classical ballet Prince, the hot Spaniard Basil, the Russian Ivanushka, and a madly in love eastern youth, and a powerful people's leader, and a bloody despot king. Both critics and his artistic colleagues spoke about this repeatedly. The legendary M. Liepa, People's Artist of the USSR, premier of the Bolshoi Theater, made the following statement: “Vasiliev is a brilliant exception to the rule! He has a phenomenal talent in technique and in acting, and in command of a dance phrase, and in musicality, and in the ability to transform, etc.” Here's what F.V. said. Lopukhov, patriarch of Russian ballet: “In terms of diversity, he cannot be compared with anyone... He is a tenor, a baritone, and, if you want, a bass.” The great Russian choreographer Kasyan Yaroslavich Goleizovsky singled out Vasiliev from all the dancers he had ever seen, calling him “a real genius of dance.” Back in 1960, Goleizovsky created especially for him the concert numbers “Narcissus” and “Fantasy” (for Vasiliev and E.S. Maksimova) and in 1964 - the part of Majnun in the ballet by S.A. Balasanyan "Leyla and Majnun".

Almost all the performances of the best period of Yu.N. Grigorovich is also associated with the name of Vladimir Vasiliev, who was the first performer of the central roles in his productions: The Nutcracker (1966), The Blue Bird (1963) and Prince Désiré (1973) in the ballets of P.I. Tchaikovsky's "The Nutcracker" and "The Sleeping Beauty"; the famous Spartacus in the ballet of the same name by A.I. Khachaturian (1968; for this role Vasiliev was awarded the Lenin Prize and the Lenin Komsomol Prize), Ivan the Terrible in the ballet of the same name to the music of S.S. Prokofiev (1975, second premiere), Sergei in “The Hangar” by A.Ya. Eshpaya (1976; State Prize). However, gradually a serious difference in creative positions emerged between V. Vasiliev and Yu. Grigorovich, which developed into a conflict, as a result of which in 1988 V. Vasiliev, E. Maksimova, as well as a number of other leading soloists, were forced to part with the Bolshoi Theater.

During his creative career, Vasiliev performed abroad a lot and with great success - at the Grand Opera, La Scala, Metropolitan Opera, Covent Garden, Rome Opera, Teatro Colon, etc. d. The phenomenon of Vladimir Vasiliev has always attracted outstanding figures of foreign theater: Maurice Bejart staged his version of I.F.’s ballet especially for him. Stravinsky "Petrushka" (20th Century Ballet, Brussels, 1977). Later, at concerts, Vasiliev, together with Maksimova, repeatedly performed a fragment from his ballet “Romeo and Julia” to the music of G. Berlioz. In 1982, Franco Zeffirelli invited him and Ekaterina Maksimova to participate in the filming of the opera film La Traviata (Spanish dance - production and performance). In 1987, Vasiliev performed as Professor Unrath in Roland Petit's production of The Blue Angel to the music of M. Constant (Marseille Ballet). 1988 was marked by the first performance of the main role of Zorba in Lorca Massine’s production of “Zorba the Greek” to the music of M. Theodorakis (Arena di Verona), as well as the first performance of the main roles of Leonide Massine’s one-act ballets “Pulcinella” by I.F. Stravinsky (Pulcinella) and “Parisian Gay” to the music of J. Offenbach (Baron) in the revival of Lorca Massine at the San Carlo Theater (Naples). In 1989, Beppe Menegatti staged the play "Nijinsky" with Vasiliev in leading role(Theater San Carlo). Vasiliev’s performances (and later his ballets) always aroused special attention from the public - the French called him “the god of dance”, the Italians carried him in their arms, in Argentina after the premiere of his production to the music of Argentine composers “Fragments of a Biography” he simply became a national hero and an honorary a citizen of Buenos Aires, the Americans named him an honorary citizen of the city of Tucson, etc.

In addition to Ekaterina Maximova, Vladimir Vasiliev’s constant partner, whom he always called his Muse, such famous ballerinas as Galina Ulanova, Maya Plisetskaya, Olga Lepeshinskaya, Raisa Struchkova, Marina Kondratieva, Nina Timofeeva, Natalya Bessmertnova, Irina Kolpakova, Lyudmila danced with him Semenyaka, Alicia Alonso and Josefina Mendez (Cuba), Dominique Calfuni and Noel Pontois (France), Liliana Cosi and Carla Fracci (Italy), Rita Pulvoord (Belgium), Zsuzsa Kun (Hungary), etc.

The dancer's incredible virtuosity, plastic expressiveness, exceptional musicality, dramatic talent, depth of thought and enormous power of emotional impact have revealed a new type of modern ballet dancer, for whom there are no technical difficulties, no limitations of role or plot. The standards of performance mastery declared by Vasiliev in many ways remain unattainable to this day - for example, the Grand Prix of the International Ballet Competition, which he won in 1964, was never awarded to anyone else at subsequent competitions. Fyodor Vasilyevich Lopukhov wrote: “... When I say the word “god” in relation to Vasiliev... I mean a miracle in art, perfection.” Vasiliev is rightfully considered a transformer of male dance, an innovator with whom his highest achievements are associated. It is natural that at the end of the 20th century, according to a survey of leading experts in the world, it was Vladimir Vasiliev who was recognized as the “Dancer of the 20th century”.

