Husband of ballerina Kristina Kretova. A native of Orel became the leading ballerina of the Bolshoi Theater: an interview with Kristina Kretova

Kristina Alexandrovna Kretova(January 28, 1984, Orel) - Russian ballerina, leading soloist of the Bolshoi Theater.

Biography

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

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

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

Creation

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

Family

Christina is married and has a son, Isa.

Repertoire

Kremlin ballet

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

Theatre. Stanislavsky and Nemirovich-Danchenko

• Lady of the Dryads; Kitri - "Don Quixote" by L. Minkus, choreography by A. Gorsky, A. Chichinadze
• Odette-Odile - "Swan Lake" by P. I. Tchaikovsky, choreography by L. Ivanov, V. Burmeister
• Esmeralda - "Esmeralda" by C. Pugni, choreography by V. Burmeister
• Slice to Sharp directed by Y. Elo

Grand Theatre

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

• Odette-Odile - "Swan Lake" by P. I. Tchaikovsky in the second edition of Yu. Grigorovich
• soloist - Cinque to music by A. Vivaldi, staged by M. Bigonzetti
• slave dance - "Le Corsair" by A. Adam, choreography by M. Petipa, staging and new choreography by A. Ratmansky and Y. Burlaka
• Mireille de Poitiers - "The Flames of Paris" by B. V. Asafiev, directed by A. Ratmansky, using choreography by V. Vainonen
• Anyuta - "Anyuta" to music by V. A. Gavrilin, choreography by V. Vasiliev
• duet - Dream of Dream to music by S. V. Rachmaninov, staged by J. Elo
• leading couple - "Classical Symphony" to the music of S. S. Prokofiev, staged by Y. Posokhov
• Ramsey - "The Pharaoh's Daughter" by C. Pugni, staged by P. Lacotte, script by M. Petipa
• main part - Rubies (second part of the ballet Jewels) to music by I. F. Stravinsky, choreography by J. Balanchine
• Polyhymnia - "Apollo Musagete" by I. F. Stravinsky, choreography by J. Balanchine
• The main washcloth is "Moydodyr" by E. I. Podgayets, staged by Y. Smekalov

Ballerina of the Bolshoi Theater Kristina Alexandrovna Kretova, her biography on Wikipedia (height, weight, how old), personal life and photos on Instagram, family - parents (nationality), husband and children are of interest to a wide audience, and this is no coincidence, because she is not only extremely talented, but, according to experts, is the successor to the traditions of the legendary ballerina Galina Ulanova.

Kristina Kretova - biography

Christina was born in 1984 in Orel. She began to study ballet at the age of six, while simultaneously studying at general education and choreographic schools. At the age of ten, a talented girl was sent to the capital, where she, having passed incredibly difficult entrance exams, entered the Moscow State Academy of Choreography.

In 2002, after graduating, the young ballerina was accepted into the troupe of the Kremlin Ballet Theater, where she very soon became a soloist. Then for some time she danced on the stage of the Musical Academic Theater. Stanislavsky and Nemirovich-Danchenko, and since 2011 she has been a member of the Bolshoi Theater troupe, where she is now the leading soloist.

In addition to participating in the performances of this theater, she is also involved in projects of other theaters, in particular, she performed on the stage of the Mikhailovsky Theater in St. Petersburg and the Yekaterinburg Opera and Ballet Theater.

For her creative activity, Kretova received many awards in the field of ballet, and not only domestic, but also international. In 2013, according to the Dance Magazine, she entered the top stars who made a breakthrough in 2013, and in 2014 she was awarded one of the Dance Open International Ballet Awards - Miss Virtuosity.

The ballerina also participates in various television projects.

In 2011, she took part in the Bolero show, which was broadcast by Channel One. The essence of the project was that the couples were formed from ballet soloists and the best Russian athletes. Christina paired with Alexei Yagudin, Honored Master of Sports in figure skating. In their performances, this couple showed a surprisingly harmonious symbiosis of classical dance and modern ballet and won first place. And, as Christina herself says, participation in this project gave her the opportunity to grow even more professionally.

