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Famous ballet dancers of world history. Ballet dancers, dancers, choreographers

Ballet is called an integral part of the art of our country. Russian ballet is considered the most authoritative in the world, the standard. This review contains the success stories of five great Russian ballerinas, whom they still look up to.

Anna Pavlova

Outstanding Ballerina Anna Pavlova was born in a family far from art. The desire to dance appeared in her at the age of 8 after the girl saw the ballet performance of Sleeping Beauty. At the age of 10, Anna Pavlova was accepted into the Imperial Theater School, and after graduation, into the troupe Mariinsky Theater.

Curiously, the aspiring ballerina was not put into the corps de ballet, but immediately began to give her responsible roles in productions. Anna Pavlova danced under the guidance of several choreographers, but the most successful and fruitful tandem, which had a fundamental influence on her style of performance, turned out with Mikhail Fokin.

Anna Pavlova supported the bold ideas of the choreographer and readily agreed to experiments. Miniature "The Dying Swan", which later became calling card Russian ballet, was almost impromptu. In this production, Fokine gave the ballerina more freedom, allowed her to feel the mood of The Swan on her own, to improvise. In one of the first reviews, the critic admired what he saw: “If it is possible for a ballerina on stage to imitate the movements of the noblest of birds, then this has been achieved:”.

Galina Ulanova

The fate of Galina Ulanova was predetermined from the very beginning. The girl's mother worked as a ballet teacher, so Galina, even if she really wanted to, she could not bypass the ballet barre. Years of grueling training led to the fact that Galina Ulanova became the most titled artist Soviet Union.

After graduating from the choreographic college in 1928, Ulanov was admitted to ballet troupe Leningrad Opera and Ballet Theatre. From the very first performances, the young ballerina attracted the attention of viewers and critics. A year later, Ulanova was entrusted to perform the leading part of Odette-Odile in Swan Lake. Giselle is considered one of the triumphant roles of the ballerina. Performing the scene of the heroine's madness, Galina Ulanova did it so soulfully and selflessly that even the men in the hall could not hold back their tears.

Galina Ulanova reached . She was imitated, the teachers of the leading ballet schools of the world demanded that the students do steps “like Ulanova”. The famous ballerina is the only one in the world to whom monuments were erected during her lifetime.

Galina Ulanova danced on stage until the age of 50. She has always been strict and demanding of herself. Even in old age, the ballerina started every morning with classes and weighed 49 kg.

Olga Lepeshinskaya

For passionate temperament, sparkling technique and precision of movements Olga Lepeshinskaya nicknamed "Dragonfly Jumper". The ballerina was born into a family of engineers. WITH early childhood the girl literally raved about dancing, so her parents had no choice but to send her to the ballet school at the Bolshoi Theater.

Olga Lepeshinskaya easily coped with both ballet classics (Swan Lake, Sleeping Beauty) and contemporary productions(“Red Poppy”, “The Flame of Paris.”) During the years of the Great Patriotic War Lepeshinskaya fearlessly performed at the front, raising the morale of the soldiers.

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Olga Lepeshinskaya -
ballerina with passionate temperament. | Photo: www.etoretro.ru.

Despite the fact that the ballerina was Stalin's favorite and had many awards, she was very demanding of herself. Already at an advanced age, Olga Lepeshinskaya said that her choreography could not be called outstanding, but "natural technique and fiery temperament" made her inimitable.

Maya Plisetskaya

Maya Plisetskaya- Another outstanding ballerina, whose name is inscribed in golden letters in the history of Russian ballet. When the future artist was 12 years old, she was adopted by her aunt Shulamith Messerer. Plisetskaya's father was shot, and her mother and little brother were sent to Kazakhstan to a camp for the wives of traitors to the Motherland.

Aunt Plisetskaya was a ballerina Bolshoi Theater, so Maya also began attending choreography classes. The girl achieved great success in this field and after graduating from college she was accepted into the troupe of the Bolshoi Theater.

Inborn artistry, expressive plasticity, Plisetskaya's phenomenal jumps made her a prima ballerina. Maya Plisetskaya performed the leading roles throughout classical productions. She was especially successful tragic images. Also, the ballerina was not afraid of experiments in modern choreography.

After the ballerina was fired from the Bolshoi Theater in 1990, she did not despair and continued to give solo performances. Overflowing energy, and allowed Plisetskaya to make her debut in the production of "Ave Maya" on the day of her 70th birthday.

Ludmila Semenyaka

beautiful ballerina Ludmila Semenyaka performed on the stage of the Mariinsky Theater when she was only 12 years old. A talented talent could not go unnoticed, so after some time Lyudmila Semenyaka was invited to the Bolshoi Theater. Galina Ulanova, who became her mentor, had a significant influence on the ballerina's work.

Semenyaka coped with any part so naturally and naturally that from the outside it seemed as if she was not making any effort, but simply enjoying the dance. In 1976, Lyudmila Ivanovna was awarded the Anna Pavlova Prize from the Paris Academy of Dance.

In the late 1990s, Lyudmila Semenyaka announced her retirement as a ballerina, but continued her activities as a teacher. Since 2002, Lyudmila Ivanovna has been a teacher-repetiteur at the Bolshoi Theater.

But he mastered the art of ballet in Russia, and performed in the USA for most of his life.

March 17, the great Russian dancer Rudolf Nureyev would have turned 78 years old. The ballet classic Roland Petit called Nureyev dangerous, the press called him a frantic Tatar, rock stars and royalty confessed to him in love.

VACLAV NIJINSKY

Sarah Bernard considered Nijinsky the greatest actor in the world, the press - nothing less than the eighth wonder of the world. A native of Kyiv, a dancer at the Mariinsky Theatre, Nijinsky made his mark in Paris, where he impressed the audience and critics with his phenomenal technique, plasticity and taste. And the most striking thing is that his career as a dancer lasted only ten years. In 1917, he appeared on the stage for the last time, and until his death in 1950, he struggled with schizophrenia, moving around psychiatric clinics. Nijinsky's influence on world ballet is difficult to overestimate, and his diaries are still deciphered and interpreted differently by specialists.

RUDOLF NURIEV

One of the main stars of Russian ballet in the world, Nuriev was a real pop star, flamboyant and scandalous. A heavy, quarrelsome character, arrogance, a stormy personal life and a tendency to outrageous did not obscure the main thing - the incredible talent of Nureyev, who managed to combine the traditions of ballet and current, as they say now, trends. A native of Ufa, a long-awaited son who did not live up to the hopes of his military father, who contemptuously called Rudolph a “ballerina”, made his most famous jump not on stage, but in the control zone of the Paris airport. In 1961, the Soviet dancer Nuriev unexpectedly gave up with 30 francs in his pocket, asking for political asylum. Thus began the ascent of Nureyev to the world ballet Olympus. Fame, money, luxury, parties at Studio 54, gold, brocade, romance rumors with Freddie Mercury, Yves Saint Laurent, Elton John - and best roles in London Royal Ballet, directorship in ballet group Parisian Grand Opera. The last hundred days of his life, completely ill, Nuriev spent in his beloved Paris. There he is buried.

