Ballet troupe of the Mariinsky Theatre. Three best dancers of the Mariinsky Theater perform the part of Anna Karenina on the stage of the big ballet List of the Mariinsky Ballet Company
What Russian girl has not dreamed of ballet at least once in her life? It can be called our national art. We adore ballet and know by name almost all the primaries and premiers of the Bolshoi and Mariinsky theatres.
On the eve of the International Ballet Day - this year it is celebrated for the third time - we offer you to admire the best of the best, the goddesses of Russian ballet: Svetlana Zakharova, Diana Vishneva and Ulyana Lopatkina.
The embodiment of grace and grace
As well as iron will and unbending spirit. it prima of the Bolshoi Theater and Milan's La Scala—Svetlana Zakharova. She made her debut at the Mariinsky Theater at the age of 17, and for twenty years there has not been a single misfire in her career. She successfully performs classical and modern dance.
“I have already danced all the parts that you can dream of, in a variety of editions. For example, "Swan Lake" was performed in more than ten versions on different stages of the world. I want to experiment, to test the capabilities of my body in something else. Modern dance is a movement that gives freedom. The classics, on the other hand, have limits and rules that you cannot go beyond, ”- Svetlana shared in an interview.
What does Zakharova like most in her profession? According to the ballerina, she is happy while preparing for the performance. Samples, rehearsals. At this time, she sometimes does not sleep at night - music sounds in her head.
The premiere itself no longer causes so much joy. It even becomes a little sad, because what I was so prepared for has already taken place.
By the way, Svetlana does not consider herself a star. "I'm just a man who plows every day" she says.
Refined and fast at the same time
Prima of the Mariinsky Theater and the American Ballet Theater Diana Vishneva celebrated its 40th anniversary this year. But it was previously believed that the career of ballerinas was annoyingly fleeting. Diana not only constantly pleases fans with premieres, but also organizes the international festival Context.
She performs both classical and modern dances. In an interview, Vishneva admitted that combining different directions in choreography is like learning a different language. Last year, Diana even made a film called Language - about the language of her own plasticity.
Vishneva speaks about herself first of all as a stubborn person. She is sure: without perseverance and dedication, ballet is not worth thinking about. “How many sacrifices must be made every day! You need to tame your body and mind. Physically exhausting labor is a prerequisite if you want to achieve something. "Hard labor" is not hyperbole. You need to be able to fly, soar, bring beauty, love... Art requires great emotional, moral and physical strength from you.”
Incredibly artistic
Delicate and at the same time daring... Prima ballerina of the Mariinsky Theatre, People's Artist of Russia Uliana Lopatkina will celebrate its 43rd anniversary in October. She is known to the whole world, but she does not like to talk about herself. Ulyana is very practical and prefers action to words.
“This is not Hollywood, in ballet everything is closer to the point. In ballet, everything is proved by work. The work is very difficult, physically, mentally, emotionally difficult, and there is something to respect for people who occupy a high position in ballet - they justify this place with their work, ”- Lopatkina noted in an interview.
Ulyana is called "an icon of Russian ballet".
But the artist does not suffer from star fever at all and believes that each of us in a certain sense can be an “icon”.
We carry holiness within us. It manifests itself in varying degrees, but is potentially inherent in all of us. Maybe that's why people who are especially sensitive to art talk about the icon. So they formulate the feeling that they may have experienced during the performance.
Forgotten ballet
You moved to work from St. Petersburg to South Korea. How popular is Asia with our ballet dancers now?
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 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, too, only the French dance.
- Why did you decide to leave the Mariinsky Theatre?
It all started with the fact that 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 I was called to work. I immediately agreed, because I had long wanted to change my ballet life for the better. And the company "Universal Ballet" turned out to have a very rich repertoire: there is something to dance.
The problem is that at the Mariinsky Theater at the moment more attention is paid to opera and music than ballet, which seems to have been forgotten. At first, new performances were still staged at the Mariinsky Theater, choreographers were invited, including foreign ones. But then it all kind of stopped.