Still in the prime of his performing skills, Vasiliev feels the need to more fully realize his creative potential and turns to choreography. His choreographer debut was the ballet “Icarus” by S.M. Slonimsky on the stage of the Kremlin Palace of Congresses (1971 - 1st edition; 1976 - 2nd edition). Already in the first work, the distinctive features of Vasiliev’s choreographic style are revealed - extraordinary musicality and the ability to reveal the subtlest shades of human feelings in plasticity. Not limiting himself to just one genre, in the future he staged chamber ballet evenings, in which everything is determined by music and the development of feelings, and not by a specific plot: “These enchanting sounds...” (to the music of V.A. Mozart, G. Torelli, A. Corelli and J.F. Rameau, Bolshoi Theater, 1978; filmed on TV in 1981), “I want to dance” (“Nostalgia”) to piano music by Russian composers and “Fragments of a biography” to music by Argentine composers (Concert Hall “Russia”, 1983; filmed on TV in 1985); embodies on stage literary works: “Macbeth” (K.V. Molchanov, Bolshoi Theater, 1980; a television recording of the performance was made in 1984); “Anyuta” (based on the story “Anna on the Neck” by A.P. Chekhov, music by V.A. Gavrilin; San Carlo Theater, Bolshoi Theater, 1986), “Romeo and Juliet” (S.S. Prokofiev, Academic Musical Theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko, 1990, Lithuanian Opera, 1993, Latvian Opera, 1999), “Cinderella” (S. S. Prokofiev, Kremlin Ballet Theater, 1991), “Balda” ( based on a fairy tale by A.S. Pushkin to music by S.S. Prokofiev, Bolshoi Theater, 1999); offers his vision of classical ballets: “Don Quixote” (American Ballet Theatre, 1991, Kremlin Ballet, 1994, Lithuanian Opera, 1995), “Swan Lake” (SABT, 1996), “Giselle” (Roman Opera, 1994; SABT, 1997 ), Paganini (Teatro San Carlo, 1988, Bolshoi Theater, 1995, Teatro Argentino, 2002).

At different times he staged concert numbers and choreographic miniatures: “Two”, “Classical pas de deux”, “Russian”, “Two German Dances” and “Six German Dances”, “Aria”, “Minuet”, “Waltz” ", "Caruso", "Jester", "Petrushka", "Elegy", "Overture on Jewish Themes", "Sinkops", etc.; big choreographic compositions to the music of the Sixth Symphony by P.I. Tchaikovsky and Overture to the opera “Ruslan and Lyudmila” by M.I. Glinka. Vasiliev considers the most important thing in his work to be the desire to convey to the viewer what he feels in the music, to make the dance tangible, to achieve a fusion of thought and feeling that can emotionally capture and captivate the viewer. Vasiliev's productions are enthusiastically received by the public, especially those where he and Ekaterina Maksimova perform the central roles - Icarus and Aeolus, Macbeth, Soloist in "Enchanting Sounds", Anyuta and Pyotr Leontyevich, Cinderella and Stepmother, the heroes of "Nostalgia" and "Fragments of a Biography" " Currently, ballets staged by Vladimir Vasiliev are performed not only on the stage of the Bolshoi Theater, but also in 19 other theaters in Russia and the world.

Vasiliev’s creative interests extend to other areas of art - he acts as a dramatic actor in the feature films “Gigolo and Gigolette” (Sid, 1980), “Fouette” (Andrei Novikov, Master, 1986), in the oratorio film “The Gospel for the Evil One” (Central Roles, 1992); here, as well as in the original television ballets “Anyuta” (Petr Leontyevich, 1982) and “House on the Road” (Andrey, 1983), he acts not only as a performer, but also as a choreographer and director. Vasiliev stages operas: the opera-ballet “Tahir and Zukhra” to the music of T.D. Jalilova (Theater named after A. Navoi, Tashkent, 1977), requiem “Oh, Mozart! Mozart...” to music by V.A. Mozart, A. Salieri, N.A. Rimsky-Korsakov (New Opera Theatre, Moscow, 1995), La Traviata by G. Verdi (SABT, 1996) and choreographic scenes in the operas Aida by G. Verdi (Roman Opera, 1993, Arena di Verona, 2002) and “Khovanshchina” by M.P. Mussorgsky (SABT, 1995).

Vasilyev’s teaching activities are also of great interest. In 1982, he graduated from the choreographic department of GITIS with a degree in choreography and began teaching there in the same year. From 1985 to 1995, Vasiliev was the head of the choreography department of GITIS (RATI). In 1989 he was awarded the academic title of professor.

In 1995, by Decree of the President of the Russian Federation V.V. Vasiliev was appointed Artistic Director of the Bolshoi Theater. Vasiliev managed to bring the theater out of the severe crisis state in which it was in those years. A modern contract system was adopted; the traditions of benefit performances were revived: corps de ballet, choir and orchestra; the theater’s own Video Studio and the production of a regular series of programs on the “Culture” TV channel were organized; a press service was created and the official page of the Bolshoi Theater on the Internet was opened; expanded publishing activity(including the appearance of the periodical publication of the glossy magazine “Bolshoi Theater”); preparations have begun for the reconstruction of the theater, incl. construction of its branch; School organized classical dance Bolshoi Theater in Brazil; Many charity events were held, as well as evenings and gala concerts, directed in many cases by Vasiliev himself (a concert dedicated to the 850th anniversary of Moscow in the Kremlin, a unique New Year's ball at the Bolshoi 2000), and much more. Every year, the theater hosted premieres that brought together the creative potential of the troupe, including with the participation of outstanding foreign masters: Peter Ustinov, Pierre Lacotte, John Taras, Susan Farrell, Hubert de Givenchy, etc. Large-scale foreign tours of the theater made the world talk about the revival of the Bolshoi theater Newspapers wrote: “The triumphant return of the Bolshoi” (Daily Gerald), “The Great Bolshoi Again” (Financial Times).