MIKHAIL BARYSHNIKOV

Another famous representative of the ballet, who can safely be called a pop star, Mikhail Baryshnikov is in many ways similar to Nureyev: childhood in the Soviet province (if you consider Riga as a province, it’s still not Moscow or Leningrad), complete misunderstanding on the part of his father and a real artistic take-off outside the USSR. Having remained in the West in 1974, Baryshnikov quickly established himself at the top: first he headed the legendary New York City Ballet, then for nine years, from 1980 to 1989, he directed the no less famous American Ballet Theatre. Also actively and quite successfully, albeit unevenly, he acted in films, became a socialite, met with Hollywood beauties - Jessica Lange and Liza Minnelli. And for the new audience, far from ballet (and, by the way, from Joseph Brodsky, with whom Baryshnikov had real friendship), this incredible person became known for a small but prominent role in the TV series Sex and the City. Sarah Jessica Parker, his big fan. called Mikhail Baryshnikov tough boy - "tough guy". Who would argue.

VLADIMIR VASILIEV

Vladimir Vasiliev is a symbol of the Bolshoi Theater and the entire Russian ballet of the second half of the 20th century. Due to the fact that Vasiliev lived in the Soviet Union, his popularity in the West is much inferior to the glory of the same Baryshnikov, although art lovers, of course, know and appreciate him. Vasiliev worked mainly in Europe, gradually changing his profession to a choreographer. Kazan and Paris, Rome and Perm, Vilnius and Rio - the geography of Vasiliev's creative movements affirms and confirms his cosmopolitanism.

ALEXANDER GODUNOV

The blond giant, the star of the Bolshoi, Godunov, in August 1979, while on tour in the States, decided not to return home. A terrible drama broke out, in which not only the artist himself and his wife, ballerina Lyudmila Vlasova, were involved, but also Joseph Brodsky, the FBI, and even the leaders of the United States and the Soviet Union. Remaining in the States, Godunov joined the famous American Ballet Theatre, which he eventually left after a quarrel with his best friend Mikhail Baryshnikov. Then there was work within the framework of his own project "Godunov and Friends", success, an affair with actress Jacqueline Bisset and a sharp departure from the profession. Bisset persuaded Alexander to start a career in cinema, and he partially succeeded: "Witness" with Harrison Ford and especially "Die Hard" made yesterday's ballet dancer five minutes Hollywood star. However, Godunov himself did not like to be on the sidelines, although now those who had not even been interested in ballet before learned about "this Russian".

One of the main stars of Russian ballet in the world, Nuriev was a real pop star, flamboyant and scandalous. A heavy, quarrelsome character, arrogance, a stormy personal life and a tendency to outrageous did not obscure the main thing - the incredible talent of Nureyev, who managed to combine the traditions of ballet and current, as they say now, trends. A native of Ufa, a long-awaited son who did not live up to the hopes of his military father, who contemptuously called Rudolph a “ballerina”, made his most famous jump not on stage, but in the control zone of the Paris airport. In 1961, the Soviet dancer Nuriev unexpectedly gave up with 30 francs in his pocket, asking for political asylum. Thus began the ascent of Nureyev to the world ballet Olympus. Fame, money, luxury, parties at Studio 54, gold, brocade, rumors of romance with Freddie Mercury, Yves Saint Laurent, Elton John - and the best roles in the London Royal Ballet, directorship in the ballet group of the Paris Grand Opera. The last hundred days of his life, completely ill, Nuriev spent in his beloved Paris. There he is buried.

Another famous representative of the ballet, who can be safely called a pop star, is in many ways similar to Nureyev: childhood in the Soviet provinces (if you consider Riga as a province, it’s still not Moscow or Leningrad), complete misunderstanding on the part of his father and a real artistic take-off outside THE USSR. Having remained in the West in 1974, Baryshnikov quickly established himself at the top: first he headed the legendary New York City Ballet, then for nine years, from 1980 to 1989, he directed the no less famous American Ballet Theatre. Also actively and quite successfully, albeit unevenly, he acted in films, became a socialite, met with Hollywood beauties - Jessica Lange and Liza Minnelli. And to the new public, far from ballet (and, by the way, from Joseph Brodsky, with whom Baryshnikov had a real friendship), this incredible person became known thanks to a small but noticeable role in the TV series Sex and the City. Sarah Jessica Parker, his big fan. called Mikhail Baryshnikov tough boy - "tough guy". Who would argue.

The blond giant, the star of the Bolshoi, Godunov, in August 1979, while on tour in the States, decided not to return home. A terrible drama broke out, in which not only the artist himself and his wife, ballerina Lyudmila Vlasova, were involved, but also Joseph Brodsky, the FBI, and even the leaders of the United States and the Soviet Union. Remaining in the States, Godunov joined the famous American Ballet Theatre, which he eventually left after a quarrel with his best friend Mikhail Baryshnikov. Then there was work within the framework of his own project "Godunov and Friends", success, an affair with actress Jacqueline Bisset and a sharp departure from the profession. Bisset persuaded Alexander to start a career in cinema, and he partially succeeded: "Witness" with Harrison Ford and especially "Die Hard" made yesterday's ballet dancer a five-minute Hollywood star. However, Godunov himself did not like to be on the sidelines, although now those who had not even been interested in ballet before learned about "this Russian".

He never returned to dancing, and in 1995 he died at the age of 45. “I believe that he did not take root and died of loneliness,” said Joseph Brodsky, who took an active part in his fate as a “defector”.

The dance style of this ballerina cannot be confused with anyone else. A clear, carefully honed gesture, measured movement around the stage, extreme laconism of costumes and movements - these are the features that immediately distinguish M. Plisetskaya.

After graduating from the Moscow Choreographic School, where Plisetskaya studied with teachers E. P. Gerdt and M. M. Leontieva, from 1943 she worked at the Bolshoi Theater. From the very beginning creative way manifested a special artistic individuality Plisetskaya. Her work is distinguished by a rare combination of purity of line with imperious expression and rebellious dynamics of dance. And her excellent external data - a big step, a high, light jump, swift rotations, unusually flexible, expressive hands and the finest musicality - once again confirm that Plisetskaya not only became a ballerina, but was born one.

Anna Pavlovna Pavlova(February 12, 1881 – January 23, 1931), Russian ballerina

Pavlova's art is a unique phenomenon in the history of world ballet. She first turned academic dance into a mass art form, close and understandable even to the most unprepared public.