Alexei Ratmansky (permanent choreographer of the American Ballet Theatre. - Ed.) was the last of the iconic choreographers to arrive two years ago. He staged the Concerto DSCH ballet to music by Dmitri Shostakovich at the Mariinsky Theatre. For a long time I danced in the same classical productions. But I also wanted some new repertoire, modern choreography.
But if we have a wonderful classic - The Nutcracker, The Fountain of Bakhchisaray, Swan Lake, then maybe modern choreography is not needed?
Without new performances there will be no development of the theater and artists. Abroad understand this. For example, in South Korea we recently danced "Little Death" by Jiri Kilian (Czech dancer and choreographer. - Ed.). This is a modern classic that plays in theaters around the world. But for some reason not in the Mariinsky. And here there is, among other things, the ballet "Romeo and Juliet" directed 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 (“Something towered in the middle”) by William Forsyth (American choreographer, his Forsyth Company ballet troupe is experimenting in the field of modern dance. - Ed.).
Factory Gergiev
- Are we becoming a ballet province?
I wouldn't say so. 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, I sometimes had to perform even twice a day. At first, people, opening such a tense poster for a month in advance, made surprised round eyes. But one gets used to everything. That's what we got used to over time. Every day they worked, went on stage, performed what they had to. But no one had enough time or energy to prepare new performances, because old things, the repertoire that is being staged, also need to be rehearsed. Many ballet dancers left precisely because of this routine monotonous work.
There are 6-7 performances per month. And we carefully prepare for each of them, because time allows. For example, recently they 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, details. Since January, that I am here, I have already received so many emotions and danced so many things!
- Why do you think there is such a conveyor belt at the Mariinsky Theatre?
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 a symphony orchestra, and five hours later he is back in Moscow at a reception. He apparently decided that his theater should work very actively. Of course, it'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 hard. On the other hand, any theater in the world has its own problems.
“North Korean bombs are not afraid here”
How were you received by fellow dancers in South Korea? Was there any increased interest in you, since you are from the Mariinsky Theater?
I did not notice any special enthusiasm. Perhaps, earlier Europeans in the ballet world of Korea were a curiosity, but now everyone has long been accustomed to us. For example, in the "Universal Ballet" about 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 is very easy for me here: I danced The Nutcracker or Don Quixote at the Mariinsky Theater, and I dance here.
- What conditions do Koreans provide to our dancers?
The conditions are very good, in this regard they are great. For example, they immediately provided me with housing - a small apartment, a good salary, which is many times higher than it was in St. Petersburg (however, the prices are higher here), and medical insurance. At the Mariinsky Theater, ballet dancers, by the way, also did it. For example, a few years ago I had a knee operation on it.
- Is the competition in the ballet world higher in Russia or South Korea?
Competition is everywhere, without it you simply do not grow. But she is fit and healthy. I did not feel any sidelong glances or conversations behind my back either in St. Petersburg or in Seoul. But even if they say something about me, I am so immersed in work that I don’t notice it. In general, stories about glass fragments in pointe shoes and smeared suits are a myth. In my entire career in ballet, I have never encountered this. And I hadn't even heard of it. No bases.
- 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 the local people are very friendly. Once you get lost in the subway or on the street, they immediately come up and offer help in English, asking where I need to go.
- And how do they feel about North Korea? Do you feel tension from such a difficult neighbor?
No. It seems to me that no one even thinks about it and is not afraid of Korean bombs. Everything is very calm here, and it seems that nothing is happening at all. There are no terrorist attacks, no disasters, not even some major scandals. But, despite the fact that it is so comfortable here, I still miss St. Petersburg, my family and the Mariinsky. This theater really gave me a lot. I studied there, gained experience, formed my taste, I danced there. And it will forever remain in my memory.
