Nikolay Tsiskaridze works as a person. Nikolai Tsiskaridze: “Introduced the strictest discipline at the Academy
Nikolai Maksimovich Tsiskaridze. Born on December 31, 1973 in Tbilisi. Russian ballet dancer, teacher, People's Artist of the Russian Federation (2001).
Father - Maxim Nikolaevich Tsiskaridze, violinist.
Mother - Lamara Nikolaevna Tsiskaridze (1931-1994), a nuclear physicist, worked at a nuclear power plant in Obninsk, and later taught physics and mathematics at a high school in Tbilisi.
My paternal grandmother had French roots and was an actress.
His parents divorced when he was young. Nicholas was raised by his stepfather.
His nanny had a great influence on him, thanks to whom he became familiar with the works of William Shakespeare and Leo Tolstoy at an early age. He often attended concerts with his mother.
According to him, he was greatly impressed by watching the film “Romeo and Juliet” by Franco Zeffirelli. In childhood and adolescence, he loved to recite poetry, sing, and act out small skits.
In 1984 he entered the Tbilisi Choreographic School, from 1987 he continued his studies at the Moscow Choreographic School, and studied classical dance in the class of P.A. Pestova. Later, Tsiskaridze highly appreciated the tough teaching style of his teacher, who prepared the student to overcome life's difficulties.
Already at school, the young man stood out for his physical abilities; in stage practice concerts, he was assigned solo roles and pas de deux.
He graduated from college in 1992 and, thanks to the chairman of the examination committee, Yu.N. Grigorovich, was accepted into the Bolshoi Theater troupe. He first danced in the corps de ballet, then began performing solo roles in Grigorovich's ballets, the first of which was The Entertainer in The Golden Age (1992), followed by Mercutio in Romeo and Juliet and the French Doll in The Nutcracker (1993).
The real rise of the dancer’s career began in 1995, when in a short period he performed the main roles in such ballets as “The Nutcracker” by Yu. Grigorovich, “Cipollino” by G. Mayorov, “Chopiniana” by M. Fokine, “La Sylphide” by A. Bournonville .
In 1996, he made his debut in The Blue Bird in The Sleeping Beauty and in the miniatures by Kasyan Goleizovsky “Narcissus” and Mikhail Fokin’s “The Vision of the Rose”; starting from 1997, one after another, he mastered the main male roles in ballets in the Bolshoi Theater repertoire. In the same year, together with ballerina Maria Alexandrova, he participated in the International Ballet Competition in Moscow, where he won 1st prize in the “Duets” category.
He prepared his first parts in the theater with N. R. Simachev, while preparing the number “Narcissus” by K. Ya. Goleizovsky, G. S. Ulanova, who rehearsed this number with its first performer, Vladimir Vasiliev, helped the young dancer with her advice. Later he prepared his parts with N. B. Fadeechev and studied in the women’s class of M. T. Semyonova.
In 1998, Nikolai Tsiskaridze participated in the Vivienne Westwood show in New York.
In 1996, he received a diploma of higher education, graduating from the Moscow State Choreographic Institute. In 2000 he became a member of the Union of Theater Workers of Russia.
In 2001, he became the first performer of the role of Hermann in Roland Petit's ballet The Queen of Spades, created specifically for the Bolshoi Theater. In the same year, he was injured in a car accident, which interrupted his work as a TV presenter in the “Vzglyad” program on Channel One.
In 2006-2009, he was a participant in the first three programs of the dance project “Kings of the Dance”, within the framework of which Roland Petit (“Carmen. Solo”) and Boris Eifman (“Fallen Angel”) staged numbers for him.
Participated in the television show “Dancing with the Stars” on the Rossiya TV channel as a permanent member of the jury of a dance competition. He is a regular presenter of the program “Masterpieces of World Musical Theater” on the “Culture” TV channel.
He was engaged in teaching activities at the Moscow Academy of Choreography and at the Bolshoi Theater, where he taught a ballet class for artists.
In 2012, he entered the magistracy of the Moscow State Law Academy and graduated with honors in 2014.
Every year on his birthday, December 31, Nikolai Tsiskaridze appears on the Bolshoi stage in the ballet “The Nutcracker”. As the artist admitted, this is the best way for him to celebrate his birthday, because “The Nutcracker” has been associated with the holiday since childhood.
Nikolai Tsiskaridze - The Nutcracker
Scandals of Nikolai Tsiskaridze
Conflict at the Bolshoi Theater flared up in November 2011. Then Tsiskaridze criticized the restoration of the Bolshoi carried out over 6 years and accused the theater management of incompetence. Tsiskaridze especially did not like the quality of the reconstruction of the historical stage, where instead of ancient stucco he found cheap plastic and papier-mâché, and the interior decoration of the theater, according to Nikolai, began to resemble a large five-star Turkish hotel.
On November 9, 2012, a letter from cultural figures appeared with a request to dismiss the former general director of the Bolshoi Theater A. Iksanov and appoint Tsiskaridze to this position.
Since January 2013, Nikolai has been involved in a scandal surrounding an “acid attack” on the artistic director of the Bolshoi Theater ballet Sergei Filin. A number of print and electronic media published information about a serious conflict between Tsiskaridze and Filin; Filin himself publicly spoke about his suspicions about Nikolai. The then general director of the Bolshoi Theater, Anatoly Iksanov, in an interview with Snob magazine, did not rule out Tsiskaridze’s involvement in the attack on Filin. The artist was interrogated by the Investigative Committee of the Russian Federation. After this story, Tsiskaridze’s relationship with the administration of the Bolshoi Theater worsened to the limit.
In March 2013, on Channel One, Nikolai expressed concern about the prospects for his future work at the Bolshoi Theater. By this time, according to Tsiskaridze, he had already received two reprimands for violating labor discipline. In April, the court overturned one of two reprimands imposed for Tsiskaridze’s interview with the Moskovsky Komsomolets newspaper.
On July 1, 2013, he was forced to leave the Bolshoi Theater due to the expiration of his employment contract, which was not renewed.
Conflict at the Academy of Russian Ballet began shortly after the start of the new school year, on October 28, 2013. Nikolai Tsiskaridze, together with the Minister of Culture Vladimir Medinsky, unexpectedly arrived in St. Petersburg, at the Academy of Russian Ballet. A. Ya. Vaganova, where, in violation of the charter of this educational institution, he was introduced to the teaching staff as the acting rector. At the same time, the previous rector, Vera Dorofeeva, who carried out purely economic management of the school, was unexpectedly transferred to work at the Mikhailovsky Theater.
In connection with this change in the management structure of the Academy, its artistic director since 2000, ballerina Altynai Asylmuratova, who found herself in a subordinate position to another artist, was forced to leave her post. The current prima ballerina of the Mariinsky Theater, Ulyana Lopatkina, was announced as the new artistic director; unlike Tsiskaridze, she had not yet completed her dance career.
On November 4, 2013, representatives of the teaching staff of the Academy and the ballet troupe of the Mariinsky Theater addressed the Ministry of Culture of the Russian Federation with a letter in which they demanded to reconsider the decision to appoint Tsiskaridze to the position of rector and Lopatkina to the position of artistic director of the academy (the ballerina herself did not give any comments on this matter) .