Legends envelop her entire life from birth to death. According to the documents, her father was a soldier of the Life Guards of the Preobrazhensky Regiment. However, even during the life of the ballerina, newspapers wrote about her aristocratic origin.

Galina Sergeevna Ulanova(January 8, 1910 – March 21, 1998), Russian ballerina

Ulanova's work constituted a whole epoch in the history of world ballet. She not only admired the filigree art of dance, but with every movement conveyed state of mind his heroine, her mood and character.

The future ballerina was born into a family where dance was a profession. Her father was a famous dancer and choreographer, and her mother was a ballerina and teacher. Therefore, the admission of Ulanova to the Leningrad Choreographic School was completely natural. At first, she studied with her mother, and then the famous ballerina A. Ya. Vaganova became her teacher.

In 1928, Ulanova brilliantly graduated from college and was accepted into the troupe of the Leningrad Opera and Ballet Theatre. Soon she became the leading performer of parts of the classical repertoire - in P. Tchaikovsky's ballets "Swan Lake" and "The Nutcracker", A. Adam "Giselle" and others. In 1944 she became a soloist with the Bolshoi Theater in Moscow.

Marius Ivanovich Petipa(March 11, 1818 - July 14, 1910), Russian artist, choreographer.

The name of Marius Petipa is known to everyone who is at least a little familiar with the history of ballet. Wherever there are ballet theaters and schools today, where films and TV shows dedicated to ballet are shown, books about it are published. amazing art know and honor this man. Although he was born in France, he worked all his life in Russia and is one of the founders of modern ballet.

Petipa once admitted that from birth his whole life was connected with the stage. Indeed, his father and mother were famous artists ballet and lived in the large port city of Marseille. But Marius's childhood did not pass in the south of France, but in Brussels, where the family moved immediately after his birth in connection with the new appointment of his father.

Marius' musical abilities were noticed very early, and he was immediately sent to the Great College and the Conservatory in the violin class. But his first teacher was his father, who led a ballet class at the theater. In Brussels, Petipa first appeared on stage as a dancer.

He was only twelve years old at the time. And already at sixteen he became a dancer and choreographer in Nantes. True, he worked there for only a year and then, together with his father, went on his first foreign tour to New York. But, despite the accompanying purely commercial success, they quickly left America, realizing that there was no one there to appreciate their art.

Returning to France, Petipa realized that he needed to get a deeper education, and became a student of the famous choreographer Vestris. Classes quickly yielded results: in just two months he became a dancer, and later a choreographer at the ballet theater in Bordeaux.

Sergei Pavlovich Diaghilev(March 31, 1872 - August 19, 1929), Russian theatrical figure, impresario, publisher.

Diaghilev did not know his mother, she died in childbirth. He was raised by his stepmother, who treated him the same as her own children. Therefore, for Diaghilev, the death of a half-brother in Soviet time became a real tragedy. Perhaps that is why he stopped striving for his homeland.

Diaghilev's father was a hereditary nobleman, a cavalry guard. But due to debts, he was forced to leave the army and settle in Perm, which at that time was considered a Russian outback. His house almost immediately becomes the center cultural life cities. Parents often played music and sang at the evenings held in their house. Their son also took music lessons. Sergei received such a versatile education that when he ended up in St. Petersburg after graduating from the gymnasium, he was in no way inferior in his knowledge to his St. Petersburg peers and even sometimes surpassed them in the level of erudition and in the level of knowledge of history and Russian culture.

Diaghilev's appearance turned out to be deceptive: the big provincial, who seemed to be a lout, was quite well-read, fluent in several languages. He easily entered the university environment and became a student of the law faculty of St. Petersburg University.

At the same time, he plunged into the theater and musical life capital Cities. The young man takes private piano lessons from the Italian A. Cotogni, attends a class at the St. Petersburg Conservatory, tries to compose music, studies history artistic styles. During the holidays, Diaghilev makes the first trip to Europe. He seems to be looking for his calling, turning to various areas art. Among his friends are L. Bakst, E. Lansere, K. Somov - the future core of the "World of Art" association.

Vaclav Fomich Nijinsky(March 12, 1890 – April 8, 1950), Russian dancer and choreographer.

In the 1880s, a troupe of Polish dancers performed successfully in Russia. A husband and wife, Tomasz and Eleonora Nijinsky, served in it. They became the parents of the future great dancer. Theater and dance entered Vaclav's life from the first months of his life. As he later wrote, "the desire to dance was as natural to me as breathing."

In 1898 he entered the St. Petersburg Ballet School, graduated in 1907 and was admitted to the Mariinsky Theatre. The outstanding talent of a dancer and actor immediately brought Nijinsky to the position of prime minister. He performed many parts academic repertoire and was a partner of brilliant ballerinas, like, O. I. Preobrazhenskaya, A. P. Pavlova,.

Already at the age of 18, Nijinsky danced the main parts in almost all the new ballets staged at the Mariinsky Theater. In 1907 he danced the White Slave in the Pavilion of Armida, in 1908 he danced the Slave in Egyptian Nights and the Youth in Chopiniana staged by M. M. Fokine, and a year later he performed the role of the Hurricane in the ballet The Talisman by Drigo staged by N. G. Legat.

And yet, in 1911, Nijinsky was fired from the Mariinsky Theater because, while performing in the ballet Giselle, he arbitrarily put on a new costume designed by A. N. Benois. Entering the stage half-naked, the actor irritated the members of the royal family who were sitting in the boxes. Even the fact that by this time he was one of the most famous dancers of Russian ballet could not protect him from dismissal.

Ekaterina Sergeevna Maksimova(February 1, 1939 - April 28, 2009), Russian Soviet and Russian ballerina, choreographer, choreographer, teacher, People's Artist of the USSR.

This unique ballerina did not leave the stage for thirty-five years. However, Maksimova is still connected with ballet today, since she is a teacher-repetiteur of the Kremlin Ballet Theatre.

Ekaterina Maksimova received special education at the Moscow Choreographic School, where her teacher was the famous E. P. Gerdt. While still a student, Maksimova received the first prize at the All-Union Ballet Competition in Moscow in 1957.

She began her service to the arts in 1958. After graduating from college, the young ballerina came to the Bolshoi Theater and worked there until 1988. Small in stature, perfectly built and surprisingly plastic, it seemed that nature itself was intended for classical roles. But it soon became obvious that her possibilities were truly limitless: she performed both classical and modern parts with equal brilliance.

The secret of Maximova's success lies in the fact that she continued to study all her life. The famous ballerina G. Ulanova shared her wealth of experience with her. It was from her that the young ballet actress adopted the art of dramatic dance. It is no coincidence that, unlike many ballet actors, she played whole line roles in ballet television performances. Maximova's unusually expressive face with large eyes displayed the most subtle nuances in the performance of comedic, lyrical and dramatic roles. In addition, she brilliantly succeeded not only in women, but also in men's parties, as, for example, in the ballet performance "Chapliniana".