Honored Artist of the RSFSR Vladimir KINYAEV began his creative activity at the Donetsk Opera House (1965). In the same year, the singer was admitted by competition to the Kirov Theater.
A strong, even, beautiful velvety timbre, a dramatic baritone, acting talent, an interesting stage solution of the parties he performed soon brought the artist the sympathy of the audience. The roles of Rigoletto, Escamillo, Amonasro, Count di Luna are imbued with sincerity and imperious drama. The singer is especially creative in the leading roles of the Russian classical repertoire, such as Demon, Mazepa, Prince Igor (see picture), Dirty, Prince in The Enchantress. One of the artist's recent successful works is the role of Tsar Boris in the opera Boris Godunov.
The concert program of V. Kinyaev is interesting and varied, including both opera arias and old romances, folk songs.
Kinyaev repeatedly successfully performed in opera performances and concerts on the stages of 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 the Soviet opera performing art. A brilliant lyric-coloratura soprano with a silvery timbre, remarkable vocal and acting skills, expressive phrase, subtlety and richness of nuances, and dramatic talent distinguish the singer's performing style.
A pupil of the Saratov Conservatory (1959), Kovaleva made her debut on the Leningrad stage in 1960. The repertoire includes the parts of Ludmila, Antonida, Marfa, Violetta, Gilda (see photo), Rosina, Mikaela, 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 concert repertoire of the singer is extensive and interesting. She is the winner of the International Vocal Competition in Toulouse (1962), winner of international competitions in Sofia (1961) and Montreal (1967). Kovaleva performed in performances and concerts in France, Czechoslovakia, Bulgaria, Japan and other countries.
One of the remarkable masters of the Soviet opera theater, People's Artist of the USSR Boris SHTOKOLOV, is a singer of rare charm and rich artistic talents.
Beautiful, deep and soft bass, emotionality, sincerity, sincerity contribute to the successful disclosure of the artist's artistic image. Shtokolov is characterized by an inquisitive creative search.
Boris came to the Kirov Theater in 1959 from the Sverdlovsk Opera. Great vocal skills and acting talent helped him to 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 very different roles: in the opera Boris Godunov (see photo), he draws an impressive image of Tsar Boris; Sincerely, 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 was directly involved.
Shtokolov has repeatedly performed on opera stages in Austria, Hungary, East Germany, Finland, Canada, Spain and other countries. The activity of the singer is not limited to the opera stage. He often performs in concerts, captivating listeners with a wonderful performance of arias, romances, folk songs.
Shtokolov is a laureate of vocal competitions at 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; strong, bright, deep characters are close to her. The singer has a beautiful mezzo-soprano of a wide range. On the stage of the Kirov Theatre, where she has been performing since 1963, after graduating from the Leningrad Conservatory, the artist performs a number of leading parts of 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 The Quiet Don. A significant event in the life of the singer was also the work on creating the image of the Commissar in the opera Optimistic Tragedy. The singer conducts a large concert activity. 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 experience 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. She joined the opera troupe of the Kirov Theater in 1954. The singer's works are marked by vocal skill, psychological sharpness and dramatic expressiveness.
The owner of a sonorous mezzo-soprano, over the years of work she has become a performer of a whole gallery of stage images. Her repertoire includes John, Lyubasha, Martha, Ortrud in the opera Lozngrin (see photo), Amneris, Ulrika, Azucena, Preziosilla in The Force of Destiny, Natela in Abesaloms and Eteri, a number of other leading and solo parts.
At the World Festival of Youth and Students in Berlin and 1951, Barinova won the title of laureate.
Honored Artist of the RSFSR Vladimir MOROZOV - the creator of a number of vocal and stage images in new Soviet operas. Andrey Sokolov in "The Fate of a Man", Leader in "Optimistic Tragedy" (see picture), Andrey in the opera "October", Grigory in "The Quiet Don" - this is not a complete list of the singer's works during his work on the stage of the Kirov Theater where he began performing in 1959. The artist's classical repertoire is no less extensive - Dositheus, Pimen, Varlaam, Tokmakov, Farlaf, Svetozar, Gudal, Gremim. Mephistopheles, Ramfis, Sarastro, Mendoza and many other parties.