In 2015, Kretova was again invited to a TV project, but already as a member of the jury. This was the talent show "Dancing on TNT", where a year later she became a permanent judge.

The popularity of the ballerina, as well as her grace and attractiveness, arouse not only professional interest in her, and some want to see what naked Kristina Kretova looks like in the photo for Maxim and Playboy magazine. But nothing is known about her participation in such photo shoots.

Kristina Kretova - personal life

The personal life of a talented ballerina is no less saturated than creative. She has been married for a long time, although she does not like to talk about it, so she still hides her husband's name. Nevertheless, it is known that the couple still has a harmonious and romantic relationship, and the husband does not miss a single premiere of Christina, where he always appears with chic bouquets.

Many are interested in Kristina Kretova - who is her son and what she does. The ballerina's son, who was born in 2011 and was named Isa, is now only 6 years old, so it's too early to talk about who will grow out of him. Christina herself, despite the incredibly busy schedule of rehearsals, performances and tours, devotes every free minute to her child and, of course, to her husband, becoming an ordinary wife and mother outside the theater.

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

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

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

Creation

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

Family

Christina is married and has a son Isa.

Repertoire

Kremlin ballet

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

Theatre. Stanislavsky and Nemirovich-Danchenko

• Dryad Lady; Kitri- Don Quixote by L. Minkus, choreography by A. Gorsky, A. Chichinadze
• Odette-Odile- "Swan Lake" by P. I. Tchaikovsky, choreography by L. Ivanov, V. Burmeister
• Esmeralda- Esmeralda by C. Pugni, choreography by V. Burmeister
• "Sharpening to Sharpness" Slice to Sharp) choreographed by J. Elo

Grand Theatre

• Dryad Lady- "Don Quixote" by L. Minkus, choreography by A. Gorsky, revised by A. Fadeechev
• Giselle- Giselle by A. Adam, choreography by J. Perrot, J. Coralli, M. Petipa, revised by Y. Grigorovich
• Marie- The Nutcracker by P. I. Tchaikovsky, choreography by Y. Grigorovich

• Odette-Odile
• soloist - Cinque to music by A. Vivaldi staged M. Bigonzetti
• slave dance- Le Corsaire by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaka
• Mireille de Poitiers- The Flames of Paris by B. V. Asafiev, choreography by V. Vainonen, directed by A. Ratmansky
• Anyuta- "Anyuta" to the music of V. A. Gavrilin, choreography by V. Vasiliev
• duet - dream of dream to music by S. V. Rachmaninov, staged by J. Elo
• leading couple- "Classical Symphony" to the music of S. S. Prokofiev, staged by Y. Posokhov
• Ramsey- "The Pharaoh's Daughter" by C. Pugni, staged by P. Lacotte, scripted by M. Petipa
• main party- Rubies (second part of the ballet Jewels) to music by I. F. Stravinsky, choreography by J. Balanchine
• polyhymnia- "Apollo Musaget" by I. F. Stravinsky, choreography by J. Balanchine
• Home washcloth- Moydodyr by E. I. Podgayets directed by Y. Smekalov

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

• peers of the prince- "Swan Lake" by P. I. Tchaikovsky in the second edition of Yu. Grigorovich
• Prudence Duvernoy(the first performer at the Bolshoi Theater); Manon Lesko- "Lady with Camellias" to music by F. Chopin, choreography by J. Neumeier
• classical dancer- "Bright Stream" by D. D. Shostakovich, choreography by A. Ratmansky
• Jeanne- "The Flame of Paris" B. Asafiev
• Katarina- "The Taming of the Shrew" to the music of D. D. Shostakovich, choreography J.-K. Mayo

• Florina- "Lost Illusions" by L. A. Desyatnikov, staged by A. Ratmansky

In other theaters

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

Awards and recognition

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Notes

Links

• (Russian). State Academic Bolshoi Theater of Russia. Retrieved March 18, 2015.
• Tarnogradskaya E.(Russian). Fraufluger (December 23, 2012). Retrieved March 18, 2015.
• Korobkov S.(Russian) // Line: journal. - 2008. - No. 1.