Sergei Mikhailovich Lifar(April 2 (15), 1905 - December 15, 1986), Russian and French dancer, choreographer, teacher, collector and artist.

Sergey Lifar was born in Kyiv in the family of a prominent official, his mother came from the family of the famous grain merchant Marchenko. He received his early education in hometown, enrolling in 1914 to study at the Kiev Imperial Lyceum, where he received the training necessary for a future officer.

At the same time, from 1913 to 1919, Lifar attended piano lessons at the Taras Shevchenko Conservatory. Deciding to devote his life to ballet, he entered in 1921 in public school Arts (dance class) at the Kyiv Opera and received the basics of choreographic education in the studio of B. Nijinska.

In 1923, on the recommendation of the teacher, along with four other of his students, Lifar was invited to view the troupe "Russian Ballet" S.P. Diaghilev. Sergei managed to pass the competition and get into the famous team. Since that time, the difficult process of turning a novice amateur into a professional dancer began. Lifar was given lessons by the famous teacher E. Cecchetti.

At the same time, he learned a lot from professionals: after all, the best dancers of Russia traditionally came to the Diaghilev troupe. In addition, not having his own ideas, Diaghilev carefully collected the best that was in Russian choreography, supported the search for George Balanchine, Mikhail Fokine. Famous Russian artists were engaged in scenography and theatrical scenery. Therefore, the Russian Ballet gradually turned into one of the the best teams in the world.

A few years after the death of Maris Liepa, it was decided to immortalize five of his drawings in the form of medallions. They are made under the direction of the Italian master D. Montebello in Russia and are sold at the evenings in memory of Liepa in Moscow and Paris. True, the first edition amounted to only one hundred - one hundred and fifty medallions.

After graduating from the Riga Choreographic School under V. Blinov, Maris Liepa came to Moscow to study at the Moscow Choreographic School under N. Tarasov. After graduating in 1955, he never returned to his historical homeland and worked in Moscow almost all his life. Here he received recognition from fans and his fame as an outstanding ballet dancer.

Immediately after graduating from college, Maris Liepa joined the troupe of the Stanislavsky Theater, where he danced the part of Lionel in the ballet Joan of Arc, Phoebe, Conrad. Already in these parties appeared main features his talent is a combination of excellent technique with vivid expressiveness of each movement. Job young artist attracted the attention of leading ballet experts, and since 1960 Liepa has become a member of the Bolshoi Theater team.

Matilda Feliksovna Kshesinskaya(Maria-Matilda Adamovna-Feliksovna-Valerievna Kzhesinska) (August 19 (31), 1872 - December 6, 1971), Russian ballerina.

Matilda Kshesinskaya was tiny, only 1 meter 53 centimeters tall, and the future ballerina could boast of her forms, unlike her thin friends. But, despite neither the growth nor the somewhat extra weight for the ballet, the name of Kshesinskaya for many decades did not leave the pages of the gossip column, where she was presented among the heroines of scandals and "fatal women". This ballerina was the mistress of the last Russian Tsar Nicholas II (when he was still heir to the throne), as well as the wife of Grand Duke Andrei Vladimirovich. She was talked about as a fantastic beauty, but meanwhile she differed only in an unusual way. beautiful figure. At one time, Kshesinskaya was famous ballerina. And although in terms of talent she was much inferior to, say, such a contemporary as Anna Pavlova, she nevertheless took her place in Russian ballet art.

Kshesinskaya was born into a hereditary artistic environment that has been associated with ballet for several generations. Matilda's father was a famous dancer, was the leading artist of the imperial theaters.

The father became the first teacher of his youngest daughter. Following her older sister and brother, Matilda was accepted into the choreographic school, after which she began her long service in imperial theatres.

That laid the foundation for her worldwide fame. work poster V. Serov with the silhouette of A. Pavlova has become forever the emblem of the "Russian Seasons". 1910 Pavlova has toured in many countries around the world with her own troupe. Choreographer Mikhail Fokin staged several ballets especially for the troupe of A. Pavlova, one of which is The Seven Daughters of the Mountain King. The last performance of the ballerina in Mariinsky Theater took place in 1913, and in Russia- V 1914 after which she settled in England and never returned to Russia. 1921 -1925 Anna Pavlova toured USA, the organizer of her tour was an American impresario Russian origin Solomon Yurok. IN 1921 Anna Pavlova also performed in India and won the attention of the Indian public in Delhi , Bombay And Kolkata .The name of Pavlova during the life of the ballerina became legendary.

Karsavina Tamara Platonovna

The ballerina was born on February 25 ( 9th of March) 1885 V Petersburg in the family of the dancer of the imperial troupe Platon Karsavin and his wife Anna Iosifovna, nee Khomyakova, daughter of a cousin (that is, great-niece) of the famous Slavophil A.S. Khomyakov. Brother - Lev Karsavin, Russian philosopher. IN 1902 graduated from the Imperial Theater School, where she learned the basics of ballet from teacher Alexander Gorsky, then joined the troupe Mariinsky Theater . Karsavina quickly achieved the status of a prima ballerina and performed leading roles in the ballets of the classical repertoire - Giselle, The Sleeping Beauty, The Nutcracker, Swan Lake, Carnival, etc. Since 1909, at the invitation of Sergei Diaghilev, Karsavin began performing in the tour of Russian ballet dancers organized by him in Europe, and then in the Diaghilev Russian Ballet. The most notable works of the ballerina during the period of cooperation with Diaghilev were the leading roles in the ballets The Firebird, The Phantom of the Opera, Petrushka (staged by Mikhail Fokin), Women's Whims, and others. In exile, she did not stop performing on stage and touring with the Russian Diaghilev Ballet, was engaged in teaching activities. In addition, in the early 1920s, the ballerina appeared in episodic roles in several silent films produced in Germany and Great Britain, including in the film "The Way to Strength and Beauty" in 1925. In 1930-1955. served as vice-president of the Royal Academy of DanceTamara Karsavina died on May 26, 1978 in London at the age of 93.