A strong, expressive bass, excellent stage skills and skill put Morozov among the leading soloists of the opera.
For more than two decades, People's Artist of the RSFSR Valentina MAKSIMOVA has been performing on the theater stage. The singer graduated from the Leningrad Conservatory in 1950 and was immediately accepted as a soloist of the opera.
Distinctive features of Maksimova are a light coloratura soprano of a beautiful timbre, perfect vocal technique, and acting skills. Over the years of work in the theater, the artist has performed many leading roles, including Antonida, Lyudmila, Violetta, Martha, Gilda, Lucia, Rosina, Louise (“Betrothal in a Monastery”, see picture) and others. Maksimova pays much attention to the chamber repertoire. She is a laureate of the vocal competition of 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 German (see picture), Faust, Jose, Werther, Alvaro, Manrico. Sobinin, Golitsyn, Pretender, Shuisky, Peter Grimes, Vladimir Igorevich, Masalsky (October), Alexei (Optimistic Tragedy) and others. After graduating from the Sverdlovsk Conservatory in 1951, the singer first performed at the Perm Opera House, and in 1956 made his successful debut on the stage of the Kirov Theatre. Grateful vocal and stage skills, lyrical and dramatic tenor of a bright timbre, temperament, vocal and acting skills contributed to the promotion of the artist to the ranks of the leading soloists of the opera.
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Tatiana in Eugene Onegin, Mikaela in Carmen, Pamina in The Magic Flute (see picture), Margarita in Faust, Amelia in Un ballo in maschera, Aida, Yaroslavna in Prince Igor, Tanya in Dubrovsky, Liza in The Queen of Spades, Elsa in Lohengrin - these are the main works of the opera soloist Ona GLINSKAYTE. 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 charm, vocal technique contributed to the success of the singer. Her concert repertoire includes classical and contemporary vocal music.
The repertoire of the Honored Artist of the RSFSR Vladimir KRAVTSOV testifies to the breadth of his acting range and vocal skills. Lensky, Faust (see picture), Lohengrin, Werther, Almaviva, Alfred, Herzog, Manrico, Lykov, Vladimir Dubrovsky, Holy Fool, Pretender, Indian Guest, Alexei in Optimistic Tragedy - these are his main works.
A pupil of the Moscow Conservatory, Kravtsov came to the Kirov Theater in 1958 from the troupe of the Stanislavsky and Nemirovich-Danchenko Theater. A light, sincere lyrical tenor of a beautiful timbre, the desire to reveal the inner world of his hero by means of vocal expressiveness - these are the main features of the artist's creative image.
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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 parts. Having become a soloist of the Kirov Theater in 1963, the singer expands 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 parts.
The high, soft bass of an even range, vocal skill, the desire for a deep and truthful implementation of the stage concept helped the artist to take the position of one of the leading soloists of the opera. Navoloshnikov is the winner of the Mussorgsky All-Union Vocal Competition (1964).
Opera soloist Mikhail EGOROV, a pupil of the Moscow Conservatory (1964), was invited to the troupe of the Kirov Theater in 1965. In a short time, the artist became the performer of a number of leading roles: Lensky (see photo), Vladimir Igorevich, Lykov, Gvidon, 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 voice, artistic temperament, musicality, and bright stage talent. The artist performs a lot in concerts. Its 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 lightness, plasticity, openwork pattern. The images created by her are deeply authentic, lyrical, extraordinarily penetrating.
The artist's repertoire is diverse: Giselle, Raymond, Cinderella, Aurora (see photo), Juliet, Maria and many other parts. Kolpakova is the first creator of leading roles in many Soviet performances. The stage images of Katerina (Stone Flower), Shirin (Legend of Love), His Beloved (Coast of Hope), Ala (Scythian Suite), Eva (Creation of the World), Snegurochka (Choreographic Miniatures), and the central roles in staged for her creative evening of one-act ballets "Two" and "Romeo and Julia".
