Composition of the ballet troupe of the Mariinsky Theatre. Why do ballet dancers leave the Mariinsky Theater
Mariinskii Opera House brought the ballet "Anna Karenina" to Moscow. He will compete for the prestigious award" golden mask"40 years ago, Rodion Shchedrin wrote music and presented the ballet to Maya Plisetskaya. She was the first to dance Karenina. Now main party perform three stars. There are almost no decorations on the stage. The main thing is the dance, bright and passionate.
She admits that she would have dreamed of living in the 19th century, if only for the sake of such dresses and hats. Ekaterina Kondaurova, a rising star of the Mariinsky Theatre, has ballet shoes in a huge bag, 6 pairs, as many as you may need for this crazy rhythm performance, and a worn volume of Tolstoy. Her Karenina is sensual and selfish.
Anna Karenina for the prima of the Mariinsky Theater Diana Vishneva is a woman on the verge of a nervous breakdown.
“She is tormented between love for the family, for her son and the Vronskys - this is a woman who is on the verge,” says the prima ballerina ballet troupe Mariinsky Theatre, People's Artist Russian Diana Vishneva.
Alone in silence ballet class Uliana Lopatkina is focused and thoughtful. I'm sure such strong women, as her Kareninas live today, and although they wear jeans and drive cars, they still dream of true love.
Even at the premiere in St. Petersburg, her dance was admired by the one for whom this ballet was written by Shchedrin 40 years ago. The first Anna Karenina - Maya Plisetskaya.
The choreographer Alexei Ratmansky decided to dance Tolstoy's novel from the end. Anna is no longer alive. And Vronsky recalls their all-consuming passion, which began with a fatal meeting on the platform. There is a minimum of scenery on the stage, and the world in which Anna and other characters exist is recreated with the help of video projections - the station, the Karenins' house, the hippodrome. And the events themselves rush with great speed to the sound of wheels.
Railway wagon in life size- a full-fledged character of the tragedy and one of the most impressive images. He will turn to the audience with frost-covered windows, then the cozy world of a first-class compartment. And it's like living your own life.
Behind the conductor's stand is maestro Valery Gergiev. After all, it was his idea to put on the stage of the Mariinsky Theater the modern "Anna Karenina" - a ballet that instantly became a hit throughout Europe.
“It seems to me that for theater Moscow this is also to some extent interesting trip for three performances, if someone is lucky enough to see all three, - said the People's Artist of Russia, artistic director Mariinsky Theater Valery Gergiev. “Maybe it will be interesting for ballet lovers and maybe even an exciting journey through the same performance three times.”
Three Annas. Impulsive - Diana Vishneva, passionate - Ekaterina Kandaurova, majestic - Ulyana Lopatkina - on the stage of the Stanislavsky Theater, for three evenings in a row, the love story of one woman will be told by three prima Marinka - brilliant and completely different.
See also Mariinsky Theatre, List opera singers, Ballet Company of the Mariinsky Theatre, Opera Company Bolshoi Theater. Contents 1 Soprano 2 Mezzo Soprano 3 Contralto ... Wikipedia
See also the Mariinsky Theatre, the Mariinsky Opera Company, the Mariinsky Ballet Company, Directors and choreographers of the Mariinsky Theatre, Conductors of the Bolshoi Theater until 2000 after 2000 Konstantin Nikolaevich Lyadov Eduard Frantsevich Napravnik ... ... Wikipedia
See also Bolshoi Theatre, List of Opera Singers, Bolshoi Ballet Company, Conductors of the Bolshoi Theatre, Directors and Choreographers of the Bolshoi Theatre, Opera Company of the Mariinsky Theatre. The list includes opera singers and singers included and included in ... ... Wikipedia
Main article: Mariinsky Theater The Mariinsky Ballet repertoire includes numerous productions, both created in last years, and having a long tradition behind them. Mariinsky Theatre, 2008 ... Wikipedia
Main article: Mariinsky Theater The repertoire of the Mariinsky Theater includes numerous productions, both created in recent years and those with long-standing traditions ... Wikipedia
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Main articles: Mariinsky Theatre, Mariinsky Theater repertoire Contents 1 XIX century 2 XX century 3 See also ... Wikipedia
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Forgotten ballet
You moved to work from St. Petersburg to South Korea. How popular is Asia with our ballet dancers now?