In September 2000, Vasiliev was relieved of his position “due to its abolition.”

Currently, Vladimir Vasiliev actively collaborates with many theaters in the country and around the world, heads and participates in the work of the jury of various international ballet competitions, gives master classes, rehearses, and prepares new performances and roles. At the end of 2000, the premiere of the play “The Long Journey on Christmas Night” about P.I. was a triumphant success at the Rome Opera. Tchaikovsky (director B. Menegatti), in which the main role was played by Vladimir Vasiliev, and in 2001 - the premiere of Vasiliev’s productions “Don Quixote” in the Tokyo Ballet troupe (Japan) and “Cinderella” at the Chelyabinsk Opera and Ballet Theater, in 2002 – production of the ballet “Romeo and Juliet” at the Municipal Theater of Rio de Janeiro.

Heading the Galina Ulanova Foundation, Vasiliev stages and conducts annual gala concerts “Dedicated to Galina Ulanova” (Novaya Opera, 2003, Bolshoi Theater, 2004 and 2005).

Vasiliev starred in film adaptations of ballets: “The Tale of the Little Humpbacked Horse” (Ivanushka, 1961), “Second Lieutenant Kizhe” (Paul I, 1969), “Spartacus” (1976); “I Want to Dance” and “Fragments of a Biography” (1985); original television ballets: “Trapezia” (Harlequin, 1970), “Anyuta” (Petr Leontievich, 1982), “House by the Road” (Andrey, 1984); concert films and documentaries: "The path to Bolshoi Ballet"(1960), "USSR with an open heart" (1961); “Moscow in notes” (1969), “Choreographic short stories” (1973), “Classical duets” (1976), “Pages of modern choreography” (1982), “Grand pas in white night"(1987), "The Glory of the Bolshoi Ballet" (1995), etc.

V.V. Vasiliev – National artist Russia, People's Artist of the USSR, People's Artist of the RSFSR; laureate of the Lenin Prize (1970), State Prize of the USSR (1977), State Prize of the RSFSR (1984), State Prize of Russia (1991), Lenin Komsomol Prize (1968), Prize named after S.P. Diaghilev (1990), Moscow City Hall Prize (1997), theater award“Crystal Turandot” in 1991 (together with E.S. Maksimova) and in 2001 – “For honor and dignity”.

V.V. Vasiliev was awarded the Orders of Lenin (1976), Red Banner of Labor (1986), Friendship of Peoples (1981), “For Services to the Fatherland” IV degree (2000), St. Constantine the Great (1998), St. Blessed Prince Daniel of Moscow (1999) , French Order of Merit (1999), Brazilian Order of Rio Branco (2004).

V.V. Vasiliev won first prize and a gold medal at the VII International Festival of Youth and Students in Vienna (1959), Grand Prix and a gold medal at the 1st International competition ballet dancers in Varna (1964), the “Intervision” prize (for the TV ballet “Anyuta”) at the International Film Festival “Golden Prague” (1982), Grand Prize in the musical film competition (TV ballet “Anyuta”) at the X All-Union TV Film Festival (Alma -Ata, 1983), Intervision prize and prize for best performance male role (TV ballet “Road House”) at the International Film Festival “Zlata Prague” (Prague, 1985), prize for best performance season - the ballet "Anyuta" at the San Carlo Theater (Naples, 1986), prize for the best Chekhov play at the Chekhov Festival (Taganrog, 1986).

V.V. Vasiliev has been awarded numerous international prizes and honorary medals. Among them: the V. Nijinsky Prize - “The Best Dancer of the World” (1964, Paris Academy of Dance), a special prize and Golden medal Varna City Komsomol Committee (1964, Bulgaria), M. Petipa Prize “Best Duet in the World” (together with E.S. Maksimova, 1972, Paris Academy of Dance), Prize of the Municipality of Rome “Europe-1972” (Italy), Medal of the Academy of Arts Argentina (1983), Simba Academy Award (1984, Italy); Prize “Together for Peace” (1989, Italy), J. Tanya Prize - “Best Choreographer” and “Best Duet” (together with E.S. Maksimova, 1989, Italy), UNESCO Prize and Picasso Medal ( 1990, 2000), Terracina City Prize (1997, Italy), Honorary Medal of the Karina Ari Foundation (1998, Sweden), Princess Dona Francesca Medal of Merit (2000, Brazil), Award for Excellence in Choreography (USA) , 2003, Italy 2005), Prize “For a Life in Dance” (Italy, 2001).

V.V. Vasiliev is an honorary professor at Moscow State University, a full member of the International Academy of Creativity and the Academy of Russian Art, secretary of the Union of Theater Workers of Russia, deputy chairman of the executive committee of the Russian Center of the International Dance Council at UNESCO.