Kolpakova is a laureate of competitions for ballet dancers at the world festivals of youth and students in Berlin (1951) and Vienna (1959). At the International Dance Festival in Paris (1965) she won a 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 strikes with extraordinary flight, dynamics, plasticity.
The creative path of the artist began in 1958. His repertoire is very diverse. With great skill he performs the parts of Siegfried, Desire, the Blue Bird, Albert, Solor, Frondoso, Ferkhad, Danila, Ali Batyr, the Prince in Cinderella (see photo), God in The Creation of the World, leading parts in one-act ballets "Two" and "Oresteia". The artist starred as Prince Desiree 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, "space Yuri" - as reviewers of foreign newspapers called him for his light, airy jump - was awarded a Nizhinsky 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, refinement 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 of the International Dance Festival in Moscow.
The artist performs as Desiree, Blue Bird, Basil (see photo), Albert, Mercutio, in choreographic miniatures Vestris, Eternal Spring, etc. Among his recent creative successes are the roles of romantically pure Hamlet and temperamental, courageous Adam in The Creation of the World ".
The performing skills of the People's Artist of the RSFSR Sergei VIKULOV are characterized by poetry, flight, and the perfect technique of classical dance. Having started his career in 1956, the artist gradually becomes the performer of many leading roles and is widely recognized.
The repertoire of the dancer is very diverse. Prince Desire and the Blue Bird, Siegfried (see photo), Albert. Solor, the Prince in Cinderella, Vatslav, Paris and Mercutio, Jean de Brienne - all these virtuoso parts are inspired by Vnkulov's inner richness and depth of feeling.
In 1964, Vikulov became the winner of the International Competition for Young Ballet Dancers in Varna, and in 1965 in Paris he was awarded the title of the best dancer in the world and a diploma named after Nijinsky.
Characteristic features of the performing style of Kaleria FEDICEVA, People's Artist of the RSFSR, are temperament, expression, and romantic elation. Her dance is plastic, large-scale, technically perfect. With her usual brightness and originality, the artist performs the parts of Raymonda, Laurencia (see photo), Odette - Odillni, Kitri, Gamzatti, Nikiya, Mistress of the Copper Mountain, Zarema, Aegina, Mehmepe-Baiu, Zlyuka, Gertrude, Devils and others.
A feature of Fedicheva's talent is a tireless creative search. Clytemnestra in the one-act ballet Oresteia staged for her creative evening is one of her best roles. Fedicheva - laureate of the World Festival of Youth and Students in Helsinki (1962).
The art of Ninella Kurgapkina, People's Artist of the RSFSR, is cheerful and emotional. Her dance is marked by lightness, brilliance, swiftness, impeccable movements, virtuoso classical technique. She is not characterized by poetic daydreaming, psychological complexity, her element is a dynamic allegro. The artist especially succeeds in major roles, full of spiritual clarity, bubbling enthusiasm and fun. Aurora, Kitri, Gamzatti, Columbine, Shirin (see photo), Parasha, Bird Girl, Tsar Maiden, Jeanne in "The Flames of Paris" 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, solid, effective, performances of sharp dramatic intensity are close to the creative personality of the Honored Artist of the RSFSR Olga MOISEEVA. Her dance is expressive, emotionally filled, marked by spirituality and originality of the performing style.
In the repertoire of the artist of the role of Odette - Odile, Nikni, Egiia, Raymonda, Krivlyaki, Laureieii, Kitri, Zarema, Girls-ntntsy, Sari in "The Path of Thunder" (see picture) 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.
Heartiness and spontaneity, brilliance and classical perfection of plasticity - these are the features that define the performing style of the People's Artist of the RSFSR Alla SIZOVA.