To be honest, my colleagues move to Europe and the USA many times more often. IN South Korea ballet is only about 50 years old, and the Universal Ballet company (the largest ballet company in South Korea, based in Seoul. - Ed.), where I now work, is 33 years old. In addition to it, there is also Korean in the country national ballet where only Koreans can work. No discrimination: similar companies exist in other countries, for example, in France. There, too, only the French dance.
- Why did you decide to leave the Mariinsky Theatre?
It all started with the fact that my colleague got a job at Universal Ballet. One day I asked her if they needed dancers there. I sent a video of my performances to the company, and soon I was called to work. I immediately agreed, because for a long time I wanted to change my ballet life in better side. And the company "Universal Ballet" turned out to have a very rich repertoire: there is something to dance.
The problem is that at the Mariinsky Theater on this moment more attention is paid to opera and music than ballet, which seems to have been forgotten. At first, new performances were still staged at the Mariinsky Theater, choreographers were invited, including foreign ones. But then it all kind of stopped.
Alexei Ratmansky (permanent choreographer of the American Ballet Theatre. - Ed.) was the last of the iconic choreographers to arrive two years ago. He staged the Concerto DSCH ballet to music by Dmitri Shostakovich at the Mariinsky Theatre. For a long time I danced in the same classical productions. But I also wanted some new repertoire, modern choreography.
But if we have a wonderful classic - "The Nutcracker", "The Fountain of Bakhchisarai", " Swan Lake"So maybe contemporary choreography and not needed?
Without new performances there will be no development of the theater and artists. Abroad understand this. For example, in South Korea we recently danced "Little Death" by Jiri Kilian (Czech dancer and choreographer. - Ed.). This modern classic, which goes to theaters in many countries of the world. But for some reason not in the Mariinsky. And here there is, among other things, the ballet "Romeo and Juliet" directed by Kenneth Macmillan (British choreographer, director Royal Ballet in 1970-1977. - Ed.), "Eugene Onegin" by John Neumeier (choreographer, head of the Hamburg Ballet since 1973. - Ed.), In the Middle, Somewhat Elevated ("In the middle something towered") William Forsyth (American choreographer, his ballet the Foresight Company troupe is engaged in experiments in the field of contemporary dance. - Ed.).
Factory Gergiev
- Are we becoming a ballet province?
I wouldn't say so. It's just that the Mariinsky Theater is turning into a kind of factory. In a month, an artist can have 30–35 ballet performances. For example, I sometimes had to perform even twice a day. At first, people, opening such a tense poster for a month in advance, made surprised round eyes. But one gets used to everything. That's what we got used to over time. Every day they worked, went on stage, performed what they had to. But no one had enough time or energy to prepare new performances, because old things, the repertoire that is being staged, also need to be rehearsed. Many ballet dancers left precisely because of this routine monotonous work.
There are 6-7 performances per month. And we carefully prepare for each of them, because time allows. For example, recently they danced a modern program, and from each foreign choreographer (whose performances were included in this program. - Ed.) An assistant came, with whom we worked together: he explained some nuances, details. Since January, that I am here, I have already received so many emotions and danced so many things!
- Why do you think there is such a conveyor belt at the Mariinsky Theatre?
It's just that the person who is at the head of the theater (Valery Gergiev. - Ed.) Is the same himself. He is very efficient. One day he is in Moscow at a meeting, three hours later he flies to Munich to conduct symphony orchestra, and five hours later again in Moscow at the reception. He apparently decided that his theater should work very actively. Of course, it's not bad. But sometimes I felt like a miner at the Mariinsky Theater: I worked from morning until night. For example, he often left home at 10 am and returned at midnight. Of course, it was very hard. On the other hand, any theater in the world has its own problems.