Vasiliev mainly devotes his free time to painting - his most serious and long-standing hobby (six personal exhibitions of his works have been held). His especially favorite artists are Van Gogh, Monet, Rembrandt, Bosch, Durer, Serov, Levitan, Korovin, Vrubel, Fonvizin, Zverev, Maslov. The main theme of Vasiliev’s paintings is landscapes, in which he tries to convey the beauty of Russian nature. He writes, as a rule, at his dacha in Snegiri or in the village of Ryzhevka, Kostroma Region, where he always spends his holidays. At different periods of his life he was fond of various sports: he played football, volleyball, fencing, boxing, diving, and swimming. Currently prefers tennis. He reads a lot - memoirs, historical literature, art books. Favorite writers – Dostoevsky, Chekhov, Bulgakov, Astafiev; poets - Pushkin, Bunin, Akhmatova. Favorite composers: Mozart, Bach, Tchaikovsky, Mussorgsky, Stravinsky, Prokofiev. Vasiliev developed a new hobby - he began writing poetry, and in 2000 his first poetry collection, “Chain of Days,” was published.

Lives and works in Moscow.

envy
alfrv 2008-10-21 03:12:05

You are pathologically envious and proud!!! Eternity doesn't stop you...

opinion
Karaseva Natalya 2010-01-25 19:51:43

I admire this wonderful man... Amazing, strong and very Russian. I can't forget Spartak in his performance, it was in 1975 or earlier, but I can't score him. And then, wherever I see him on the screen, he says very important, simple and understandable things. Such people should be protected and appreciated...

Appreciation
yaguran 2010-03-24 11:13:10

I, Vasiliev Alexander Georgievich, born in 1946. Mining engineer-geologist. Now a water boiler operator (stoker) and my whole family, my wife Lyubov Leontyevna, my adult children, Irina and Natalya, we respect you and your wife very much (we are very sorry about her )firstly, as very honest and decent people, of whom there are very, very few in our Motherland. You didn't leave us in hard time, did not leave for the cardon, for the sake of personal well-being, like many “rastrapovichi”, did not desecrate our Motherland and our people. You got it, like the rest of the Russian people, robbed, hard times. After all, you lived and worked for us workers, peasants, engineers, doctors, teachers, giving away your talent, health and labor, almost unselfishly, honestly and with love. YOU are always with us, and we are with YOU. We are proud of YOU. If you , Vladimir, if you need our help and support, then my address is 662159 Achinsk, Krasnoyarsk Territory, YuVR building 9, apt. 85 Vasiliev A.G. tel. 89130373846. How not to confuse you with my brother, also Vladimir. Thank YOU! how YOU are very little and we are very sorry that many who passed on to another world were not told kind words support of gratitude, and that we are behind them, shoulder to shoulder, both in sorrow and in joy. Your Vasilievs.

Vladimir Vasiliev was born on April 18, 1940 in Moscow. Father future star, Viktor Ivanovich, worked as a driver. Mother, Tatyana Yakovlevna, worked as the head of the sales department at a felt factory. At the age of seven, the boy accidentally got into classes dance club at the House of Pioneers. Choreographer Elena Rosse, who worked with children, immediately drew attention to little Volodya’s talent and invited him to study. So, a year later, Vasiliev first appeared on the stage of the Bolshoi Theater with Ukrainian and Russian dances.

After school in 1958 he graduated from the Moscow Academy of Choreography. Further young man accepted into the Bolshoi Theater ballet troupe. Already during his studies, he amazed me with his virtuoso performance technique, undoubted acting talent, and ability to impersonate. He made his debut on the Bolshoi stage in the ballet “The Stone Flower” by Yuri Grigorovich in 1959.

Soon Vasiliev, having won the love and recognition of audiences and critics, became one of the leading soloists of the ballet troupe of this theater for more than thirty years. The artist danced the main roles of the modern and classical repertoire in the ballets: “Cinderella”, “Pages of Life”, “Don Quixote”, “Paganini”, “Giselle”, “Romeo and Juliet”.

The choreographers not only offered Vasiliev the main roles, but also choreographed them especially for him. The dancer became the first performer of the solo part in “Dance Suite”, in Rodion Shchedrin’s ballet “The Little Humpbacked Horse”, in “Spartacus” by Aram Khachaturian, in “Forest Song” by German Zhukovsky, in “Petrushka” by Igor Stravinsky. Vasiliev also performed abroad a lot and with great success for such directors as Roland Petit, Maurice Bejart, Leonid Massine.

Vasiliev created vivid, memorable images, often offering a new interpretation of them. In addition to Ekaterina Maximova, Vasiliev’s constant partner and wife, whom he always called his Muse, such famous ballerinas as Galina Ulanova, Maya Plisetskaya, Olga Lepeshinskaya, Raisa Struchkova, Natalya Bessmertnova, Irina Kolpakova, Alicia Alonso, Josephine Mendez, Lilian Causey danced with him. , Carla Fracci.

Being in the prime of his performing skills, Vasiliev even then felt the need for a more complete realization of his creative potential: a craving for choreography. His choreographer debut was the ballet “Icarus” in 1971. As a choreographer, Vladimir Viktorovich also staged: “These enchanting sounds...”, “Macbeth”, “Fragments of a Biography”, “Anyuta”, “Romeo and Juliet”, “Cinderella”, “Don Quixote”, “Giselle” , "Swan Lake". Vasiliev's productions were enthusiastically received by the public, especially those where he and Ekaterina Maksimova performed the central roles.