An excerpt characterizing Kretova, Kristina Aleksandrovna

“See, see, I ... I ... I will do it,” Pierre said hastily in a breathless voice.
The dirty girl stepped out from behind the trunk, cleaned up her scythe, and, sighing, went forward with her blunt bare feet along the path. Pierre, as it were, suddenly woke up to life after a severe fainting spell. He raised his head higher, his eyes lit up with the brilliance of life, and he quickly followed the girl, overtook her and went out to Povarskaya. The whole street was covered with a cloud of black smoke. Tongues of flame escaped from this cloud in some places. People crowded in front of the fire in a large crowd. In the middle of the street stood a French general and said something to those around him. Pierre, accompanied by a girl, went up to the place where the general was standing; but the French soldiers stopped him.
- On ne passe pas, [They don't pass here,] - a voice shouted to him.
- Over here, uncle! - said the girl. - We will go through the alley, through the Nikulins.
Pierre turned back and walked, occasionally jumping up to keep up with her. The girl ran across the street, turned left into an alley and, after passing through three houses, turned right at the gate.
“Right here now,” said the girl, and, running through the yard, she opened the gate in the boarded fence and, stopping, pointed out to Pierre a small wooden outbuilding that burned brightly and hotly. One side of it collapsed, the other burned, and the flames brightly knocked out from under the openings of the windows and from under the roof.
When Pierre entered the gate, he was overwhelmed with heat, and he involuntarily stopped.
- Which, which is your house? - he asked.
– Oh oh oh! howled the girl, pointing to the outbuilding. - He was the most, she was our most Vater. Burnt, you are my treasure, Katechka, my beloved lady, oh oh! Aniska howled at the sight of the fire, feeling the need to show her feelings as well.
Pierre leaned towards the outbuilding, but the heat was so strong that he involuntarily described an arc around the outbuilding and found himself near a large house, which was still on fire only on one side from the roof and around which a crowd of Frenchmen swarmed. At first, Pierre did not understand what these Frenchmen were doing, dragging something; but, seeing in front of him a Frenchman who beat a peasant with a blunt cleaver, taking away his fox coat, Pierre vaguely realized that they were robbing here, but he had no time to dwell on this thought.
The sound of the crackling and rumble of collapsing walls and ceilings, the whistling and hissing of flames and the lively cries of the people, the sight of wavering, then frowning thick black, then soaring brightening clouds of smoke with sparkles and somewhere solid, sheaf-like, red, sometimes scaly gold, moving along the walls of the flame , the feeling of heat and smoke and the speed of movement produced their usual exciting effect on Pierre from fires. This effect was especially strong on Pierre, because Pierre suddenly, at the sight of this fire, felt freed from the thoughts that weighed on him. He felt young, cheerful, agile and determined. He ran around the outbuilding from the side of the house and was about to run to that part of it that was still standing, when a cry of several voices was heard above his very head, followed by the crackling and ringing of something heavy that fell beside him.
Pierre looked around and saw Frenchmen in the windows of the house, throwing out a chest of drawers filled with some kind of metal things. The other French soldiers below approached the box.
- Eh bien, qu "est ce qu" il veut celui la, [What else does this need,] one of the French shouted at Pierre.
– Un enfant dans cette maison. N "avez vous pas vu un enfant? [A child in this house. Have you seen the child?] - said Pierre.
- Tiens, qu "est ce qu" il chante celui la? Va te promener, [What else does this one interpret? Go to hell,] - voices were heard, and one of the soldiers, apparently afraid that Pierre would not take it into his head to take away the silver and bronze that were in the box, menacingly approached him.
- Unenfant? shouted a Frenchman from above. - J "ai entendu piailler quelque chose au jardin. Peut etre c" est sou moutard au bonhomme. Faut etre humain, voyez vous… [Child? I heard something squeaking in the garden. Maybe it's his child. Well, it is necessary for humanity. We all people…]
– Ou est il? Ouestil? [Where is he? Where is he?] asked Pierre.
- Parici! Parici! [Here, here!] - the Frenchman shouted to him from the window, pointing to the garden that was behind the house. - Attendez, je vais descendre. [Wait, I'll get off now.]
And indeed, a minute later a Frenchman, a black-eyed fellow with some kind of spot on his cheek, in one shirt jumped out of the window of the lower floor and, slapping Pierre on the shoulder, ran with him into the garden.
“Depechez vous, vous autres,” he called to his comrades, “start a faire chaud.” [Hey, you, come on, it's starting to bake.]
Running outside the house onto a sandy path, the Frenchman pulled Pierre's hand and pointed him to the circle. Under the bench lay a three-year-old girl in a pink dress.
- Voila votre moutard. Ah, une petite, tant mieux, said the Frenchman. – Au revoir, mon gros. Faut etre humane. Nous sommes tous mortels, voyez vous, [Here is your child. Oh girl, so much the better. Goodbye, fat man. Well, it is necessary for humanity. All people,] - and the Frenchman with a spot on his cheek ran back to his comrades.
Pierre, choking with joy, ran up to the girl and wanted to take her in his arms. But, seeing a stranger, the scrofulous, mother-like, unpleasant-looking girl screamed and rushed to run. Pierre, however, grabbed her and lifted her up; she squealed in a desperately angry voice and with her small little hands began to tear Pierre's hands away from her and bite them with a snotty mouth. Pierre was seized by a feeling of horror and disgust, similar to that which he experienced when he touched some small animal. But he made an effort on himself not to abandon the child, and ran with him back to the big house. But it was no longer possible to go back the same way; the girl Aniska was no longer there, and Pierre, with a feeling of pity and disgust, clutching the sobbing and wet girl as tenderly as possible, ran through the garden to look for another way out.