A little later, Tsiskaridze announced that he had extended the contract with Altynai Asylmuratova as the artistic director of the Academy - however, already in early December 2013, she resigned of her own free will, refusing to report the reasons for her departure. As a result, Zhanna Ayupova, a teacher and tutor of the Mikhailovsky Theater, soon became the first vice-rector and artistic director of the Academy.
On November 29, 2014, Nikolai Tsiskaridze was elected rector of the academy, 227 people voted for his candidacy, 17 voted against. Thus, he became the first head of the Academy of Russian Ballet who did not graduate from this educational institution and does not know its performing and pedagogical traditions. Previously, Tsiskaridze expressed opposing beliefs, claiming that he had more than once refused to lead other ballet companies (except the Bolshoi Theater).
According to the TV presenter, his appointment to this position was facilitated by the wife of the head of the Rostec state corporation Sergei Chemezov, Ekaterina. According to Tsiskaridze himself, he was persuaded to accept the position by “a small, respectable group of people.”
Socio-political position of Nikolai Tsiskaridze
He proposed introducing compulsory work for several years in Russian theaters for graduates, without the possibility of going abroad: “I believe that since they received a free education in Russia, they should work in Russia, at least for the first time they should benefit the state that paid for their training."
On March 11, 2014, he signed an appeal from cultural figures of the Russian Federation in support of the policies of Russian President V.V. Putin in Ukraine and Crimea.
Nikolai Tsiskaridze. Alone with everyone
Nikolai Tsiskaridze's height: 183 centimeters.
Personal life of Nikolai Tsiskaridze:
Not married and never have been. In an interview he stated that he had no intention of getting married.
According to rumors, he refers to people of non-traditional sexual orientation.
In the fall of 2019, a 19-year-old student at the acting department of Moscow State University. On the Internet, Akperov began publishing photo collages depicting himself and the famous artist, showing a clear resemblance in appearance. Akperov claims that Tsiskaridze knew about his existence and deliberately abandoned him. Addressing the star, Timur said: “You abandoned me, you didn’t even take an interest in me! 19 years have passed and during these 19 years you did not try to find me, you knew very well and still know that you have a son!” According to Timur, he still cannot forgive his father, but this does not prevent him from having warm feelings for Nikolai: “Yes, I have a very big grudge towards you, but despite all this, I am very glad that I have there is a father! I’m incredibly happy about this!”
Filmography of Nikolai Tsiskaridze:
1998 - Giselle (Bolshoi Theater performance) - Count Albert
2003 - Notre Dame Cathedral (Bolshoi Theater performance) - Quasimodo
2006 - The Queen of Spades (Bolshoi Theater performance) - Hermann
2007 - Benefit performance of Nikolai Tsiskaridze: Vision of the Rose - Ghost of the Rose
1999 - Nikolai Tsiskaridze. To Be a Star... (documentary)
2012 - Yeralash No. 265, “The World I Live In” - cameo
2017 - Revolution online
Repertoire of Nikolai Tsiskaridze at the Bolshoi Theater:
1992 “Romeo and Juliet” by S. S. Prokofiev - Soloist (Juliet’s Peers);
1992 - “The Golden Age” by D. Shostakovich - Entertainer;
1993 - “Romeo and Juliet” by S. Prokofiev - Mercutio;
1993 - “The Nutcracker” by P. Tchaikovsky - French doll;
1993 - “The Sleeping Beauty” by P. Tchaikovsky - Prince Fortune;
1993 - “Raymonda” by A.K. Glazunov - Cavalier (grand pas, four gentlemen);
1993 - “Love for love” by T. Khrennikov - Don Juan;
1993 - “Swan Lake” by P. Tchaikovsky - Soloist (waltz soloists);
1994 - “The Golden Age” by D. Shostakovich - Sailor;
1995 - “The Nutcracker” by P. Tchaikovsky - The Nutcracker Prince;
1995 - “Cipollino” by K. Khachaturyan - Count Cherry;
1995 - “Chopiniana” to the music of F. Chopin - Youth;
1995 - “La Sylphide” by H. S. Lowenskold - James;
1995 - “Swan Lake” by P. I. Tchaikovsky - Rothbart;
1995 - “La Bayadère” by L. Minkus - Golden God;
1995 - “Paganini” to the music of S. Rachmaninov - Paganini;
1995 - “Don Quixote” by L. Minkus - Jig;
1995 - “Romeo and Juliet” by S. Prokofiev Mercutio / Troubadour;
1996 - “The Legend of Love” by A. Melikov - Ferkhad;
1996 - “Antigone” by M. Theodorakis - soloist;
1996 - “Narcissus”, miniature to music by N. Tcherepnin;
1996 - “Sleeping Beauty” by P. Tchaikovsky - Blue Bird;
1996 - “Vision of the Rose” to the music of the piano piece by K. M. von Weber - The Ghost of the Rose;
1996 - “Swan Lake” by P. I. Tchaikovsky - King;
1997 - “The Sleeping Beauty” by P. Tchaikovsky - Prince Désiré;
1997 - “Giselle” by A. Adam - Count Albert;
1997 - “La Bayadère” by L. Minkus - Solor;
1998 - “Raymonda” by A. Glazunov - Jean de Brien;
1999 - “Symphony in C major” by J. Bizet - soloist of the third movement;
2000 - “Pharaoh’s Daughter” by C. Puni - Lord Wilson / Taor;
2001 - “Swan Lake” by P. Tchaikovsky - Evil Genius / Prince Siegfried;
2001 - “The Queen of Spades” to the music of P. Tchaikovsky’s Sixth Symphony - Hermann;
2003 - “Notre Dame Cathedral” by M. Jarre - Quasimodo;
2004 - “The Sleeping Beauty” by P. Tchaikovsky - fairy Carabosse;
2004 - “Bright Stream” by D. Shostakovich - Classical dancer;
2004 - “A Midsummer Night’s Dream” to the music of F. Mendelssohn and D. Ligeti - Theseus / Oberon;
2005 - “Swan Lake” by P. I. Tchaikovsky - pas de deux from Act II of the ballet;
2006 - “Lesson” by J. Delerue - Teacher;
2007 - “Corsair” by A. Adam - Conrad;
2008 - Alter Ego to the music of W. A. Mozart;
2010 - “Paquita” - Lucien d’Hervilly, grand pas from the ballet
Repertoire of Nikolai Tsiskaridze in other theaters:
2001 - “The Legend of Love” by A. Melikov (Mariinsky Theater) - Ferkhad;
2001 - “La Bayadère” by L. Minkus (Paris National Opera, stage of the Opera Bastille theater) - Solor;
2001 - “Rubies”, “Jewels” to the music of Capriccio for piano and orchestra by I. Stravinsky (tour of the Mariinsky Theater in London, Covent Garden) - soloist;
2001 - “Scheherazade” to the music of N. Rimsky-Korsakov (tour of the Mariinsky Theater in London, Covent Garden) - Golden Slave;
2002 - “Swan Lake” by P. Tchaikovsky (Mariinsky Theater) - Prince Siegfried;
2003 - “La Bayadère” by L. Minkus (Mariinsky Theatre) - Solor;
2003 - “Youth and Death” to the music of J. S. Bach (New National Theater, Tokyo) - Youth;
2004 - musical “Romeo and Juliet” (“Moscow operetta”) - Fate-Death;
2005 - “Manon” to the music of J. Massenet (Mariinsky Theater) - Chevalier des Grieux;
2005 - “Where the golden cherries hang” to the music of T. Vilems (Mariinsky Theatre);
2005 - “The Death of Polyphemus” (Lilikansky Theater) - Polyphemus;
2005 - “Blue God” to the music of A. Scriabin (Kremlin Ballet, Moscow) - Blue God;
2006 - benefit performance as part of the festival “Russian Seasons. XXI century": "Vision of a Rose", "Afternoon of a Faun", "Scheherazade" (Moscow Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko);
2007 - “La Bayadère” by L. Minkus (Mariinsky Theatre) - Solor;
2008 - “The Afternoon of a Faun” to the music of C. Debussy (Latvian National Opera, Riga);
2009 - “The Nutcracker” by P. Tchaikovsky (Paris National Opera) - Drosselmeyer / Prince;
2014 - “Vain Precaution” (Mikhailovsky Theater) - widow Simone
The Russian ballet dancer Nikolai Tsiskaridze is known even abroad, not to mention our compatriots who are Nikolai’s big fans. Currently, Tsiskaridze is known not only for his ballet activities, but also for his work at the country’s top higher educational institution. He is the rector of the Vaganova Academy of Russian Ballet. Earlier in 2013, he was appointed acting. rector
In this article, readers will learn everything about Nikolai’s personal life, his wife and children, if he has any. Plus, you will be able to get acquainted with rare photographs of celebrities.