Ulanova Galina Sergeevna

She was born on January 8, 1910 (according to the new style) in St. Petersburg in an artistic family. In 1928 she graduated from the Leningrad Choreographic School, where she studied for the first six years with her mother M. F. Romanova, then with A. Ya. Theater Opera and Ballet named after S. M. Kirov (since 1992, the Mariinsky Theater). She made her debut in the most difficult part of Odette-Odile in P. I. Tchaikovsky's ballet "Swan Lake". In 1941, Ulanova became a laureate of the Stalin Prize (this title was also awarded to her in 1946,1947 and 1950). In 1944, the ballerina was invited to Moscow, and she became a soloist of the Bolshoi Theater. Ulanova danced on its stage until 1960, creating unforgettable images both in the classical Russian and in the foreign ballet repertoire. The ballerina also turned to the work of contemporary composers. So, Ulanova amazingly embodied on stage the image of Juliet in S. S. Prokofiev's ballet Romeo and Juliet. In 1951, Galina Sergeevna was awarded the title of People's Artist of the USSR. Her talent has been recognized throughout the world. When the Bolshoi Theater first went on tour to London in 1956, Ulanova won a triumphant success in the parts of Giselle (in the ballet of the same name by A. Adam) and Juliet. Juliet was her favorite character.

She is the only ballerina to whom monuments were erected during her lifetime (in Leningrad and Stockholm). The last ballet in which Ulanova danced was Chopiniana to the music of F. Chopin. After leaving the stage, she continued to work at the Bolshoi Theater already as a teacher-repetiteur. Among her students are E. Maksimova, V. Vasiliev, L. Semenyaka and many others. A. N. Tolstoy called Ulanov "an ordinary goddess." She died on September 22, 1998 in Moscow.

Yuri Timofeevich Zhdanov

Yuri Timofeevich Zhdanov (November 29 [according to other data September 29] 1925, Moscow - 1986, Moscow) - National artist RSFSR, choreographer, teacher, artist. He graduated from the Moscow Choreographic School in the class of N. I. Tarasov in 1944, the ballet master department of GITIS named after. A. V. Lunacharsky (Prof. L. M. Lavrovsky and R. V. Zakharov) in 1968. In the period 1944-1967, he was the leading soloist of the Bolshoi Ballet. He performed the main roles in the ballets "Romeo and Juliet", "Giselle", "The Fountain of Bakhchisarai", " Bronze Horseman”, “Red Poppy”, “Chopiniana”, “Swan Lake”, “Sleeping Beauty”, “Raymonda”, “Don Quixote”, “Flame of Paris”, “Gayane”, “Firebird”, “Walpurgis Night” and etc., conducted a large concert activity. In 1951-1960. was a constant partner of Galina Ulanova, performed with her in the first six of the listed ballets and in concert program. Together they made a tour of the cities of the USSR (1952), in subsequent years they participated in the first tour of the Soviet ballet in Paris (1954, 1958), London (1956), Berlin (1954), Hamburg, Munich, Brussels (1958), New York, Washington, Los Angeles, San Francisco, Toronto, Ottawa, Montreal (1959), acted in films ("Romeo and Juliet"). In 1953, the film "Masters of Russian Ballet" was filmed at the Lenfilm studio. The film includes fragments of Boris Asafiev's ballets The Fountain of Bakhchisarai and The Flames of Paris, as well as the ballet Swan Lake by P. I. Tchaikovsky. Yuri Zhdanov performed one of the main roles in this film. Y. Zhdanov also performed with Svetlana Adyrkhaeva, Sofia Golovkina, Olga Lepeshinskaya, Ekaterina Maksimova, Maya Plisetskaya, Raisa Struchkova, Nina Timofeeva, Alla Shelest and other Russian and foreign ballerinas. Viewers in more than thirty countries are familiar with choreographic art Yuri Zhdanov. At the end of his stage career, Yu. Zhdanov was artistic director State Concert Ensemble " classical ballet”(1971-1976), for which he staged the ballets “Francesca da Rimini” by P. Tchaikovsky, “Spring Fantasy” by R. Drigo, “Choreographic Suite” by K. Akimov, concert miniatures “Young Voices” by Y. Benda, “Etude-Painting » S. Rakhmaninov and a number of others. For his productions, Yu. Zhdanov created scenery and costumes himself. In 1981-1986 Zhdanov taught at GITIS "e, where he taught courses "The Art of the Ballet Master" and " ballet theater and an artist." Art education Y. Zhdanov received in the studio famous artist corresponding member Academy of Arts of the USSR G. M. Shegal. From the beginning of the 1950s he systematically participated in all-Union and international exhibitions of Soviet artists, had more than fifteen solo exhibitions in our country and abroad. Since 1967 - a member of the Union of Artists of the USSR. More than 150 works by Yu. Zhdanov - pictorial and graphic - are in the museums of our country, about 600 works have been purchased for private collections. Yuri Timofeevich Zhdanov died on April 9, 1986 in Moscow from a heart attack. After the death of Zhdanov, his fame as an artist is growing more and more. The television film “Yuri Zhdanov. Pages of the life of an artist and an artist" (1988). In recent years, personal exhibitions of the master have been successfully held in Moscow and other cities, many works have been sold to private collections in Russia, England, the USA, Germany, Italy, Japan, Finland, and Greece.

Plisetskaya Maya Mikhailovna

Maya Mikhailovna was born on November 20, 1925. This is truly the greatest ballerina. She is beautiful, elegant, smart.
She danced in many performances:

In the plasticity of Maya Plisetskaya, dance art reaches high harmony. .

The most famous parties: Odette-Odile in Swan Lake, Aurora in sleeping beauty » ( 1961 ), Raymond's ballet of the same name Glazunov, Mistress of the copper mountain in " stone flower » Prokofiev, Mekhmene Banu " The legend of love » Melikova, Carmen ( Carmen Suite Rodion Shchedrin).

Plisetskaya acted as a choreographer, staged ballets: "Anna Karenina" R. K. Shchedrin (1972, together with N. I. Ryzhenko and V. V. Smirnov-Golovanov, Bolshoi Theatre; Plisetskaya - the first performer main party), "Gull" R. K. Shchedrin (1980, Bolshoi Theater; Plisetskaya - the first performer of the main role), Raymonda by A. K. Glazunov (1984, Opera theatre at the Baths of Caracalla, Rome), "Lady with a dog" R. K. Shchedrin (1985, Bolshoi Theater; Plisetskaya - the first performer of the main part).

In the 1980s, Plisetskaya and Shchedrin spent much time abroad, where she worked as artistic director. Rome Opera and Ballet Theater (1983-1984), as well as the Spanish national ballet in Madrid (1988-1990). Left the stage at the age of 65; after long time participated in concerts, conducts master classes. On the day of her 70th birthday, she made her debut in a specially written number for her. Bejart"Ave Maya". WITH 1994 Plisetskaya is the chairman of the annual international ballet competition named "Maya" ( Saint Petersburg).