“North Korean bombs are not afraid here”
How were you received by fellow dancers in South Korea? Was there any increased interest in you, since you are from the Mariinsky Theater?
I did not notice any special enthusiasm. Perhaps earlier Europeans in ballet world Koreas were a curiosity, but now everyone has long been accustomed to us. For example, at Universal Ballet, about half of all dancers came from Europe. There are also Americans. By the way, in Korean ballet, a lot is taken from Russian ballet. In particular, there are many productions of the Mariinsky Theater here. Therefore, it is very easy for me here: I danced The Nutcracker or Don Quixote at the Mariinsky Theater, and I dance here.
- What conditions do Koreans provide to our dancers?
The conditions are very good, in this regard they are great. For example, they immediately provided me with housing - a small apartment, good wages, which is many times more than it was in St. Petersburg (however, prices are higher here), and medical insurance. At the Mariinsky Theater, ballet dancers, by the way, also did it. For example, a few years ago I had a knee operation on it.
- Is the competition in the ballet world higher in Russia or South Korea?
Competition is everywhere, without it you simply do not grow. But she is fit and healthy. I did not feel any sidelong glances or conversations behind my back either in St. Petersburg or in Seoul. But even if they say something about me, I am so immersed in work that I don’t notice it. In general, stories about glass fragments in pointe shoes and smeared suits are a myth. In my entire career in ballet, I have never encountered this. And I hadn't even heard of it. No bases.
- Asia is a completely different world. What was the hardest thing for you to get used to in South Korea?
When colleagues at the Mariinsky Theater found out about my departure, they said that it would be psychologically very difficult for me to live there. But in Seoul, I was so immersed in my profession that I felt absolutely nothing. I just dance without this St. Petersburg race and feel absolutely happy. Unless you need to learn the language. But you can live without it in Korea. The fact is that the local people are very friendly. It is worth getting lost in the subway or on the street, as they immediately fit on English language offer help, ask where I need to go.
- And how do they treat North Korea? Do you feel tension from such a difficult neighbor?
No. It seems to me that no one even thinks about it and is not afraid of Korean bombs. Everything is very calm here, and it seems that nothing is happening at all. There are no terrorist attacks, no disasters, not even any major scandals. But, despite the fact that it is so comfortable here, I still miss St. Petersburg, my family and the Mariinsky. This theater really gave me a lot. I studied there, gained experience, formed my taste, I danced there. And it will forever remain in my memory.
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Mariinsky Theatrical Ballet, Mariinsky Theater Ballet
The history of the ballet troupe of the Mariinsky Theater began with court performances, where many professional dancers and dancers took part, who appeared after the establishment by Empress Anna Ioannovna in 1738 dance school under the guidance of the French teacher Jean-Baptiste Lande.
The ballet troupe was part of the theaters:
- Petersburg Bolshoi Theater (Stone; from 1783),
- Mariinsky Theater since 1860,
- State Mariinsky Theater (since 1917), which in 1920 was renamed the State academic theater opera and ballet (since 1935 named after S. M. Kirov), and in 1992 returned its former name - the Mariinsky Theater.