When Pierre, having run around the yards and lanes, went back with his burden to the Gruzinsky garden, at the corner of Povarskaya, for the first minute he did not recognize the place from which he went after the child: it was so cluttered with people and belongings pulled out of the houses. In addition to Russian families with their belongings, who were fleeing the fire here, there were also several French soldiers in various attire. Pierre ignored them. He was in a hurry to find the official's family in order to give his daughter to his mother and go again to save someone else. It seemed to Pierre that he still had a lot to do and that he needed to do it as soon as possible. Inflamed with heat and running around, Pierre at that moment, even stronger than before, experienced that feeling of youth, revival and determination that seized him while he ran to save the child. The girl calmed down now and, holding on to Pierre's caftan with her hands, sat on his arm and, like a wild animal, looked around herself. Pierre glanced at her from time to time and smiled slightly. It seemed to him that he saw something touchingly innocent and angelic in that frightened and sickly little face.
In the same place, neither the official nor his wife was gone. Pierre walked with quick steps among the people, looking at the different faces that came across to him. Involuntarily, he noticed a Georgian or Armenian family, consisting of a very old man, handsome, with an oriental type of face, dressed in a new indoor sheepskin coat and new boots, an old woman of the same type and a young woman. This very young woman seemed to Pierre the perfection of oriental beauty, with her sharp, arched black eyebrows and a long, unusually tenderly ruddy and beautiful face without any expression. Among the scattered belongings, in the crowd in the square, she, in her rich satin coat and bright purple shawl that covered her head, resembled a tender hothouse plant thrown into the snow. She was sitting on knots a little behind the old woman and motionlessly with large black oblong eyes with long eyelashes looked at the ground. Apparently, she knew her beauty and was afraid for her. This face struck Pierre, and in his haste, passing along the fence, he looked back at her several times. Having reached the fence and still not finding those whom he needed, Pierre stopped, looking around.
The figure of Pierre with a child in her arms was now even more remarkable than before, and several people of Russian men and women gathered around him.
“Or did you lose someone, dear man?” Are you one of the nobles yourself? Whose child is that? they asked him.
Pierre answered that the child belonged to a woman and a black coat, who sat with the children in this place, and asked if anyone knew her and where she had gone.
“After all, it must be the Anferovs,” said the old deacon, turning to the pockmarked woman. “Lord have mercy, Lord have mercy,” he added in his usual bass.
- Where are the Anferovs! - said the grandmother. - The Anferovs left in the morning. And this is either Marya Nikolaevna or the Ivanovs.
- He says - a woman, and Marya Nikolaevna - a lady, - said the courtyard man.
“Yes, you know her, her teeth are long, thin,” said Pierre.
- And there is Marya Nikolaevna. They went into the garden, when these wolves swooped in, - said the woman, pointing to the French soldiers.
“Oh, Lord have mercy,” added the deacon again.
- You go here and there, they are there. She is. She was still crying, she was crying, - the woman said again. - She is. Here it is.
But Pierre did not listen to the woman. For several seconds he had been staring at what was happening a few steps away from him without taking his eyes off him. He looked at the Armenian family and the two French soldiers who had approached the Armenians. One of these soldiers, a small fidgety little man, was dressed in a blue overcoat, belted with a rope. He had a cap on his head and his feet were bare. The other, who especially struck Pierre, was a long, round-shouldered, blond, thin man with slow movements and an idiotic expression on his face. This one was dressed in a frieze hood, blue trousers and large torn over the knee boots. A little Frenchman, without boots, in blue, hissed, approaching the Armenians, immediately, saying something, took hold of the old man's legs, and the old man immediately began hastily taking off his boots. The other, in the hood, stopped in front of the beautiful Armenian woman and silently, motionless, holding his hands in his pockets, looked at her.