In 1982, Vasiliev graduated from the choreographic department of the Russian Institute Theater Arts and from the same year he began teaching there, was the head of the choreography department, and in 1989 received the academic title of professor.

Since 1995, for five years, Vasiliev was the artistic director of the Bolshoi Theater. He also actively collaborated with many theaters in the country and around the world, headed and participated in the work of the jury of various international ballet competitions, gave master classes, and prepared new performances and roles. Heading the Galina Ulanova Foundation, Vasiliev stages and conducts annual gala concerts “Dedicated to Galina Ulanova.”

As of April 2019, ballets staged by him are performed not only on the stage of the Bolshoi Theater, but also in many other theaters in Russia and the world. Vasiliev's creative interests extend to other areas of art. The master starred as a dramatic actor in feature films, in original television ballets, where he performed not only as a performer, but also as a choreographer and stage director.

Vladimir Vasiliev is a People's and Honored Artist of Russia, a laureate of various Russian and international awards, awarded orders and medals. Also an honorary professor at Moscow State University, a full member of the International Academy of Creativity and the Academy of Russian Art. Films and books are dedicated to the dancer’s work. He mainly devotes his free time to painting. The main theme of the canvases: landscapes, in which he tries to convey the beauty of Russian nature. He also writes poetry, and even published the collection “Chain of Days.”

Awards and Recognition of Vladimir Vasiliev

Honored Artist of Russia (1964)
People's Artist of Russia (1969)
People's Artist of the USSR (1973)
Lenin Prize (1970) - for the performance of the title role in the ballet performance “Spartacus” by A. I. Khachaturyan
USSR State Prize (1977) - for performing the role of Sergei in the ballet performance “Angara” by A. Ya. Eshpai
State Prize of the RSFSR named after the Vasilyev brothers (1984) - for participation in the creation of the film-ballet “Anyuta” (1981)
State Prize of the RSFSR named after M. I. Glinka (1991, in the field musical art) - behind concert programs recent years
Lenin Komsomol Prize (1968) - for high skill and creation of the image of a national hero in ballet performances of the Bolshoi Theater
Moscow Mayor's Prize in the field of literature and art (1997)
Order of Merit for the Fatherland, IV degree (2000) - for great contribution to the development of the national choreographic art
Order of Merit for the Fatherland, III degree (2008) - for his great contribution to the development of domestic choreographic art, many years of creative and social activity
Order of Lenin (1976)
Order of Friendship of Peoples (1981)
Order of the Red Banner of Labor (1986)
Order of Merit (1999, France)
Order of Rio Branco (2004, Brazil)
Knight of the International Order of Saint Constantine the Great (Union of Saint Constantine, 1998)
Order of the Holy Blessed Prince Daniel of Moscow, III degree (ROC, 1999)
Medal of the Argentine Academy of Arts (1983)
Medal of Honor from the Karina Ari Foundation (1998, Sweden)
Medal of Merit of Princess Dona Francesca (2000, Brazil)
Medal named after P. Picasso (2000)
First prize and gold medal at VII World Festival youth and students in Vienna (1959)
Grand Prix and gold medal at the 1st International Ballet Competition in Varna (1964)
V. Nijinsky Prize - “Best Dancer of the World” (1964, Paris Academy of Dance) (1964)
Special prize and gold medal of the Varna city committee of the Komsomol (1964, Bulgaria)
M. Petipa Prize “Best Duet in the World” (together with E. S. Maksimova, 1972, Paris Academy of Dance)
Prize of the Municipality of Rome "Europe 1972" (Italy)
Intervision Prize at the International Film Festival "Golden Prague" (Prague, 1982, for the television ballet "Anyuta")
Grand prize in the musical film competition at the X All-Union TV Film Festival (Alma-Ata, 1983, for the TV ballet “Anyuta”)
Simba Academy Award (1984, Italy)
Intervision Prize and prize for the best performance of a male role at the International Film Festival "Zlata Prague" (Prague, 1985, for the television ballet "Road House")
Prize for the best performance of the season - ballet “Anyuta” at the Teatro San Carlo (Naples, 1986)
Prize for the best Chekhov performance at the Chekhov Festival (Taganrog, 1986)
Together for Peace Award (1989, Italy)
J. Tanya Awards - “Best Choreographer” and “Best Duet” (together with E. S. Maksimova, 1989, Italy)
UNESCO Prize (1990)
S. P. Diaghilev Prize (1990)
Theater award “Crystal Turandot” (1991 (together with E. S. Maksimova), 2001 - “For honor and dignity”)
Terracina City Prize (1997, Italy)
Awards “For the highest achievements in the field of choreography” (USA, 2003, Italy 2005)
Award for Life in Dance (Italy, 2001)
Prize of the magazine "Ballet" "Soul of Dance" in the category "Legend of Ballet" (2005)
Russian L. E. Nobel Prize (2007, Ludwig Nobel Foundation, St. Petersburg)
Freedom Award for outstanding contribution to the development of Russian-American cultural relations (New York, 2010)
International Stanislavsky Prize ( International Foundation K. S. Stanislavsky, 2010)
International Prize "For the Art of Dance named after L. Massine"