What is known about the dancer’s biography?
Nikolai Tsiskaridze was born in 1973. The boy was raised by his mother and stepfather. The man was a teacher by profession. Thanks to this, the issue of Nikolai’s upbringing was resolved once and for all. Tsiskaridze's real father is a violinist by profession. He preferred not to deal with his son. Despite this, his father’s musical talent was still passed on to Nikolai “inherited”.
N. Tsiskaridze - ballet star
Since 1984, Nikolai began to study choreography. This year he entered the choreographic school of his native Tbilisi. Studying was very easy for the guy. After some time, it became clear that Nikolai deserves something more than his hometown. He moved to Moscow. Here the guy entered the Moscow Academic School. Pyotr Antonovich Pestov was involved in his upbringing within the educational institution.
After some time, the young man was noticed. He became a fellow of the New Names program. It was dedicated to young representatives of various types of creativity and culture.
In 1992, Tsiskaridze finished his education at the academy. It's time to think about starting a professional career. Naturally, there was no talk of returning to Tbilisi. The young man needed to stay and gain a foothold in Moscow. There were a lot of opportunities for his professional development here.
Nikolai took advantage of the chance that fate gave him and accepted the invitation to work at the Bolshoi Theater. Having started working, Tsiskaridze decided to continue his education. He was accepted into the Moscow State Choreographic Institute. After graduating from the institute in 1996, the artist received the specialty “Ballet dancer. Teacher."
Before getting one of the serious roles, the artist had to dance many small ones. Leading performances in the works of Swan Lake, Giselle, The Nutcracker and others.
Nikolai Tsiskaridze in the gallery
Nikolai's work did not go unnoticed. He received many awards for his work on the theater stage. For example, one of his first medals was silver. He received it at the International Ballet Competition in Osaka (Japan). This happened in 1995. Now Tsiskaridze’s collection includes several dozen medals and certificates for participation in various competitions.
Since 2011, Nikolai has had a conflict with the management of the Bolshoi Theater. The reason was the restoration of the theater, carried out over 6 years. The artist felt that the work was done poorly and needed a low rating. Instead of expensive stucco, there was cheap plastic on the stage. According to the artist, now the theater looks like a Turkish cheap hotel.
Court proceedings are currently underway.
Personal life of Tsiskaridze
There is often information in the press that Nikolai Tsiskaridze is gay, which is why he has neither a wife nor children. However, guys were not noticed in the man's personal life. At the same time, many women dream of Nikolai. And for good reason. The man is very well built and has an attractive appearance. Plus, he has excellent plasticity and is very musical. Few representatives of the stronger half of humanity can boast of such data.
However, all these qualities did not help the dancer find a family. More precisely, he himself rejected all possible relationships that he could have. For Nikolai, the main thing in life is ballet. I am ready to devote all my free time to him.
Dancer with a fan
Nikolai notes that he does not like to make his personal life public. Fans most likely will not immediately find out that he has a wife and children in the future. Nikolai Tsiskaridze does not post photos with his passions on the Internet. In the dancer’s biography, published on trusted sites, there is no information whether the man is single.
Those close to Tsiskaridze say that Nikolai has stated more than once that the feeling of love is alien to him. It prevents him from developing as a creative person. Feelings cloud your mind and prevent you from focusing on what you love.
The man has never been married. However, it is not blue. Nikolai's orientation is fine. He has been spotted with women on several occasions. From unverified sources it is known that the dancer had affairs with such famous girls as Natalya Gromushkina, Anastasia Volochkova and Ilsa Liepa.
It is currently unknown whether the celebrity is dating anyone or not.
What does Nikolai think about children and a potential lover?
What does Nikolai Tsiskaridze think about his personal life, children and wife? Read our article. Take a look at the photo. Here Nikolai looks very serious. In life he is the same as in the photograph.
The man says that in the future he can imagine himself as the father of a large family. Nikolai believes that he is serious and confident enough to approach starting a family consciously. He thinks that you need to take care of children and your loved one after 40 years. By this age, a man already has the financial resources to provide for himself and his offspring. Moreover, you need to live a little for yourself - get busy with work and fulfill your dreams, which, if you have children, are unlikely to be realized.
A man believes that his chosen one should be pretty not only externally, but also internally. Unlike his colleagues in the shop, Tsiskaridze confidently declares that inner beauty is more important to him. Of course, the girl must be attractive. However, if it turns out that this person is dishonest, unkind and aggressive towards the world around him, Nikolai will not be close to her.
Nikolai gives an interview
Tsiskaridze says that you can’t take a single smart man just by his appearance. If a guy doesn’t care about a girl’s inner world, it means that he needs a short-term relationship. There’s definitely no point in talking about any great love, much less wedding and children.
Of course, it’s very nice to go out with a beautiful girl. After all, everyone is looking at you and envying you. But this is only a visible shell. When you are left alone with such a lady, you realize how boring she is. For Nikolai, it is important that he and his girlfriend enjoy spending time alone. To do this, a person must understand it and preferably understand what interests him.
Tsiskaridze believes that a smart, beautiful and intelligent girl is a real treasure today. As a rule, young ladies have only one of the above qualities. And even then, they don’t always use it skillfully.
While Nikolai Tsiskaridze (see the artist’s photo below) is free and does not have a wife or children, each of his fans, in theory, can become his chosen one. Moreover, the man’s orientation is all right.
Follow the changes in Nikolai’s personal life on our website.