Kristina Kretova is a Russian ballerina, leading soloist of the Bolshoi Theater, as well as a jury member in the most popular television shows “Dancing on TNT” and “You are super! Dancing". Experts call the dancer a direct heir to the traditions of the ballet star.

The future ballet dancer was born in the city of Orel and at the age of six she began to study classical dances. In parallel with the secondary school, the girl also attended a choreographic school, where she mastered the basics of ballet. The dance became the meaning of the life of the young artist, and the criticism of the teachers, who assured Christina's mother of her daughter's insufficient stretching, only gave strength to the girl, and she increased the number of workouts.

At the age of 10, Christina goes to Moscow and through the most difficult entrance tests becomes a student of the Moscow State Academy of Choreography. At one time, the dancer studied with teachers Lyudmila Kolenchenko, Marina Leonova, Elena Bobrova.

Ballet

After graduating in 2002, the miniature Kretova joined the dance troupe of the Kremlin Ballet Theater, where she danced most of the parts of the classical repertoire.

On the stage, Kretova appeared in the images of the main characters in productions based on ballets by Adolf Adam and Ludwig Minkus. The artist also appeared in the performances of "Esmeralda" by Caesar Pugni, as well as "Figaro" to music and.

In the same years, the artist regularly participated in the Russian Seasons of the XXI Century project, organized by the Charitable Foundation. , SAV Entertainment and the theater group where the ballerina performed. Therefore, Kristina Kretova got the opportunity to shine on foreign stages. With the participation of the prima, the ballets The Firebird and Tamara were released.

In 2007, a prominent metropolitan soloist was invited to participate in productions of the Tatar Academic Opera and Ballet Theater named after, timed to coincide with the International Festival of Classical Ballet named after. Christina performed with the leading roles in the ballets Le Corsaire and The Sleeping Beauty.