Maksimova Ekaterina

In the seventh grade, she danced her first role - Masha in The Nutcracker. After college, she entered the service at the Bolshoi Theater, and immediately, practically bypassing the corps de ballet, she began to dance solo parts.
In 1958-1988 she was the leading ballet dancer of the Bolshoi Theatre. Magnificent Ownership classical dance, excellent external data, artistry and personal charm allowed Maximova to master the traditional theater repertoire. It was followed by the ballets Giselle (traditional edition, music by A. Adam), Don Quixote by A.A. Gorsky (music by L. Minkus), The Sleeping Beauty (traditional version, then the version by Yu.N. Grigorovich, music by Tchaikovsky), etc. Maksimova also performed in most of the new ballets staged in the 1960s–1970s, in particular in the performances of Grigorovich , where she was often the first performer (The Nutcracker, 1966; Spartak, music by A.I. Khachaturian, 1968, the role of Phrygia, etc.). Maksimova was the constant partner of her husband, V.V. Vasilyeva, and danced in performances staged by him at the Bolshoi Theater and beyond: Icarus (music by S.M. Slonimsky, 1976; Anyuta, music by V.A. Gavrilin, 1986; Cinderella, music by S.S. Prokofiev, 1991) . Abroad, she performed leading roles in ballets by Maurice Bejart (Romeo and Julia to music by G. Berlioz), Roland Petit (The Blue Angel, to music by M. Constant), John Cranko (Onegin, to music by Tchaikovsky). K.Ya. worked with Maximova. Goleizovsky, who in 1960 staged for her one of his best numbers - Mazurka to the music of A.N. Scriabin. An end to her career was almost put by a spinal injury, which she received at a rehearsal of the ballet "Ivan the Terrible". There was a difficult upper support, from which the ballerina failed unsuccessfully. As a result, her vertebra "jumped out". Her normal movement was questionable. But she, with the help of her husband and her willpower, managed to cope with the disease. whole year wore a special corset and did exercises designed for her by Vasiliev. March 10, 1976 Ekaterina Maksimova again took the stage of the Bolshoi. In "Giselle". Of particular importance in the work of Maximova was participation in television ballets, which revealed a new quality of her talent - a comedic talent (Galatea after Pygmalion B. Shaw, music by F. Lowe in the processing of T.I. Kogan, choreographer D.A. Bryantsev; Old tango, music by Kogan, same choreographer). Maximova's art and especially her participation in famous duet Maksimova - Vasiliev, captured in the television movie "Duet" (1973) and the French video film "Katya and Volodya" (1989), enjoys worldwide recognition. In 1980, Maksimova graduated State Institute theatrical art named after A.V. Lunacharsky (now Russian Academy theater arts). Since 1982, she began teaching classical heritage and dance composition at the choreography department of this institute (in 1996 she was awarded the academic title of professor). Since 1990, Maksimova has been a teacher-repetiteur of the Kremlin Ballet Theatre. Since 1998, she has been a choreographer-repetiteur of the Bolshoi Theater (she ceased to be a soloist of the troupe in 1988).

Lopatkina Ulyana Vyacheslavovna
People's Artist Russia (2005).
Laureate State Prize Russia (1999).
Laureate International Competition Vaganova-Prix (1991).
Laureate of awards: "Golden Soffit" (1995), "Divine" with the title of "Best Ballerina" (1996), " golden mask"(1997), Benois de la dance(1997), Baltika (1997, 2001: Grand Prix for promoting the world fame of the Mariinsky Theatre), Evening Standard (1998), Monaco world dance awards(2001), "Triumph" (2004).
In 1998, he was awarded the honorary title "Artist of Her Majesty the Imperial Stage of Sovereign Russia" with the award of the medal "Man-Creator".

Born in Kerch (Ukraine).
Graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Professor Natalia Dudinskaya).
Since 1991 in the troupe of the Mariinsky Theatre.
Since 1995 she has been a soloist.

"Giselle" (Mirta, Giselle);
"Corsair" (Medora);
"La Bayadère" (Nikia) - edited by Vakhtang Chabukiani;
grand pas from the ballet "Paquita" (soloist);
The Sleeping Beauty (Lilac Fairy) - edited by Konstantin Sergeev;
"Swan Lake" (Odette-Odile);
"Raymonda" (Raymonda, Clemence);
The Swan, Scheherazade (Zobeida); choreography by Mikhail Fokine,
"The Fountain of Bakhchisarai" (Zarema);
"Legend of Love" (Mekhmene Banu);
"Leningrad Symphony" (Girl);
Pas de quatre (Maria Taglioni); choreography by Anton Dolin,

"Serenade", "Symphony in C" (second part of Adagio), "Jewels" ("Diamonds"), "Piano Concerto No. 2" ( Ballet Imperial), Theme and Variations, Waltz, Scottish Symphony; choreography by George Balanchine,
In the Night (Part III); choreography by Jerome Robbins,
Youth and Death; choreography by Roland Petit,
Goya Divertissement (Death); choreography by José Antonio,
The Nutcracker (fragment "Teacher and Student"); choreography by John Neumeier,
The Fairy's Kiss (Fairy), Poem of Ecstasy, Anna Karenina (Anna Karenina); choreography by Alexei Ratmansky,
- choreography by William Forsythe;
Trois Gnossienes- choreography by Hans van Manen;
Tango; choreography by Nikolai Androsov,
Grand pas de deux- Choreography by Christian Spuck

The first performer of one of the two solo parts in John Neumeier's ballet Sounds of Blank Pages (2001).