Works of Vladimir Vasiliev

Ballet parts

Big theater

1958 - “Rusalka” by A. Dargomyzhsky, choreography by E. Dolinskaya, B. Kholfin - gypsy dance
1958 - “Demon” by A. Rubinstein - dance “Lezginka”
1958 - choreographic picture “Walpurgis Night” in the opera “Faust” by C. Gounod, choreography by L. Lavrovsky - Pan
1958 - “Chopiniana” to music by F. Chopin, choreography by M. Fokine - Soloist
1959 - “The Stone Flower” by S. Prokofiev, staged by Y. Grigorovich - Danila
1959 - “Cinderella” by S. Prokofiev, choreography by R. Zakharov - Prince
1959 - “Dance Suite” to the music of D. Shostakovich, staged by A. Varlamov - Soloist - first performer
1960 - choreographic miniature “Narcissus” to music by N. Cherepnin, choreography by K. Goleizovsky - Narcissus - first performer (“Evening of new choreographic miniatures”)
1960 - “Romeo and Juliet” by S. Prokofiev, choreography by L. Lavrovsky - Benvolio
1960 - “Shurale” by F. Yarullin, staged by L. Yakobson - Batyr
1960 - “The Little Humpbacked Horse” by R. Shchedrin, staged by A. Radunsky - Ivanushka - first performer
1961 - “Forest Song” by M. Skorulsky, choreographers O. Tarasova, A. Lapauri - Lukash - first performer
1961 - “Pages of Life” by A. Balanchivadze, choreography by L. Lavrovsky - Andrey
1962 - “Paganini” by S. Rachmaninov, staged by L. Lavrovsky - Paganini
1962 - “Spartacus” by A. Khachaturian, staged by L. Yakobson - Slave - first performer
1962 - “Don Quixote” by L. Minkus, choreography by A. Gorsky - Basil
1963 - “Class Concert” to the music of A. Glazunov, A. Lyadov, A. Rubinstein, D. Shostakovich, staged by A. Messerer - Soloist - was among the first performers of this ballet
1963 - “Laurencia” by A. Crane, choreography by V. Chabukiani - Frondoso
1963 - “The Sleeping Beauty” by P. I. Tchaikovsky, choreography by M. Petipa, revised by Yu. Grigorovich - Blue Bird
1964 - “Giselle” by A. Adam, choreography by J. Coralli, J. Perrot and M. Petipa, revised by L. Lavrovsky - Albert
1964 - “Petrushka” by I. Stravinsky, choreography by M. Fokin - Petrushka
1964 - “Leyli and Majnun” by S. Balasanyan, choreography by K. Goleizovsky - Majnun - first performer
1966 - “The Nutcracker” by P. I. Tchaikovsky, staged by Yu. Grigorovich - The Nutcracker Prince - first performer
1968 - “Spartacus” by A. Khachaturian, staged by Y. Grigorovich - Spartacus - first performer
1971 - “Icarus” by S. Slonimsky in his own production - Icarus
1973 - “Romeo and Juliet” by S. Prokofiev, choreography by L. Lavrovsky - Romeo
1973 - “The Sleeping Beauty” by P. I. Tchaikovsky, choreography by M. Petipa in the second edition by Yu. Grigorovich - Prince Désiré - first performer
1975 - “Ivan the Terrible” to the music of S. Prokofiev, staged by Y. Grigorovich - Ivan the Terrible
1976 - “Angara” by A. Eshpai, staged by Y. Grigorovich - Sergei - first performer
1976 - “Icarus” by S. Slonimsky in his own production (second edition) - Icarus - first performer
1979 - large adagio from the ballet “Romeo and Julia” by G. Berlioz, choreography and production by M. Bejart - Romeo - the first performer in the USSR
1980 - “Macbeth” by K. Molchanov in his own production - Macbeth - first performer
1986 - “Anyuta” to the music of V. Gavrilin after A. Chekhov in his own production - Pyotr Leontyevich - first performer
1988 - concert number“Elegy” to music by S. Rachmaninov - Soloist
“The Golden Age” by D. Shostakovich, choreography by Yu. Grigorovich - Boris
On the stages of other theaters (first performer)
1977 - “Petrushka” by I. Stravinsky, choreography by M. Bejart - Youth (Twentieth Century Ballet Theater, Brussels)
1987 - “The Blue Angel” to music by M. Constant, choreography by R. Petit - Professor Unrath (Marseille Ballet, France)
1988 - “Zorba the Greek” to music by M. Theodorakis, choreography by Lorca Massine - Zorba (“Arena di Verona”, Italy)
1988 - “Parisian Fun” to the music of J. Offenbach, choreography by L. Massine - Baron (Teatro San Carlo, Naples, Italy)
1988 - “Pulcinella” to the music of I. Stravinsky, choreography by L. Massine - Pulcinella (Teatro San Carlo)
1989 - “Nijinsky”, directed by B. Menegatti - Nijinsky (Teatro San Carlo)
1994 - “Cinderella” by S. Prokofiev - choreographer and role of Cinderella’s stepmother (Kremlin Ballet)
2000 - “The Long Journey into Christmas Night” to the music of P. Tchaikovsky and I. Stravinsky, directed by B. Menegatti - Maestro (Roman Opera)
2009 - “Diaghilev Musaget. Venice, August 1929" to composite music, directed by B. Menegatti - Diaghilev (Roman Opera on the stage of the Municipal Theater)

Tour

While on tour, he performed after 1988 as a guest soloist in the largest theaters in the world: La Scala (Italy), Arena di Verona (Italy), Teatro San Carlo (Naples, Italy), Roman Opera, Teatro Colon (Argentina), American ballet theater, Kremlin Ballet Theater (Moscow), took part in tours of the Leningrad Opera and Ballet Theater. S. M. Kirov (now the Mariinsky Theater) in Paris, etc.