In 2008, Kretova managed to collaborate with the Yekaterinburg State Academic Opera and Ballet Theater, where she danced the Mistress of the Copper Mountain at the premiere of the ballet The Stone Flower.

Since 2010, the ballerina has been dancing at the theater named after her, where she invited the artist. A year later, the head moved to the Bolshoi Theater, Kristina Kretova followed him. But the held prima had to pass the casting on a par with other contenders.

In 2011, Christina became the first soloist of the Moscow Bolshoi Theater. To return to the previous level of prima, Kretova needed to work hard. A new period of ascent began in the creative biography of the ballerina. The dancer's mentor was Nina Semizorova, a student of Galina Ulanova. The repertoire of the soloist in the new theater group has expanded. In addition to classical ballet performances, the artist had the opportunity to participate in performances to the music of composers of the 20th century and in experimental ballets.

During her collaboration with the Bolshoi Theater, Kristina Kretova traveled to Samara to participate in the production of Anyuta, as well as to the Mikhailovsky Theater in St. Petersburg, where she danced in the ballet Don Quixote.

TV show

In 2011, Kristina Kretova agreed to become a member of the Bolero entertainment project, which was shown on Channel One. The essence of the program was that the leading ballet soloists performed in tandem with the best athletes of the country. The honored master of sports of Russia in figure skating was paired with Christina. The artists created a symbiosis of classical dance with modern choreography and so successfully that at the end of the project they became winners.

The ballerina assures that this show gave her a lot. Kristina Kretova took a fresh look at the essence of dance, worked with outstanding ballet masters and choreographers and Vyacheslav Kulaev, tried herself in new styles that were different from the classics. All this made it possible for Kretova to grow even more professionally.

And in 2015, Christina was invited to another dance project, the talent show "Dancing on TNT". The ballerina first appeared as a guest jury member in the second season, and in the new year she became a permanent judge along with Ukrainian choreographer, famous dancer and choreographer and star of American modern choreography Pakman, whose real name is Philip Chbib.

Personal life

Ballerina Kristina Kretova has been married for many years. The dancer keeps the name of her husband a secret, but according to information from social networks, it is known that the man is not related to theatrical life, although he tries not to miss his wife’s performances, and after each performance he gives his wife lush bouquets of flowers.

In 2009, Christina became a mother for the first time: she and her husband had a son, who was named the Muslim name Isa. The dancer admits that during rehearsals and performances she is completely focused on work, but as soon as she leaves the theater, she immediately forgets about professional problems, thinking only about her family. The personal life of the artist develops safely.

Like other ballet dancers, Kretova follows a strict diet, but Christina loves to pamper her family with delicious pastries. The ballerina does not believe that she leads an ascetic lifestyle. On behalf of the dancer, there is an official page in " Instagram”, where Kristina Kretova uploads photos from performances, as well as television broadcasts, where the artist manages to appear.

Kristina Kretova now

In 2017, Kristina Kretova's repertoire was replenished with new parts in premiere productions, including the part of Margot in the play "Nureyev" to the music of Ilya Demutsky, directed by.

The artist also continued to collaborate with television. In September 2017, the NTV channel launched the project “You are super! Dances”, where Kristina Kretova was invited as a member of the jury. In addition to the soloist of the Bolshoi Theater, they took places in the judge's chairs, and. The host of the event was an actor and showman.

145 talented orphans who are fond of choreographic art from 13 countries of the post-Soviet space participated in the international competition. Kristina Kretova noted the positive attitude of the contestants, as well as some similarities between her own fate and the life of the contestants: at the age of 10, the future ballerina had to leave her family and settle in a boarding school. The first place was taken by Valeria Rodionova, a 14-year-old dancer from Kostroma, who is fond of modern dance.