The material was prepared by the editors of the site site
Published 08/04/2017
NIKOLAI TSISKARIDZE
Biography
He was a late child - Nikolai’s mother was already 43 years old at the time of his birth. Among Nikolai’s close relatives, no one had anything to do with art at a professional level, except for his paternal grandmother, French women by origin, for some time before her marriage she was actress . Mom, a physics teacher, was a great lover of art, attended concerts both in Tbilisi and in Leningrad and Moscow, and often took little Nikolai to them. In early childhood, the nanny had an influence on the literary tastes of the future maestro; thanks to her reading, 6-year-old Nika became acquainted with the works Shakespeare and Tolstoy . Impressed by watching the movie"Romeo and Juliet" F. Zeffirelli , Nikolai was drawn to stage performances wherever possible - he loved to recite poetry, sing, and act out small skits in front of loved ones and neighbors
In 1984 he entered theTbilisi Choreographic School , since 1987 he continued his studies atMoscow Academic Choreographic School according to the professor's class Petra Pestova . In the school's stage practice he performed pas de deux from the ballet "Flower Festival in Genzano» A. Bournonville and “Big classical steps” V. Gzovsky.
After graduating from the Moscow Academy of Choreography in 1992, thanks toYu. N. Grigorovich was accepted into the troupe Bolshoi Theater where he first danced in corps de ballet , then began performing solo parts ( French doll V " The Nutcracker " And Entertainer V"Golden Age" Yu. Grigorovich, young man V " Chopinians », Blue Bird V"Sleeping Beauty" ). Soon the dancer’s repertoire included leading roles in such performances as “ Swan Lake ", "The Nutcracker", "Sleeping Beauty", " Raymonda", "La Bayadère", "La Sylphide", "Giselle" ", "Love for love", "Paganini", "Symphony in C major " Became the first performer of the role of Hermann in the ballet Roland Petit "Queen of Spades" ", created specifically for the Bolshoi Theater.
In 1996 he received a diploma of higher education, graduating .
“Tsiskaridze has unique natural abilities, thanks to which he was able to reach the heights of dance art. He is tall, slender, attractive in appearance, and is naturally flexible and musical. But all these are just prerequisites for creating true art. In order for them to be transformed into an artistic result, it is necessary to go through the school of classical dance, which Tsiskaridze mastered to the highest degree. His dance is technically impeccable, distinguished by the purity of lines and the perfection of the classical school with its aesthetics of beauty and joyful light, flying movements. But this is not enough to create high art. There is also a need for spiritual filling of each role, knowledge of its meaning, its human and figurative meaning, a combination of dancing and acting skills. Then the dance becomes emotional, fascinating, infecting the viewer with its inner content. The spirituality of dance is also inherent in Tsiskaridze’s personality. Tsiskaridze's dance does not have the muscular masculinity and assertive energy of some premieres of the previous generation. But there is no softened lethargy in him, which is sometimes found among lyrical dancers. He is distinguished by strength, but without any “pressure”, lyrics, but without sentimentality, emotionality, but without pretense. Tsiskaridze dances with great feeling, but without excessive affectation. In his dance there is that measure of internal tension and external restraint that creates the majestic beauty of plasticity.
He prepared his first parts in the theater with N. R. Simachev , when preparing the issueK. Ya. Goleizovsky “Narcissus” helped the young dancer with her advice G. S. Ulanova , who rehearsed this number with its first performer -Vladimir Vasiliev . Later he prepared his games with N. B. Fadeechev , studied in the women's class M. T. Semyonova.
He was a participant in the first three programs of the dance project “Kings of Dance” ( Kings of the Dance, 2006—2009). As part of this project, numbers were staged for him by Roland Petit (“Carmen. Solo”) and Boris Eifman ("Fallen Angel").
Participated in the television show "Dancing with the Stars "on the TV channel" Russia "as a permanent member of the jury of a dance competition. He is a regular presenter of the program “Masterpieces of World Musical Theater” on the TV channel"Culture".
He was engaged in teaching activities in Moscow State Academy of Arts and the Bolshoi Theater , where he taught a choreography class. In 2012 he entered the master's programMoscow State Law Academy .
On October 28, 2013, he was appointed acting rector of the Academy of Russian Ballet. A.Ya.Vaganova inSt. Petersburg . On November 4, 2013, the teaching staff of the Academy, as well as the ballet dancers of the Mariinsky Theater, addressed the Ministry of Culture of the Russian Federation with a letter in which they demand to reconsider the decision to appoint Tsiskaridze to the position of rector and People's Artist of Russia
The most interesting people are strong people. Those who go forward despite any obstacles and intrigues, those who constantly work on themselves, honing their skills. And such an interesting person is Nikolai Tsiskaridze, who at a meeting in the Central House of Journalists in the project "One on one" famous TV presenter Vladimir Glazunov told about himself, about some secrets behind the scenes, about journalists, about many things.
01.
Nikolai Tsiskaridze“I promised my teacher Pyotr Antonovich Pestov, it was June 5, 1992, I was awarded a diploma, and I promised him that I would dance for 21 years. And suddenly, exactly 21 years later, I come up to the schedule and see that they staged a play for me, and it was the last one under the contract. I saw that it was June 5th. I was happy because I knew that was it. I have never advertised this much anywhere. And when I danced the performance, I said to the make-up artist: “I’m done!” She didn't believe me. But I kept my promise and I no longer do this in the role in which I usually went out to entertain the public."
02. Nikolai Tsiskaridze and Vladimir Glazunov 
“Grandfather was talking to someone. But mother was such an active woman, big and in charge of everything. And when grandfather came, she became very soft and unnoticeable. This amazed me as a child, because it was impossible to talk to her. Usually when I behaved badly, she said: “Nika, we need to talk." I went into the bathroom and had to sit and wait for her. She could come in right away, she could come in an hour later. Anyway, I had to wait quietly there. The conversation could end badly for me. And one day she was talking, and grandfather, he was a very tall man, and she interrupted him and said: “Daddy, it seems to me...” He said without turning his head: “Lamara, who asked you your opinion. A woman’s place is in the kitchen." And just like that, my mother disappeared. I thought: “How good!” And over time, when I began to earn money, I told my mother: “Darling, now everything has changed
03.
“I had to enter a choreographic school, but my mother had the documents. Can you imagine how hard it was to get them? She didn’t consider it a profession. Like, on stage in tights. Mom didn’t understand this. She loved going to ballet, she loved going to ballet theater, but she, of course, did not perceive it as a profession for her child.”
04.
“My nanny was a simple Ukrainian woman. She did not have a higher education. She spoke excellent Russian, but when we were alone, she spoke Surzhik. All this was with a mother tongue. In general, she thought like that. And, naturally , I spoke the same way. I spoke Russian, but with a strong Ukrainian accent, and sometimes I just switched to Ukrainian. She cooked great. For me, the most delicious thing is everything from Ukrainian cuisine, everything that was made by the nanny."
05.
About Stalin: “He wrote good poetry. Joseph Vissarionovich Stalin was a child prodigy. They began to publish him when he was 15 years old. Ilya Chavchavadze was looking for young poets. He chose Joseph Dzhugashvili, who was at that moment a student at the Gori Seminary. And thanks to this grant, he was transferred to Tiflis Seminary. Only children of clergy and princely families could study at Tiflis Seminary. Children of commoners did not study there. An exception was made for Stalin, because he was an outstanding child. And we studied his poems in school as children. Joseph Dzhugashvili is still studied there to this day at school because he was recognized before he became chief."