Productions

1969 - “The Princess and the Woodcutter”, a fairy tale-comedy by G. Volchek and M. Mikaelyan (Sovremennik Theater)
1971 - “Icarus”, ballet by S. Slonimsky (Bolshoi Theater, 1976 - second edition)
1977 - “Tahir and Zukhra”, opera-ballet by T. Jalilov (Bolshoi Theater named after Alisher Navoi, Tashkent)
1978 - “These enchanting sounds...”, ballet to the music of A. Corelli, G. Torelli, V.-A. Mozart, J.-F. Ramo (Bolshoi Theater)
1980 - “Macbeth”, ballet by K. Molchanov (Bolshoi Theater; 1981 - Novosibirsk Opera and Ballet Theater; 1984 - German State Opera, Berlin; 1986 - Budapest Opera, Hungary; 1990 - Kremlin Ballet Theater)
1981 - “Juno and Avos”, rock opera by A. Rybnikov, director M. Zakharov (Lenkom)
1981 - memorial evening “In honor of Galina Ulanova” / Hommage d’Oulanova (director and one of the performers, Pleyel concert hall, Paris)
1981 - “I want to dance” to the music of Russian composers (State Central Concert Hall “Russia”; 1990 - Bolshoi Theater)
1981 - “Fragments of a Biography” to the music of Argentine composers (Russia Concert Hall; 1990 - Bolshoi Theater)
1983 - choreographic composition to the music of P. Tchaikovsky (Ballet of the Champs-Elysees, Paris; 1990 - Bolshoi Theater)
1986 - “Anyuta”, ballet to the music of V. Gavrilin based on the story by A. Chekhov (Bolshoi Theater, San Carlo Theater, Riga Opera and Ballet Theater; 1987 - Chelyabinsk Opera and Ballet Theater named after M. I. Glinka; 1990 - Tatar Opera and Ballet Theater named after Musa Jalil, Kazan; 1993 - Perm Theater opera and ballet named after P. I. Tchaikovsky; 2008 - Omsk Musical Theatre; Voronezh Opera and Ballet Theater; 2009 - Krasnoyarsk Opera and Ballet Theater; 2011 - Samara Opera and Ballet Theater)
1988 - “Elegy”, concert number to the music of S. Rachmaninov (Bolshoi Theater)
1988 - “Paganini”, new edition ballet by L. Lavrovsky to music by S. Rachmaninov (San Carlo Theater; 1995 - Bolshoi Theater)
1989 - “The Tale of the Pope and his worker Balda”, musical and dramatic composition to the music of D. Shostakovich (P. I. Tchaikovsky Concert Hall, stage director and co-director Yu. Borisov; first performer of the role of Balda)
1990 - “Romeo and Juliet”, ballet by S. Prokofiev (Moscow Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko; 1993 - Lithuanian national opera, Vilnius; 1999 - Latvian National Opera, Riga; 2002 - Municipal Theater Rio de Janeiro)
1991 - Don Quixote, ballet by L. Minkus (American Ballet Theatre; 1994 - Kremlin Ballet; 1995 - Lithuanian National Opera; 2001 - Tokyo Ballet, Japan; 2007 - National Theater, Belgrade)
1993 - “Aida” by G. Verdi, choreographic scenes in the opera (directed by F. Zeffirelli (Roman Opera; 2004 - Arena di Verona; 2006 - La Scala Theater)
1994 - “Cinderella”, ballet by S. Prokofiev (Kremlin Ballet, director and first performer in the role of Cinderella’s stepmother; 2002 - Chelyabinsk Opera and Ballet Theater; 2006 - Voronezh Opera and Ballet Theater)
1994 - “Giselle”, ballet by A. Adam, new choreographic version based on the choreography of J. Coralli, J. Perrot, M. Petipa (Roman Opera; 1997 - Bolshoi Theater)
1994 - “Nostalgia” to the music of Russian composers (Kremlin Ballet Theater, director and first performer of the main role)
1994 - “The Artist Reads the Bible”, musical and dramatic composition (A. S. Pushkin Museum of Fine Arts)
1995 - “Oh, Mozart! Mozart…”, requiem to the music of V.-A. Mozart, N. Rimsky-Korsakov, A. Salieri (New Opera, Moscow)
1995 - “Khovanshchina” by M. Mussorgsky, choreographic scenes in the opera (director B. Pokrovsky, Bolshoi Theater)
1996 - “Swan Lake”, ballet by P. I. Tchaikovsky, choreographic version using fragments of L. Ivanov’s choreography (Bolshoi Theater)
1996 - “La Traviata” by G. Verdi (Bolshoi Theater)
1997 - choreographic composition to the music of the overture to M. Glinka’s opera “Ruslan and Lyudmila” (Bolshoi Theater)
1999 - “Balda”, ballet to the music of D. Shostakovich (Bolshoi Theater; 2006 - Opera and Ballet Theater of the St. Petersburg Conservatory)
2009 - “The Spell of the Escher Family”, ballet to the music of G. Getty (Bolshoi Theater, new stage)
2015 - “Give us peace”, ballet to the music of the Mass in B minor by J. S. Bach (Tatar Opera and Ballet Theater named after Musa Jalil)
In addition, he staged over 20 choreographic numbers and compositions on different stages of the world (“Two”, “Classical pas de deux”, “Russian”, “Two German Dances” and “Six German Dances”, “Aria”, “Minuet” "", "Waltz", "Caruso", "Jester", "Petrushka", "Elegy", "Overture on Jewish Themes" to the music of the work of the same name by S. S. Prokofiev (1992), "Sinkops"), as well as choreographic compositions in numerous feature films.