Projects

• 2011 - "Bolero"
• 2015 - "Dancing on TNT"
• 2017 - “You are super! Dancing"

Kristina Kretova was born on January 28, 1984 in the city of Orel. From early childhood, the girl began to study classical dances at a choreographic school, which she graduated in 1994. Then Christina went to conquer Moscow, hoping to get into the best choreographic institute. The girl was able to pass the entrance tests and became a student of the Moscow State Academy of Choreography, which she graduated in 2002. Her teachers were Lyudmila Kolenchenko, Marina Leonova and Elena Bobrova.

After graduating from high school, Christina was accepted into the ballet troupe of the Kremlin Ballet Theatre. She sang lead roles. She became a regular participant in the Russian Seasons of the 21st Century project initiated by the Maris Liepa Charitable Foundation, SAV Entertainment and the Kremlin Ballet Theatre.

In Moscow and on tour in Russia and abroad, she performed the parts of the Firebird, The Firebird, Igor Stravinsky, Tamar, Tamar by Milia Balakirev, staged by Andris Liepa.

In 2007, in Kazan, with the ballet troupe of the Tatar Academic Opera and Ballet Theater named after Musa Jalil, as part of the International Festival of Classical Ballet named after Rudolf Nureyev, she performed as Gulnara in the ballet Le Corsaire by Adolf Adam as the Lilac Fairy The Sleeping Beauty.

A year later, Christina performed the role of the Mistress of the Copper Mountain at the premiere of Sergei Prokofiev's ballet The Stone Flower at the Yekaterinburg State Academic Opera and Ballet Theatre, choreography by Andrei Petrov.

In 2010, Kretova joined the troupe of the Moscow Academic Musical Theater named after Konstantin Stanislavsky and Vladimir Nemirovich-Danchenko, taking the position of prima ballerina. Performed the parts: Queen of the Dryads, Kitri in the ballet Don Quixote, choreography by Alexander Gorsky and Alexei Chichinadze; Odette-Odile, Swan Lake, choreography by Lev Ivanov and Vladimir Burmeister; Esmeralda, Caesar Pugni's Esmeralda, choreography by Vladimir Burmeister.

Since 2011, Kretova has been performing with the Bolshoi Ballet Company. Rehearses under the direction of Nina Semizorova. She is the lead soloist.

In 2011, Christina agreed to become one of the participants in the Bolero project, which was broadcast on Channel One. In the program, the leading ballet soloists performed in tandem with the best athletes of the country. Christina's partner was the Honored Master of Sports of Russia in figure skating Alexei Yagudin. The artists created a symbiosis of classical dance with modern choreography and so successfully that at the end of the project they became its winners.

The ballerina assures that this show gave her a lot. The girl took a fresh look at the essence of dance, worked with such outstanding choreographers and choreographers as Radu Poklitaru and Vyacheslav Kulaev, tried herself in new styles that were different from the classics. All this made it possible for Kretova to grow even more professionally.

In 2015, Christina was invited to a new dance project, the talent show "Dancing on TNT". The ballerina first appeared as an invited member of the jury in the second season, and in 2016 took the chair of the permanent judge along with Ukrainian choreographer Tatiana Denisova, famous dancer and choreographer Ivan Vasiliev and the star of American contemporary choreography Pacman, whose real name is Philip Chibib.

Working at the Bolshoi Theater, Christina takes part in tours of the ballet troupe. As part of the XIV Alla Shelest Festival of Classical Ballet, she performed the title role in Anyuta, choreography by Vladimir Vasilyev, with the troupe of the Samara Academic Opera and Ballet Theatre.

Kretova also performed as Kitri in the ballet Don Quixote, choreography by Marius Petipa, Alexander Gorsky in Mikhail Messerer's version, in St. Petersburg in a performance by the Mikhailovsky Theater. In 2016, as part of the Youth Program of the Bolshoi Ballet on the New Stage in the Faces project, she performed in the ballet Love Is Everywhere to music by Igor Stravinsky, choreography by Ivan Vasilyev.