Nikolai Tsiskaridze reads a poem by Stalin
“I immediately became a very respected student like this. Pestov staged an aria from Don Carlos and said: “Now it’s important for me that you don’t say what it is. It's clear that you don't know this. But at least you can determine the nationality of the composer. Is it German opera or is it Italian opera. What period is this? 19th century or 18th century?" The aria ended. He said: "Well, who can tell?" And he had favorites. And I was new to the class. Everyone was talking about some kind of heresy. And when I realized that already no one will answer, I raise my hand so quietly. He says: “Well, can you tell Tsytsadrytsa?” I tell him: “Verdi. “Don Carlos.” Princess Aria.” And he simply falls and says: “Sit down, Tsitsadrytsa. Five!” And from that moment on, I was a favorite student, because I knew opera." In general, I was the Guinea Little Guinea, the Tsarochka, everything that starts with C."
06.
About the Bolshoi Theater: “It was very difficult for many to get over the fact that a lady of advanced age chooses a boy and starts working with him. And in fact, for the last two or three years, Ulanova had a bad relationship at the Bolshoi Theater. She survived very seriously. All the ballerinas with whom I danced, we were students of Ulanova. Here we must make a reservation. The Bolshoi Theater is wonderful, I adore it. But this place is difficult. It’s all in a plague cemetery. There are a lot of undercurrents there. Galina Sergeevna survived. And they survived very cruelly. She was not allowed to work. She came all the time, asking for new students. And then it turned out that one of my teachers died, and another ended up in the hospital. I had no one to rehearse with. And she and I just started talking in the corridor. I say that’s how it is so and so. She told me: “Kolya, let me help you.” Imagine, the door opened and the Lord God says to you: “Let me help you.” I said: “Let’s do it.” I began to take rehearsals. But so that we shit, we were given rehearsals at the most inconvenient time for Ulanova. She was an authoritarian lady and had been accustomed to living in certain conditions for many years. She mostly had rehearsals at twelve. And they gave her rehearsals in four or five days. This was not normal for her. And they did this to us all the time. And she came. And many could not come to terms with it. How's that? He was lucky again. Not only have my legs grown so much, Ulanova is also coming. I only worked with her for two seasons."
07.
“Now, when I cross the threshold of the Bolshoi Theater, I don’t feel any sensations. For me, it was a farewell to the theater when it was demolished in 2005. Now it has nothing to do with the Bolshoi Theater. You dance, but you don’t recognize anything. There’s no smell, no aura. Unfortunately. It's very sad to say, but it's a fact. And I think all the old artists will say this."
08.
“You can become the Minister of Culture, but who can explain to me what to do with this position? This is a very difficult position. If I were the rector, I would perish.”
09.
About the program "Bolshoi Ballet" and the TV channel "Culture"“I don’t watch the “Bolshoi Ballet” program on the “Culture” TV channel. I refused to participate in it. I immediately said, either I will be the host of this program or I will not play any role. They told me that they don’t want to see me as a host. But I can’t give an assessment, because I will tell the truth. Before the program I knew who would win. Because they have everything signed. I said such a thing, I’m not ashamed of it. There is such a program “Dancing with the Stars”. This is the show . This is on a channel that is not specifically dedicated to culture. And this is the “Culture” channel. And this is a conversation about my profession, to which I gave my life. Let everyone think whatever they want about how I served in this profession, but I served honestly. And to tell some Pupkina, who is the favorite of so-and-so, who has already paid her first place, that baby, you are so heavenly good, the way you danced, I immediately saw the Leningrad back in you. I don’t want this and will never say it. I am the first I'll say that, baby, you should be ashamed to enter this hall. You shouldn't go on stage in a tutu, you have crooked legs. I'll say it. After this, everyone will say that I am a bastard, a vile and that I hate young people. Therefore, I deliberately refused this. When the first broadcast was made, Angelina and Denis were supposed to be filmed, they were supposed to represent the Bolshoi Theater. But, because there was a favorite of a certain person, they were thrown out. I don't understand such things. This is very unpleasant for me, because the Kultura TV channel should not make the show. He must be responsible for those he shows. But I enjoy participating in the show. I'll play whatever you want there."
10.
About journalists : “Gentlemen, when I read articles, I learn so many new things about myself. I am very often amazed at the tactlessness of people who represent this profession, because they distort the facts regularly. But when they attribute their mistakes to the person they write about, then this is also very unpleasant. Many have seen the film "Big Babylon". They tried to persuade me to star in this film for a very long time. I set the condition that until I had watched my material, I would not allow myself to be inserted. I set this condition after someone approached me several people who are related to the political elite of our country. This film was political from the very beginning. Now the authors of this film are giving interviews and saying that this is supposedly not a political story. So I want everyone not to believe in this. Because if people related to politics approached me, it means politics was involved in this matter. I set the condition that I would talk about the Bolshoi Theater as a phenomenon, and I didn’t want to talk about any scandals. I finished all this rubbish, I don’t want to remember it. All the same, phrases were inserted there, they were so cut up that it became politically charged all the time. And I forbade them to use it. They inserted me anyway, pulling me from various other interviews. It's on their conscience. But now the authors who give interviews say that this and that happened. This is so untrue, it’s all so unpleasant for one simple reason: because when the author himself says at the beginning in an interview that the film is without politics, that it was made about theater people. And there are some flabby fat people sitting there, whom no one knows, who do not serve in the theater as artists, nor singers, nor choir workers, nor workers in the artistic and production department and give comments on what is happening in the theater and then he says that They filmed an interview with Grigorovich and they didn’t include it. Do you understand? They had room for this flabby man in an hour and a half film, but they didn’t have room for Grigorovich’s interview, even for thirty seconds. When he immediately says that an interview was filmed with a woman who has been working in the art and production department for 52 years and it also didn’t fit. Then what kind of people are we talking about? That’s why all this dirt is so unpleasant for me, I don’t like the way it’s presented, because in fact, lately my home has been overwhelmed by some kind of utter muck and filth. But it has nothing to do with what I served and what my teachers and my senior colleagues served. We served in another Bolshoi Theater. We belonged to a different culture. We built our lives differently."
11.
Question from the beautiful atlanta_s - I voiced the ballerina of the Bolshoi Theater, since she had a performance at that time and she could not come to the meeting: “Nikolai Maksimovich, you graduated from the Moscow choreographic school - the Moscow school. Now you are the rector of the St. Petersburg school. It has always been believed that the Moscow and St. Petersburg schools are different, one might even say they are antagonists. Which school do you consider yourself to be an adherent of at the moment?"
12.
Nikolai Tsiskaridze": “Good! All my teachers who taught me, they are all Leningraders. Since 1934, the whole country has studied from one book by Vaganova: “Fundamentals of Classical Dance. The program we use to this day. No difference. There is a difference in the moment of delivery."
Answer from Nikolai Tsiskaridze about the difference between St. Petersburg and Moscow ballet schools.
"A ballet dancer must have the consciousness of a killer, because the performance creates a stir. No matter how prepared you are, your body is in adrenaline. If you don’t know how to cope with it, then you won’t do everything that needs to be done. Therefore, if you don’t "If you calmly approach the fouette, you will simply fall face down on the floor. Because you are tired, you are suffocated. You have to spin everything in one place. Your consciousness must be sober."
13.