Filmography

Videos ballet performances

1970 - “Spartacus” - Spartacus (performance of the Bolshoi Theater of the USSR, composer A. I. Khachaturyan, choreographer Yu. N. Grigorovich, conductor A. Zhuraitis)
1974 - “Romeo and Juliet” - Romeo (performance at the Bolshoi Theater of the USSR, composer S. S. Prokofiev, choreographer L. M. Lavrovsky, conductor A. Zhiuraitis)
1978 - “The Nutcracker” - The Nutcracker Prince (performance at the Bolshoi Theater of the USSR, composer P. I. Tchaikovsky, choreographer Yu. N. Grigorovich, conductor A. Kopylov)
1978 - “Stone Flower” - Danila (performance at the Bolshoi Theater of the USSR, composer S. S. Prokofiev, choreographer Yu. N. Grigorovich, conductor A. Kopylov)
1994 - “Cinderella” - Cinderella’s stepmother (performance by the State Kremlin Palace Ballet Theater, composer S. S. Prokofiev, choreographer V. V. Vasiliev, conductor M. Pletnev)

Feature films, ballet films

1961 - “USSR with an open heart” (concert film), directors V. Katanyan, L. Christie) - soloist
1962 - “The Tale of the Little Humpbacked Horse” (directed by A. Radunsky and Z. Tulubyeva) - Ivanushka
1969 - “Moscow in notes” (musical film)
1969 - “Abduction” (musical film) - artist Vasiliev
1970 - “Trapezia” (directors F. Slidovker, V. Smirnov-Golovanov) - Harlequin
1975 - “Spartak” - Spartak
1980 - “Bolshoi Ballet” (concert film)
1980 - “Gigolo and Gigoletta” (choreographer and co-director A. Belinsky) (short film) - Sid Cotman
1981 - “50 years of Sergei Obraztsov’s puppet theater” (film-play)
1982 - “Anyuta” (choreographer and co-director A. Belinsky) - Pyotr Leontievich
1983 - “La Traviata” (directed by F. Zeffirelli) - matador
1984 - “Nostalgia” to the music of Russian composers, choreography by V. Vasiliev - soloist
1985 - “Fragments of a Biography” to the music of Argentine composers, choreography by V. Vasiliev - soloist
1985 - “House by the Road” to the music of V. Gavrilin based on the poem by A. Tvardovsky (choreographer, co-director A. Belinsky and leading actor Andrey)
1986 - “Fouette” (choreographer and co-director B.V. Ermolaeva) - Andrey Novikov / Master
1988 - “Grand Pas on a White Night” (musical film)
1992 - “The Gospel for the Evil One” (oratorio film) - central roles
Documentary film
1973 - “Duet” - film, dedicated to creativity E. Maksimova and V. Vasilyeva
1981 - “The World of Ulanova” (documentary) (director)
1989 - “Katya and Volodya” (directed by D. Delouche, produced in France) - a film dedicated to the work of E. Maksimova and V. Vasiliev
1990 - “And, as always, there was something left unsaid...” - a film dedicated to the work of E. Maksimova and V. Vasiliev
2000 - “Reflections” - a film about the work of V. Vasiliev - 2000, 52 min., director N. Tikhonov
2005 - “Vladimir Vasiliev. Bolshoi Ballet" - film, 2005, 4 episodes of 26 min., director N. Tikhonov

Participation in films

1970 - Amusement Parade (documentary)
1985 - Anna Pavlova (documentary) - comments on the film
1987 - Ballet in the first person (documentary)
1991 - Revelations of choreographer Fyodor Lopukhov (documentary)
1999 - Katya (documentary)
2005 - The Rise and Fall of Maris Liepa (documentary)
2006 - Aram Khachaturyan (from the series of programs on the DTV channel “How the idols left”) (documentary)
2007 - Maris Liepa (from the series of programs on the DTV channel “How the idols left”) (documentary)
2007 - Nerijus (Lithuania, documentary)
2009 - Savely Yamshchikov. I am listed in Russia (documentary)
2009 - Blue sea...white ship...Valeria Gavrilin (documentary)
2009 - Lifelong Fouette... (documentary)
2010 - Tatiana Vecheslova. I am a ballerina (documentary)
2011 - Iya Savvina. Explosive mixture with bell (documentary)

Painting

Paints pictures. Ten personal exhibitions of his paintings took place in Moscow, St. Petersburg, Perm and other cities.