Zakharova Svetlana Yurievna

At the Mariinsky Theater
1996
Princess Florina(The Sleeping Beauty by P. Tchaikovsky, choreography by M. Petipa, revised version by K. Sergeev)
Dryad Lady(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky)
Pas de de Tchaikovsky(choreography by J. Balanchine)
"Dying Swan"(to music by C. Saint-Saens, choreography by M. Fokin)
Maria(The Fountain of Bakhchisarai by B. Asafiev, choreography by R. Zakharov)
Masha(The Nutcracker by P. Tchaikovsky, choreography by V. Vainonen)
1997
Gulnara(The Corsair by A. Adam, choreography by M. Petipa, revised version by P. Gusev)
Giselle(Giselle by A. Adam, choreography by J. Coralli, J. Perrot, M. Petipa)
mazurka and seventh waltz(Chopiniana, choreography by M. Fokine)
1998
Princess Aurora("Sleeping Beauty")
Terpsichore(Apollo by I. Stravinsky, choreography by G. Balanchine)
Soloist(Serenade to music by P. Tchaikovsky, choreography by G. Balanchine)
Odette-Odile(Swan Lake by P. Tchaikovsky, choreography by M. Petipa, L. Ivanov, revised version by K. Sergeev)
Soloist(“The Poem of Ecstasy” to music by A. Scriabin, staged by A. Ratmansky)
1999
Soloist of the I part(Symphony in C to music by J. Bizet, choreography by J. Balanchine)
Princess Aurora(“Sleeping Beauty”, reconstruction of the production by M. Petipa S. Vikharev)
Medora("Corsair")
Nikiya(La Bayadère by L. Minkus, choreography by M. Petipa, revised version by V. Ponomarev and V. Chabukiani)
2000
Soloist in "Diamonds" to the music of P. Tchaikovsky(Jewels, choreography by G. Balanchine)
Manon(Manon to music by J. Massenet, choreography by C. Macmillan)
Kitri("Don Quixote")
2001
Soloist(“Now and Then” to music by M. Ravel, staged by J. Neumeier)
Young lady(The Young Lady and the Hooligan to music by D. Shostakovich, choreography by K. Boyarsky)
Zobeida(Scheherazade to music by N. Rimsky-Korsakov, choreography by M. Fokine)
2002
Juliet(Romeo and Juliet by S. Prokofiev, choreography by L. Lavrovsky)
Soloist(grand pas from the ballet Paquita by L. Minkus, choreography by M. Petipa)
Soloist(“Middle Duet” to music by Y. Khanon, staged by A. Ratmansky)
2003
Soloist(Etudes" to music by K. Czerny, choreography by H. Lander)
One of permanent partners ballerina was Igor Zelensky.
At the Bolshoi Theater
In season 2003/2004 Svetlana Zakharova moved to the troupe of the Bolshoi Theater, where she became her teacher-repetiteur Ludmila Semenyaka , who is also a representative of the St. Petersburg ballet school.
The ballerina was introduced to the theater staff at the traditional gathering of the troupe, which took place on August 26, 2003. The debut as a soloist of the Bolshoi Theater took place on October 5 in the ballet Giselle (edited by V. Vasiliev). Before moving to Moscow, she danced this performance three times at the Bolshoi Theater.
2003
Giselle("Giselle")
Aspicia(The Pharaoh's Daughter by C. Pugni, staged by P. Lacotte after M. Petipa)
Odette-Odile(Swan Lake by P. Tchaikovsky in the second version by Y. Grigorovich, fragments of choreography by M. Petipa, L. Ivanov, A. Gorsky)
2004
Princess Aurora(The Sleeping Beauty by P. Tchaikovsky, choreography by M. Petipa, revised version by Y. Grigorovich)
Soloist of the II part("Symphony in C")
Nikiya(“La Bayadere” in the version by Y. Grigorovich)
Kitri(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky, revised version by A. Fadeechev)
Hippolyta(Titania) ("Dream in midsummer night» to music by F. Mendelssohn-Bartholdy and D. Ligeti directed by J. Neumeier) -
2005
Raymond(Raymonda by A. Glazunov, choreography by M. Petipa, revised version by Y. Grigorovich)
Carmen(Carmen Suite by J. Bizet - R. Shchedrin, staged by A. Alonso)
2006
Cinderella(Cinderella by S. Prokofiev, choreography by Y. Posokhov, dir. Y. Borisov) - first performer
2007
Soloist(Serenade to music by P. Tchaikovsky, choreography by J. Balanchine) - first performer at the Bolshoi Theater
Medora(The Corsair by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaka) - first performer
Soloist(Class Concert to music by A. Glazunov, A. Lyadov, A. Rubinstein, D. Shostakovich, choreography by A. Messerer)
2008
aegina(Spartacus by A. Khachaturian, choreography by Y. Grigorovich)
couple in yellow(“Russian Seasons” to music by L. Desyatnikov, staged by A. Ratmansky) - was among the first ballet performers at the Bolshoi Theater
Paquita(Grand classical pas from the ballet "Paquita" by L. Minkus, choreography by M. Petipa, staging and new choreographic version by Y. Burlaka)
2009
Svetlana(“Zakharova Supergame” by E. Palmieri, staged by F. Ventrilla) - world premiere
2010
Death(“Young Man and Death” to music by J.S. Bach, staged by R. Petit) - first performer at the Bolshoi Theater
The first and two subsequent performances of "The Pharaoh's Daughter" with the participation of Zakharova were filmed for the release of the ballet on DVD by the French company Bel Air Media.
On June 15, 2005, the first creative evening of Svetlana Zakharova took place on the Main Stage of the Bolshoi Theater, the program of which included the painting "Shadows" from the ballet "La Bayadère" (Solor - soloist of the Mariinsky Theater Igor Zelensky)
"Average duet" directed by A. Ratmansky(partner - soloist of the Mariinsky Theater Andrey Merkuriev)
duet from the ballet "In the middle a little on a dais" to music by T. Willems, staged by W. Forsyth (partner - Andrey Merkuriev)
the third act from the ballet "Don Quixote" (Basile - Andrey Uvarov) and a number of numbers performed by soloists of the Bolshoi Ballet

Vishnva Diana Viktorovna

People's Artist of Russia
Laureate of the State Prize of Russia
Laureate of the International Ballet Competition (Lausanne, 1994)
Award Winner Benois de la Danse(1996), "Golden Soffit" (1996, 2011), "Baltika" (1998), "Golden Mask" (2001), "Dancer of the Year - 2002" ( Dancer of Europe), awards of the magazine "Ballet" (2003)
Laureate of the national theater award"Golden Mask" (2009) in three categories: "Best female role”, “Contemporary Dance / Female Role” and “Critics Prize” (“Diana Vishneva: Beauty in Motion”, project by Sergey Danilyan, USA-Russia)

Diana Vishneva was born in Leningrad. Graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Professor Lyudmila Kovaleva). She combined her last year of study with an internship at the Mariinsky Theatre. In 1995, Diana Vishneva was accepted into the troupe of the Mariinsky Theatre, and since 1996 she has been a soloist of the Mariinsky Theatre.

Diana Vishneva actively performs at the leading theater venues in Europe. In 2001, she made her debut at the Munich Staatsballett (Manon by Kenneth Macmillan) and La Scala (Aurora - The Sleeping Beauty in the version of Rudolf Nureyev), and in 2002 she performed on the stage of the Opera de Paris (Kitri - Don Quixote in version of Rudolf Nureyev). In 2003, she made her debut at the Metropolitan Opera in New York (Juliet - Romeo and Juliet, choreography by Kenneth Macmillan).

Since 2002, Diana Vishneva has been a guest soloist with the Staatsoper (Berlin), performing the lead roles in the ballets Giselle, La Bayadère, Swan Lake (version by Patrice Barthes), Maurice Béjart's Ring Around the Ring, Manon and Sleeping Beauty". Since 2005, the ballerina has been a guest soloist on the stage of the American Ballet Theater (she danced in the ballets Swan Lake, Giselle, Don Quixote, Manon, Romeo and Juliet, Ballet Imperial, "Sleeping Beauty", The Dream, "La Bayadère"). At the American Ballet Theater, Diana Vishneva performed the main roles in the ballets Sylvia and Thais Pas de deux(choreography by Frederick Ashton), On the Dnieper (choreography by Alexei Ratmansky), The Lady with the Camellias (choreography by John Neumeier) and Onegin (choreography by John Cranko).