About the 1991 coup"In 1991, during the coup, we were in the USA. We were immediately offered American citizenship. We sat locked in the hotel for 24 hours. We wake up, and the hotel is surrounded by correspondents. There was just a legion of correspondents, who were all trying to get into the hotel to find out something from us . And we don’t even know what happened there. If Golovkina found out, they told her that there was a coup in Russia, then no one even told us. We didn’t know English. We turn on the TV, they show the Kremlin. What’s going on in the Kremlin? How do we know? It was a terrible day. They didn’t let us go anywhere. We wanted to go to the pool, we wanted to take a walk, but we were sitting in the building. Then we were all put on a bus, taken to Denver, from Denver immediately to New York, from New York on the plane. And we got on the plane, and then Panam was flying. The plane was huge. There were about fifty of us and no one else. The whole plane was empty. And the flight attendants, realizing that they were taking us to prison, fed us. They We were all given a bag of Coca-Cola and chips. And they almost kissed us. They say that this is the end, that’s it, go to jail. We landed and there were tanks standing next to the runway. We go out, there is no one in Sheremetyevo. Tanks and no one. And only uncle Gena Khazanov stands, because Alisa was my classmate and he met my daughter. They gave us our suitcases in a second. We get on the bus and go. No one on Leningradka. The city is quiet. We were brought to Frunzenskaya on this bus. A police car was driving in front of us. When we saw our parents on Frunzenskaya, we then found out what happened.”
14. Vladimir Glazunov reads Kipling’s poem “If” translated by S. Marshak
Tsiskaridze
Nikolay Maksimovich
Chairman of the Academic Council, Rector
Premier of the Bolshoi Theater.
People's Artist of the Russian Federation.
Laureate of State Prizes of the Russian Federation.
Member of the Council under the President of the Russian Federation for Culture and Art (since July 21, 2011).
Assistant professor.
Born on December 31, 1973, in Tbilisi. In 1984 he entered the Tbilisi Choreographic School, and from 1987 continued his studies at the Moscow Academic Choreographic School, where he graduated from the class of Professor Pyotr Pestov.
On August 26, 1992 he was accepted into the Bolshoi Theater troupe. Since 1995 - premier of the Bolshoi Theater. He prepared his parts at the Bolshoi Theater with G.S. Ulanova and M.T. Semyonova, N.R. Simachev and N.B. Fadeechev.
In 1996 he graduated from the Moscow State Choreographic Institute with a degree in teacher-tutor. In 2014, he received a master's degree in jurisprudence, graduating from Moscow State Law University named after O.E. Kutafina (MSAL).
Since 2004, he has been a permanent presenter of the Kultura TV channel (program “Masterpieces of the World Musical Theater”).
Since 2005, he worked as a teacher-tutor at the Bolshoi Theater and also taught advanced classes.
On October 28, 2013, he was appointed acting rector of the Academy of Russian Ballet. AND I. Vaganova in St. Petersburg. Professor of the Department of Methods of Teaching Classical and Duet-Classical Dance.
On October 29, 2014, by decision of the General Meeting (Conference) of the Academy’s workforce, he was elected rector of the Academy of Russian Ballet. AND I. Vaganova in St. Petersburg.
Since 2017, member of the Public Chamber of St. Petersburg.
Awards and titles:
1992 Fellow of the New Names program
1995 Prize of the magazine “Ballet” “Soul of Dance” (nomination “Rising Star”)
1995 2nd prize at the International Ballet Competition in Osaka (Japan)
1997 1st prize at the International Ballet Competition in Moscow
1997 Peter Vanderslott Personal Prize “For Preserving the Traditions of the Classical Heritage”
1997 Title “Honored Artist of the Russian Federation”
1997 Prize of the theatrical society "La Sylphide" "Best dancer of the year"
1999 Prize of the International Association of Choreographers “Benois de la Danse” for the performance of the role of Jean de Brienne in the ballet “Raymonda”
1999 National Theater Award “Golden Mask” for his performance as Count Albert in the ballet “Giselle” (season 1997/98)
2000 Moscow Prize in the field of literature and art
2000 National Theater Award “Golden Mask” for performing the solo part in the ballet “Symphony in C” (season 1998/99)
2000 Member of the Union of Theater Workers of Russia
2001 Title "People's Artist of the Russian Federation"
2001 State Prize of Russia for the performance of a number of roles in the classical repertoire
2003 Named Best Dancer of the Year by the Italian magazine Danza & Danza (DANZA & DANZA)
2003 Russian independent award "Triumph" for the highest achievements in the field of literature and art
2003 National Theater Award “Golden Mask” for his performance as Hermann in the ballet “The Queen of Spades”
2003 Russian State Prize for performing the role of Hermann in the ballet “The Queen of Spades”
2003 Order of Honor of the Republic of Georgia
2004 Award from the magazine “Faces” in the “Idol” category
2006 Knight of the Order of the French Republic "For merits in art and literature"
2006 International Peace Prize of the United Cultural Convention of the United States "For outstanding personal achievements for the benefit of the world community"
2013 People's Artist of the Republic of North Ossetia-Alania
2014 Art Prize "Petropol" for the vivid embodiment of the image of Hermann in Roland Petit's play "The Queen of Spades"
2017 Honorary Professor of the Baku Academy of Choreography (Azerbaijan)
2018 Badge “For contribution to Russian culture” of the Ministry of Culture of the Russian Federation
2018 Order of Friendship (state award of the Russian Federation)
2019 Academic title of associate professor
Main list of roles:
11/24/1991. Soloist. “Classical Symphony” to the music of S. Prokofiev’s First (“Classical”) Symphony (I, II, IV parts), choreography by L. Lavrovsky (partner Marina Rzhannikova). SABT-MAKHU.
11/24/1991. Franz, L. Delibes. “Coppelia” (Act III), choreography by A. Gorsky, revised by S. Golovkina (partner Marina Rzhannikova). SABT-MAKHU.
05/31/1992. “Grand pas classic” to music by F. Aubert, choreography by V. Gzovsky (partner Marina Rzhannikova). SABT-MAKHU.
08/14/1992. Pas de deux from E. Helsted's ballet "Flower Festival in Genzano". Choreography by A. Bournonville (partner Anastasia Yatsenko). MAHU tour in Vail (USA).
10/28/1992. Juliet's peers. S. Prokofiev. “Romeo and Juliet”, choreography by Yu. Grigorovich. Bolshoi Theater
06.12.1992. Entertainer. D. Shostakovich “The Golden Age”, choreography by Yu. Grigorovich. Bolshoi Theater
01/13/1993. Mercutio. S. Prokofiev “Romeo and Juliet”, choreography by Yu. Grigorovich (partners: Yuri Vasyuchenko, Mark Peretokin). The Bolshoi Theater tour in London, Albert Hall.
01/14/1993. French doll. P. Tchaikovsky “The Nutcracker”, choreography by Yu. Grigorovich (partner Natalya Lapitskaya). The Bolshoi Theater tour in London, Albert Hall.
01/15/1993. Prince Fortune. P. Tchaikovsky “The Sleeping Beauty”, choreography by M. Petipa, revised by Yu. Grigorovich (partner Elena Andrienko). The Bolshoi Theater tour in London, Albert Hall.