In 2017, Kristina Kretova's repertoire was replenished with new parts in premiere productions, including the part of Margo in the play Nureyev to the music of Ilya Demutsky, directed by Kirill Serebrennikov.

In the same year, the NTV channel launched the project “You are super! Dances”, where Kristina Kretova was invited as a member of the jury. In addition to the soloist of the Bolshoi Theater, Yegor Druzhinin, Evgeny Papunaishvili and Anastasia Zavorotnyuk took places in the judges' chairs. The host of the event was the actor and showman Alexander Oleshko.

Awards and Recognition for Kristina Kretova

2003 - Triumph Award
2004 - second prize at the All-Russian competition of Yuri Grigorovich "Young Ballet of Russia" (Krasnodar)
2006 - First Prize at the International Competition "Young Ballet of the World" (Sochi)
2006 - Prize "Soul of Dance" (nomination "Rising Star") of the magazine "Ballet"
2014 - Named one of the "25 Must See" Stars who made a breakthrough in 2013 and made it to this top list for the January issue of Dance Magazine/Dance Magazine
2015 - awarded the International Ballet Prize Dance Open in the nomination "Miss Virtuosity"

Repertoire of Christina Kretova

Kremlin ballet

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

Theater named after Stanislavsky and Nemirovich-Danchenko

Lady of the Dryads; Kitri - "Don Quixote" by L. Minkus, choreography by A. Gorsky, A. Chichinadze
Odette-Odile - "Swan Lake" by P. I. Tchaikovsky, choreography by L. Ivanov, V. Burmeister
Esmeralda - "Esmeralda" by C. Pugni, choreography by V. Burmeister
Slice to Sharp directed by Y. Elo

Grand Theatre

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

Odette-Odile - "Swan Lake" by P. I. Tchaikovsky in the second edition of Yu. Grigorovich
soloist - Cinque to music by A. Vivaldi, staged by M. Bigonzetti
slave dance - "Le Corsair" by A. Adam, choreography by M. Petipa, staging and new choreography by A. Ratmansky and Y. Burlaka
Mireille de Poitiers - "The Flames of Paris" by B. V. Asafiev, directed by A. Ratmansky, using choreography by V. Vainonen
Anyuta - "Anyuta" to music by V. A. Gavrilin, choreography by V. Vasiliev
duet - Dream of Dream to music by S. V. Rachmaninov, staged by J. Elo
leading couple - "Classical Symphony" to the music of S. S. Prokofiev, staged by Y. Posokhov
Ramsey - "The Pharaoh's Daughter" by C. Pugni, staged by P. Lacotte, script by M. Petipa
main part - Rubies (second part of the ballet Jewels) to music by I. F. Stravinsky, choreography by J. Balanchine
Polyhymnia - "Apollo Musagete" by I. F. Stravinsky, choreography by J. Balanchine
The main washcloth is "Moydodyr" by E. I. Podgayets, staged by Y. Smekalov

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

peers of the prince - "Swan Lake" by P. I. Tchaikovsky in the second edition of Yu. Grigorovich
Prudence Duvernoy (first performer at the Bolshoi Theatre); Manon Lesko - Lady of the Camellias to music by F. Chopin, choreography by J. Neumeier
Classical dancer - The Bright Stream by D. D. Shostakovich, choreography by A. Ratmansky
Jeanne - "Flame of Paris" B. Asafiev
Katarina - The Taming of the Shrew to music by D. D. Shostakovich, choreography by J.-C. Mayo
2015

Florina - "Lost Illusions" by L. A. Desyatnikov, staged by A. Ratmansky
Juliet - "Romeo and Juliet" to music by S. Prokofiev, choreographic version by A. Ratmansky, 2018

In other theaters

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

TV projects of Christina Kretova

2011 - "Bolero"
2015 - "Dancing on TNT"
2017 - “You are super! Dancing"