Diana Vishneva actively cooperates with well-known contemporary choreographers and directors. In 2005, the Mariinsky Theater hosted the premiere of Pyotr Zuska's ballet Hands of the Sea, staged especially for Diana Vishneva. In 2007 Andrey Moguchiy and Alexei Kononov staged the play Silenzio. Diana Vishneva. In February 2008, Diana Vishneva, in collaboration with Ardani Artists Management and the Orange County Performing Arts Center, presented the program "Beauty in Motion" ("Lunar Pierrot" by Alexei Ratmansky, "Turns of Love" by Dwight Rodin, F.L.O.W. Moses Pendleton).

In March 2011, the ballet Le Parc (choreography by Angelin Preljocaj) premiered at the Mariinsky Theater with the participation of Diana Vishneva. In October of the same year, the ballerina presented the Diana Vishneva: Dialogues project, supported by the Mariinsky Theatre, the Diana Vishneva Foundation and Ardani Artists.

Repertoire at the Mariinsky Theatre:
Giselle (Myrtha, Sylma); choreography by Jean Coralli, Jules Perrot, Marius Petipa,
Le Corsaire (Gulnara, Medora); production by Pyotr Gusev based on the composition and choreography by Marius Petipa,
Grand pas from Paquita (variation); choreography by Marius Petipa,
La Bayadere (Nikia); choreography by Marius Petipa, revised version by Vladimir Ponomarev and Vakhtang Chabukiani,
The Sleeping Beauty (Aurora); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
The Nutcracker (Masha); choreography by Vasily Vainonen, staging by Mikhail Shemyakin, choreography by Kirill Simonov,
Swan Lake (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
Raymonda (Raymonda); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
ballets by Mikhail Fokine: Scheherazade (Zobeide), The Firebird (Firebird), Vision of a Rose, Swan;
pas de quatre(Fanny Cerrito); choreography by Anton Dolin,
Grand pas classique; choreography by Viktor Gzovsky,
The Legend of Love (Mekhmene-Banu); choreography by Yuri Grigorovich,
Carmen Suite (Carmen); choreography by Alberto Alonso,
ballets by George Balanchine: "Apollo" (Terpsichore), "Symphony in C" (III part), Tchaikovsky Pas de deux, Jewels (Rubies), Piano Concerto No. 2 ( Ballet Imperial);
In the Night (I duet); choreography by Jerome Robbins,
Youth and Death, Carmen (Carmen); choreography by Roland Petit,
Manon (Manon); choreography by Kenneth MacMillan,
Spring and Fall, Now and Then, Sounds of Blank Pages; choreography by John Neumeier,
ballets by Alexei Ratmansky: Poem of Ecstasy, Cinderella (Cinderella), Anna Karenina (Anna Karenina);
ballets by William Forsyth: In the Middle, Somewhat Elevated And steptext;
The Park; choreography by Angelin Preljocaj,
"Diana Vishneva: Beauty in Motion" ("Moon Pierrot" by Alexei Ratmansky, "For the Love of a Woman" by Dwight Rhoden, "Turns of Love" by Moses Pendleton);
"Diana Vishneva: Dialogues" ("Labyrinth" by Martha Graham, "Dialogue" by John Neumeier, "Object of Change" by Paul Lightfoot and Sol Leon).

Tereshkina Victoria Valerievna

Honored Artist of Russia (2008)
Laureate of the IX International Ballet Competition "Arabesque-2006" (Perm, 2006). Winner of the prize of the magazine "Ballet" - "The Soul of Dance" in the nomination "Rising Star" (2006)
Laureate of the highest theater award of St. Petersburg "Golden Soffit" in the nomination "Best Actress in a ballet performance" for the role of the Queen of the Sea in the ballet "Ondine" (2006)
Laureate of the highest theater award of St. Petersburg "Golden Soffit" in the nomination "Best Actress in a ballet performance" in a ballet performance Approximate Sonata Choreography by William Forsyth. (2005)
Laureate of the International Ballet Prize "DANCE OPEN" in the nomination "Miss Virtuosity" (2010 and 2011)

Born in Krasnoyarsk.
In 2001 she graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Marina Vasilyeva).
Since 2001 in the troupe of the Mariinsky Theatre.

In the repertoire:
"Giselle" (Giselle, Mirta, Zulma);
"Corsair" (Medora);
"La Bayadère" (Nikiya, Gamzatti);
"Sleeping Beauty" (Aurora, Gold Fairy, Diamond Fairy);
Swan Lake (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
Raymonda (Raymonda); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Don Quixote (Kitri); choreography by Alexander Gorsky,
Scheherazade (Zobeida); choreography by Mikhail Fokine,
Spartacus (Phrygia); choreography by Leonid Yakobson,
Romeo and Juliet (Juliet); choreography by Leonid Lavrovsky,
The Legend of Love (Mekhmene Banu); choreography by Yuri Grigorovich,
Grand pas classic- choreography by Viktor Gzovsky;
ballets by George Balanchine: Apollo (Polyhymnia, Terpsichore, Calliope), Serenade, Symphony in C (I movement), A Midsummer Night's Dream (Titania), Theme and Variations, The Four Temperaments, Tchaikovsky Pas de deux, "Jewels" ("Rubies", "Diamonds"), "Piano Concerto No. 2" ( Ballet Imperial), Tarantella;
In the Night; choreography by Jerome Robbins,
The Youth and Death (Death); choreography by Roland Petit,
Manon (Courtesans); choreography by Kenneth MacMillan,
Etudes (soloist); choreography by Harald Lander,
Ondine (Queen of the Sea); choreography by Pierre Lacotte,
Alexei Ratmansky's ballets: Anna Karenina (Anna Karenina), Cinderella (Thin Woman, Women's Dance), The Little Humpbacked Horse (The Tsar Maiden);
"Gently, with fire" ( Dolce, con fuoco) - choreography by Svetlana Anufrieva;
The Nutcracker (Masha, the Nutcracker Sisters); production by Mikhail Chemiakin, choreography by Kirill Simonov,
ballets by William Forsyth: Approximate Sonata, In the Middle, Somewhat Elevated;
Ring; choreography by Alexei Miroshnichenko,
Aria Interrupted (soloist); choreography by Peter Quantz,
Bolero Factory (Soul); choreography by Yuri Smekalov,
The Park (soloist); choreography by Angelin Preljocaj.

First performer of the roles of the Queen of the Sea (Ondine, choreography by Pierre Lacotte, 2006), Tsar Maiden (The Little Humpbacked Horse, choreography by Alexei Ratmansky, 2009) and Phrygia (Spartacus, choreography by Leonid Yakobson, 2010).

A galaxy of rising stars of Russian ballet

Christina Shapran