03/19/1993. Four Cavaliers. Grand pas from A. Glazunov’s ballet “Raymonda”, choreography by M. Petipa, revised by Y. Grigorovich. Bolshoi Theater
06/16/1993. Don Juan. T. Khrennikov. “Love for love”, choreography by V. Boccadoro. Bolshoi Theater
07/16/1993. Pas de deux from the ballet Esmeralda by C. Pugni, choreography by V. Gzovsky, revised by S. Golovkina (partner Alisa Khazanova). MAXU tour in Japan.
12/24/1994. Waltz soloists. P. Tchaikovsky. “Swan Lake”, choreography by M. Petipa, L. Ivanov, A. Gorsky, revised by Yu. Grigorovich. Bolshoi Theater
01/13/1995. The Nutcracker Prince. P. Tchaikovsky. “The Nutcracker”, choreography by Yu. Grigorovich (partner Natalya Arkhipova). Bolshoi Theater
03/12/1995. Count Cherry. K. Khachaturyan. “Cipollino”, choreography by G. Mayorov (partner Natalya Malandina). Bolshoi Theater
03/18/1995. Youth “Chopiniana” to music by F. Chopin, choreography by M. Fokine (partner Maria Alexandrova). Bolshoi Theater
04/13/1995. James Ruben. X. Levenshell. “La Sylphide”, choreography by A. Bournonville, revised by E. M. von Rosen (partner Alla Mikhalchenko). Bolshoi Theater
05/03/1995. Evil genius. P. Tchaikovsky. “Swan Lake”, choreography by Yu. Grigorovich (partners: Nina Semizorova, Alexey Fadeechev). Bolshoi Theater
05/14/1995. Golden God L. Minkus. “La Bayadère”, choreography by N. Zubkovsky. Bolshoi Theater
06/29/1995. Paganini. “Paganini” to music by S. Rachmaninov, choreography by L. Lavrovsky, revised by V. Vasiliev (partner Elena Andrienko). Bolshoi Theater
07/07/1995. Jig. L. Minkus. “Don Quixote”, choreography by M. Petipa. L. Gorsky, R. Zakharov. Bolshoi Theater tour in Japan.
08/11/1995. “Classical pas de deux” to music by A. Adam, choreography by L. Lavrovsky, revised by S. Golovkina (partner Maria Alexandrova). MAXU tour in Vail (USA).
09/28/1995. Pas de deux from A. Adam's ballet "The Corsair", choreography by M. Petipa, V. Chabukiani (partner Marianna Ryzhkina). VIII Madame Oya International Ballet Competition in Japan (Osaka).
12/25/1995. Mercutio. S. Prokofiev “Romeo and Juliet”, choreography by L. Lavrovsky. (partners Andrey Uvarov, Alexander Vetrov). Bolshoi Theater
12/27/1995. Troubadour. S. Prokofiev. “Romeo and Juliet”, choreography by L. Lavrovsky (partner Anna Antonicheva). Bolshoi Theater
05/22/1996. Ferkhad. A. Melikov. “The Legend of Love”, choreography by Yu. Grigorovich (partners: Elena Andrienko, Nina Semizorova). Bolshoi Theater
06/13/1996. M. Theodorakis. “Antigone”, choreography by S. Bobrov. Bolshoi Theater
07/06/1996. Narcissus. “Narcissus” to music by N. Cherepnin, choreography by K. Goleizovsky. Bolshoi Theater tour in Austria (Graz).
07/18/1996. Blue Bird. P. Tchaikovsky. “The Sleeping Beauty”, choreography by M. Petipa, revised by Yu. Grigorovich (partner Galina Stepanenko). Bolshoi Theater tour in Austria (Graz).
11/20/1996. Rose. “Vision of a Rose” to the music of K.M. Weber, choreography by M. Fokine (partner Nadezhda Pavlova). Bolshoi Theater
12/25/1996. King. P. Tchaikovsky “Swan Lake”, choreography by V. Vasiliev (partners: Elena Andrienko, Vladimir Neporozhny). Bolshoi Theater
04/02/1997. Prince Desire. P. Tchaikovsky “The Sleeping Beauty”, choreography by M. Petipa, revised by Yu. Grigorovich (partner Nina Semizorova). Bolshoi Theater
05/22/1997. Count Albert. A. Adam “Giselle”, choreography by J. Coralli, J. Perrot, M. Petipa, revised by Y. Grigorovich (partner Nadezhda Pavlova). Bolshoi Theater
06/24/1997. V. Artemov “Totem” for six drummers performed by the M. Pekarsky Percussion Ensemble, choreography by S. Bobrov. VIII International Ballet Competition in Moscow.
11/26/1997. Solor. L. Minkus “La Bayadère”, choreography by M. Petipa, V. Chabukiani, revised by Yu. Grigorovich (partners: Anna Antonicheva, Nina Speranskaya). Bolshoi Theater
12/27/1997. Count Albert. A. Adam “Giselle”, choreography by J. Coralli, J. Perrot, M. Petipa, revised by V. Vasiliev (partner Svetlana Lunkina). Bolshoi Theater
06/19/1998. Jean de Brien. A. Glazunov “Raymonda”, choreography by M. Petipa, revised by Yu. Grigorovich (partner Anastasia Volochkova). Bolshoi Theater
04/21/1999. Soloist (III part). Symphony in C to music by J. Bizet, choreography by J. Balanchine (partner Maria Alexandrova). Bolshoi Theater
05/07/2000. Lord Wilson/Taor. Ts. Pugni “Pharaoh’s Daughter”, choreography by P. Lacotte after M. Petipa (partner Nadezhda Gracheva). Bolshoi Theater
01/23/2001. Ferkhad. A. Melikov “Legend of Love”, choreography by Yu. Grigorovich (partners: Yulia Makhalina, Maya Dumchenko). Mariinskii Opera House.
05/29/2001. Violin. Performance "Maestro" to the music of N. Paganini. S. Rachmaninov, production by A. Liepa (partners: Evgeny Kolobov, Ilze Liepa, Sergei Stadler, Nikolai Petrov, Alexander Streltsov). Moscow theater "New Opera".
06/15/2001. “Rubies” (from the ballet “Jewels”) to the music of “Capriccio” for piano and orchestra by I. Stravinsky, choreography by J. Balanchine (partner Diana Vishneva). Tour of the Mariinsky Theater in London. Royal Opera House.
06/27/2001. Prince Siegfried. P. Tchaikovsky “Swan Lake”, choreography by M. Petipa, L. Ivanov, A. Gorsky, revised by Yu. Grigorovich (partner Galina Stepanenko). Bolshoi Theater
07/07/2001. Golden slave “Scheherazade” to music by N. Rimsky-Korsakov, choreography by M. Fokin; reconstruction by I. Fokina, A. Liepa (partner Irma Nioradze). Tour of the Mariinsky Theater in London. Royal Opera House.
10/26/2001. Hermann. “The Queen of Spades” to the music of P. Tchaikovsky’s Sixth Symphony, choreography by R. Petit (partners: Ilze Liepa, Svetlana Lunkina). Bolshoi Theater
12/29/2001. Solor. L. Minkus. “La Bayadère”, choreography by M. Petipa, V. Chabukiani, revised by R. Nureyev (partners: Marie Agnès Gillot, Stéphanie Rombert). Opera de Paris.