Among the images embodied by the artist on the stage of the theater (since 1958) are Aurora, Giselle, Sylphide (see picture), Kitri, Katerina, Cinderella, Maria, Juliet, Ophelia and others.
The actress starred as 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 for Young Ballet Dancers in Varna (1964), Sizova won gold medals. In 1964, in Paris, she was awarded an honorary diploma named after Anna Pavlova.
The stage path of the Honored Artist of the RSFSR and the Dagestan ASSR, laureate of the State Prize of the RSFSR Gabriela Komleva began in 1957.
Great musicality, virtuoso classical technique, ease, precision and completeness of the dance helped the artist to recreate a number of bright plastic images: Raymonda Odette - Odile, Aurora, Kitri, Giselle Mirta, Nikiya, Cinderella, Mistress of the Copper Mountain, Pannochka, Ophelia and others. In the performance of these very different parties, 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 created by her in the ballet "Goryanka" (see picture).
Komleva was awarded the title of laureate of the International Competition for Young Ballet Dancers in Varna (1966).
One of the best character dancers of the ballet troupe, Honored Artist of the RSFSR Irina GENSLER temperamentally and truthfully reveals in her characteristic dance the psychological features of the image, its dramatic sound.
Among the numerous works of the artist, in which her peculiar talent was clearly manifested, are Hungarian and Spanish dances in Swan Lake, Gypsy and Mercedes in Don Quixote, Hindu in La Bayadère, Hungarian and Panaderos in Raymonda, Mazurka in " Cinderella, Lezginka in Goryanka, Teresa in The Flames of Paris, Gadita Maiden in Spartacus, Matchmakers in Shural, Fanny in Thunder Path, Spanish Miniatures (see photo), choreographic miniatures Gossips", "Troika" and many others.
Gensler is the originator of the bright, dynamic stage image of the Young Gypsy in "Stone Flower".
The generosity of fantasy, dramatic expression and inner fullness, the high technique of classical and characteristic dance define the creative face of the ballet soloist Anatoly Gridin.
The dancer has been performing on the theater stage since 1952. He has performed in many leading and solo parts of the repertoire, including Rothbart (Swan Lake), Fairy Carabosse (Sleeping Beauty), Hans (Giselle), Gamache and Espada (Don Quixote), Pierrot (Carnival), Drosselmeyer (The Nutcracker), Commander and Mengo (Laurencia), Giray (Fountain of Bakhchisarai), Tybalt (Romeo and Juliet), Krase (Spartacus), King of Monsters (Wonderland), Mako (Thunder Path), Prisypkin (Bedbug), choreographic miniatures Troika and Stronger than Death ”, “Spanish miniatures” (see picture).
The images of Severyan created by Gridin for The Stone Flower and the Vizier in The Legend of Love are among the most interesting roles of the Soviet ballet theater.
The plastic images created by Anatoly SAPOGOV, Honored Artist of the RSFSR, have a special power of expressiveness. The classical perfection of the form, the virtuoso, clear pattern of the dance 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 Goryanka, Agamemnon in Oresteia, Claudius in Hamlet, character dances in the ballets Swan Lake, Don Quixote, Raymonda, La Bayadère ”,“ Laurencia ”- this is an incomplete list of the artist’s works. The roles of the Young Gypsy in The Stone Flower and the Stranger in The Legend of Love (see picture) 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 ZABOTKINOI.