06/30/2002. Prince Siegfried. P. Tchaikovsky. “Swan Lake”, choreography by M. Petipa, L. Ivanov, revised by K. Sergeev (partner Irma Nioradze). Mariinskii Opera House.
02/15/2003. Quasimodo. M. Jarre. “Notre Dame Cathedral”, choreography by R. Petit (partner Svetlana Lunkina). Bolshoi Theater
02/23/2003. Solor. L. Minkus. “La Bayadère”, choreography by M. Petipa (1900) revised by S. Vikharev (partners: Daria Pavlenko, Ekaterina Osmolkina). Mariinskii Opera House.
03/28/2003. Young man. "Youth and Death" to the music of J. S. Bach, choreography by R. Petit (partner Tamio Kusakari). Asami Maki Ballet, New National Theater (Tokyo).
06/13/2004. Evil fairy Carabosse. P. Tchaikovsky “The Sleeping Beauty”, choreography by M. Petipa, revised by Yu. Grigorovich, version 1973. Bolshoi Theater
01.10.2004. The fate of J. Presgurvik. The musical "Romeo and Juliet" directed and choreographed by M. Reda. Moscow Operetta.
11/21/2004. Classical dancer. D. Shostakovich “Bright Stream”, choreography by A. Ratmansky (partner Galina Stepanenko). Bolshoi Theater
12/22/2004. Theseus/Oberon. “A Midsummer Night’s Dream” to music by F. Mendelssohn and D. Ligeti, choreography by J. Neumeier (partners: Svetlana Zakharova, Jan Godowsky). Bolshoi Theater
03/29/2005. Cavalier des Grieux. “Manon” to music by J. Massenet. choreography by K. McMillan (partner Irma Nioradze). Mariinskii Opera House.
04/27/2005. Pas de deux from Act II of P. Tchaikovsky’s ballet “Swan Lake”, choreography by R. Nureyev (partner Elisabeth Platel). Bolshoi Theater
06/09/2005. Soloist. “In the Middle” “Somewhat Elevated” to music by T. Willems, choreography by W. Forsythe (partners: Irina Golub, Ekaterina Kondaurova). Mariinskii Opera House.
10/16/2005. Polyphemus. “The Death of Polyphemus”, directors Maya Krasnopolskaya, Ilya Epelbaum. Theater "Shadow".
10/25/2005. Blue God. “Blue God” to music by A. Scriabin, choreography by W. Eagling. (partners: Ilze Liepa, Natalya Balakhnicheva). Kremlin Ballet, State Kremlin Palace.
02/16/2006. “For 4” to music by F. Schubert, choreography by K. Wheeldon (partners: Johan Kobborg, Angel Corella, Ethan Stiefel). “Kings of the Dance” project, Orange County Performing Arts Center (USA).
02/16/2006. Jose, Carmen, Escamillo. “Carmen solo” to music by J. Bizet, choreography by R. Petit. “Kings of the Dance” project, Orange County Performing Arts Center (USA).
02/19/2006. Professor. “The Lesson” to the music of J. de la Rue. choreography by F. Flindt (partners: Alina Cojocaru, Zinaida Yanovsky). “Kings of the Dance” project, Orange County Performing Arts Center (USA).
04/18/2007. Solor. L. Minkus “La Bayadère”, choreography by M. Petipa (1877) revised by V. Ponomarev and V. Chabukiani (1941) (partners: Ulyana Lopatkina, Maria Alexandrova). Mariinskii Opera House.
06/23/2007. Conrad. A. Adan "Corsair", choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaki (partner Maria Alexandrova). Bolshoi Theater
10/27/2008. Soloist. “Alter Ego” to music by V.A. Mozart, choreography by V. Vasiliev (partner Artem Ovcharenko). Bolshoi Theater
05/21/2009. “Fallen Angel” to music by G. Kancheli and S. Barber, choreography by B. Eifman. Performing Arts Center in Orange County, California, USA.
11/12/2009. “Remanso” to music by E. Granados, choreography by N. Duato (partners: Denis Matvienko, Jose Correño). Project “Kings of the Dance”, Moscow Academic Musical Theater named after K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko.
12/19/2009. Drosselmeyer/Prince. P. Tchaikovsky “The Nutcracker”, choreography by R. Nureyev (partner Miriam Ould-Braham). Opera de Paris.
01/28/2010. Lucien d'Hervilly. Large classical pas from the ballet “Paquita” by L. Minkus, choreography by M. Petipa, production and new choreographic version by Y. Burlaki (partner Angelina Vorontsova). Bolshoi Theater
11/17/2011. “Diamonds” (from the ballet “Jewels”) to music by P. Tchaikovsky (Third Symphony, II, III, IV and V parts), choreography by J. Balanchine (partner Ulyana Lopatkina). Mariinskii Opera House.
03/29/2014. Simone, widow. “Vain Precaution”, music by L. Herold, arranged by D. Lanchbury, choreography by F. Ashton, revised by M. Messerer and M. O'Hair (partners: Angelina Vorontsova, Ivan Zaitsev). Mikhailovsky Theater.
Work on the resumption of performances of the classical heritage:
01/16/2010. Big theater. “Chopiniana” to music by F. Chopin, choreography by M. Fokine. The ballet was revived by Ekaterina Heidenreich (1958), Nikolai Tsiskaridze (2010). Performers: Maria Alexandrova, Marianna Ryzhkina, Maria Allash, Nikolai Tsiskaridze.
12/23/2011. Children's Musical Theater named after N.I. Sats. P. Tchaikovsky. “The Nutcracker”, Choreography and edition of the libretto by Vasily Vainonen The ballet was resumed by Mikhail Krapivin. The artistic director of the production is Nikolai Tsiskaridze.
03/07/2014. Academy of Russian Ballet named after A.Ya. Vaganova. “Children’s pas de deux” to music by P. Tchaikovsky, choreography by M. Gaziev, production and new choreographic edition by N. Tsiskaridze. Performers: Ksenia Andreenko, Dmitry Zadorozhny.
06/12/2016 Painting “Naina’s Magic Gardens” from the opera “Ruslan and Lyudmila” (music by M. Glinka; choreography by M. Fokin (1917)). The choreographic revision was carried out for the graduation performance of the Academy. Mariinskii Opera House.
06/12/2016 “The Puppet Fairy”, ballet in 2 acts (music by J. Bayer, insert numbers to music by P. Tchaikovsky, R. Drigo, C. Pugni; choreography by Sergei Legat and Nikolai Legat (1903), revival by Konstantin Sergeev ( 1989)). The choreographic revision was carried out for the graduation performance of the Academy. Mariinskii Opera House.
06/12/2017 Third act of the ballet “Paquita” (music by E. Deldevez, L. Minkus, R. Drigo; choreography by M. Petipa). The choreographic revision was carried out jointly with Yu. Burlaka for the graduation performance of the Academy. Mariinskii Opera House.
06/12/2017 “Classical Symphony” (music by S. Prokofiev; choreography by L. Lavrovsky). The choreographic revision was carried out for the graduation performance of the Academy. Mariinskii Opera House.
06/12/2018 Pas d’action from the ballet “The Naiad and the Fisherman” (music by C. Pugni; choreography by J. Perrot, M. Petipa). The choreographic revision was carried out for the graduation performance of the Academy. Mariinskii Opera House.