On the stage of the theater, where the dancer has been performing since 1953, she is one of the leading character dancers in the ballets Swan Lake (see photo), Raymonda, The Nutcracker, Laurencia, Cinderella, The Bronze Horseman ”, “Goryanka”, “The Fountain of Bakhchisarai” and many others, the roles of Mercedes and the Street Dancer in Don Quixote, the Colored Girl in the Thunder Path, the Young Gypsy in the Stone Flower, Aisha in Gayane and others. Zabotkina starred in the films Two Captains (Katya), Don Cesar de Bazan (Maritana), Sleeping Beauty (The 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 and characteristic dancer of a wide range, began his creative activity on the stage of the theater in 1956. With his characteristic temperament and expressiveness, the artist performs many characteristic parts 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, character dances in ballets "Swan Lake" (see picture), "Raymonda", "Cinderella" and others. A peculiar acting gift of Rassadin found a particularly vivid expression in the creation of satirical, grotesque parts - Polichinel and Toady in Choreographic Miniatures, Prisypkin in the ballet The Bedbug.
At the All-Union Competition in Moscow (1969), Rassadin was awarded the first prize for his performance of the Russian folk humorous “The Man and the Devil”, staged by him.
When planning a 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 for the legend of Russian ballet Maya Plisetskaya, we honor her memory and recall modern soloists who will never replace the prima ballerina of the Bolshoi Theater, but they will continue the history of Russian ballet with dignity.
The Bolshoi Theater gave attention to the ballerina Maria Alexandrova 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 a long languor, the ballerina, still in the rank of a corps de ballet dancer, received her first solo part. And the repertoire grew and expanded. An interesting fact: in 2010, the ballerina became the first woman in the history of ballet to perform the title role in I. Stravinsky's Petrushka. Today Maria Alexandrova is the prima ballerina of the Bolshoi.
The turning point in the fate of the aspiring ballerina Svetlana Zakharova was the second prize in the Vaganova-Prix competition for young dancers and the subsequent offer to become a graduate student of the Academy of Russian Ballet. Vaganova. And the Mariinsky Theater became a reality in the fate of the ballerina. After graduating from the academy, the ballerina entered the troupe of the Mariinsky Theater, having worked for the season, she received an offer to become a soloist. The history of relations with the Bolshoi for Zakharova began in 2003 with a 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, there has already been a similar experience of staging at the Bolshoi Ballet for a single ballerina, but only once: in 1967, Maya Plisetskaya shone in the Carmen Suite.
What can I say, the head is spinning and the envy of those taking their first steps in ballet from Zakharova's repertoire definitely appears. To date, her track record includes all the solo parts of the main ballets - Giselle, Swan Lake, La Bayadère, Carmen Suite, Diamonds ...
The beginning of Uliana Lopatkina's ballet career was the role of Odette in Swan Lake, of course, at the Mariinsky Theatre. The performance was so skillful that soon the ballerina received the Golden Sofit Award for the best debut on the St. Petersburg stage. Since 1995 Lopatkina has been the prima ballerina of the Mariinsky Theatre. The repertoire again includes familiar names - Giselle, Corsair, La Bayadère, Sleeping Beauty, Raymonda, Diamonds, etc. But geography is not limited to working 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 the stage of the Musical Theater. Stanislavsky and Nemirovich-Danchenko Lopatkin will perform in collaboration with the Russian Ballet Stars 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 "Frontiers", a nominee for the "Golden Mask" award. The event is bright, 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 of the Naked Heart Foundation. Vishneva actively performs on the best stages of Europe, does not refuse experimental, unexpected proposals.
Mentioned above about "Diamonds" by Balanchine. 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, Notre Dame de Paris, Lost Illusions, Cinderella, Giselle, and collaborations with the best choreographers - Grigorovich, Eifman, Ratmansky, Neumeier, Roland Petit …
Evgenia Obraztsova, graduate of the Academy of Russian Ballet. Vaganova, she became a prima ballerina at the first Mariinsky Theater, where she performed Sylphide, Giselle, La Bayadère, Princess Aurora, Flora, Cinderella, Ondine ... In 2005, the ballerina received cinematic experience by playing in Cedric Klapisch's film "Pretty Women". In 2012, she joined the Bolshoi troupe, where, as a prima ballerina, she performed solo parts in Don Quixote, The Sleeping Beauty, La Sylphide, Giselle, Eugene Onegin, Emeralds.