- 1 19th century
- 2 XX century
- 3 21st century
- 3.1 Ballet dancers
- 3.1.1 Ballerinas and premieres
- 3.1.2 First soloists
- 3.1.3 Second soloists
- 3.1.4 Character dance soloists
- 3.1.5 Luminaries
- 3.1 Ballet dancers
- 4 See also
- 5 Notes
- 6 Links
19th century
Ricardo Drigo, 1894 Lev Ivanov, 1885 Caesar Pugni, 1840 Marius Petipa, 1898 Leon Minkus, 1865 Pyotr Tchaikovsky Alexander GlazunovSh. L. Didlo had a noticeable influence on the development of the St. Petersburg ballet. Didelot's dance poems "Zephyr and Flora" (1804), "Cupid and Psyche" (1809), "Acis and Galatea" (1816) by Kavos foreshadowed the onset of romanticism. 1823 the theater staged the ballet " Prisoner of the Caucasus, or Shadow of the Bride "to the music. Kavos (1823). The repertoire created by Didelot revealed the talents of M. I. Danilova, E. I. Istomina, E. A. Teleshova, A. S. Novitskaya, Auguste (O. Poirot), N. O. Goltz. In 1837, the Italian choreographer F. Taglioni and his daughter M. Taglioni showed the ballet La Sylphide in St. Petersburg. 1842 in the ballet "Giselle", staged by J. Coralli and J. Perrot, E. I. Andreyanova performed with success. In 1848-1859, the St. Petersburg ballet was headed by J. Perrot, who staged the ballets Esmeralda, Catarina and Faust by Pugni. In 1859, the ballet was headed by choreographer A. Saint-Leon, he staged the ballets The Little Humpbacked Horse (1864) and gold fish» (1867). Marius Petipa (since 1847 a ballet soloist, then a ballet master, in 1869-1903 - the main choreographer of the theater) became the successor of Perro and Saint-Leon.
During his stay in Russia, Marius Petipa staged ballets on the imperial stage: The Pharaoh's Daughter to the music of Caesar Pugni, in 1862; "King Candavl" by Caesar Pugni, in 1868; "Don Quixote" by L. F. Minkus, 1869; "Two Stars" by Caesar Pugni, 1871; "La Bayadère" by L. F. Minkus, 1877; "The Sleeping Beauty of P. I. Tchaikovsky, edited by Drigo, (1890-1895), I and III acts, in collaboration with Lev Ivanov (Ivanov's text - 2nd scene of the first act, Venetian and Hungarian dances in the second act, third act, except for the apotheosis); "Swan Lake" (together with L. I. Ivanov, 1895); "Raymonda" to the music of A. K. Glazunov, 1898; "Le Corsaire" to the music of Adam, Pugni, Drigo, Delibes, Peter Oldenburgsky, Minkus and Trubetskoy, 1898; "Paquita" by Deldevez, 1899; "Tests of Damis" by A. K. Glazunov, 1900; "The Four Seasons" (Four Seasons) by A. K. Glazunov, 1900; ) Drigo, 1900; "Mr. Dupre's Disciples", 1900; "Magic Mirror" Koreshchenko, 1904; "Rosebud Romance", Drigo (the premiere did not take place).
Marius Petipa's ballets demanded high professionalism troupe, which was achieved thanks to the pedagogical talents of Christian Ioganson, Enrico Cecchetti. ballets by Petipa and Ivanov were performed by: M. Surovshchikova-Petipa, Ekaterina Vazem, E. P. Sokolova, V. A. Nikitina, Maria Petipa, P. A. Gerdt, P. K. Karsavin, N. G. Legat, I. F. Kshesinsky, K. M. Kulichevskaya, A. V. Shiryaev.
20th century
A. V. Shiryaev, 1904 A. A. Gorsky, 1906 Mikhail Fokin, 1909At the beginning of the 20th century, the keepers of academic traditions were artists: Olga Preobrazhenskaya (1871-1962), Matilda Kshesinskaya, Vera Trefilova, Yu. N. Sedova, Agrippina Vaganova, L. N. Egorova, N. G. Legat, S. K. Andrianov , Maria Kozhukhova (1897-1959), Olga Spesivtseva (1895-1991) (July 5 (18), 1895 - September 16, 1991)
In search of new forms, Mikhail Fokin relied on modern art. The favorite stage form of the choreographer was one-act ballet with laconic continuous action, with a clearly expressed stylistic coloring.
Mikhail Fokin owns ballets: The Pavilion of Armida, 1907; "Chopiniana", 1908; Egyptian Nights, 1908; "Carnival", 1910; "Petrushka", 1911; "Polovtsian Dances" in the opera "Prince Igor", 1909. Tamara Karsavina, Vaslav Nijinsky and Anna Pavlova became famous in Fokine's ballets.
The first act of the ballet "Don Quixote", to the music of Ludwig Minkus (based on the ballet by M. Petipa) reached his contemporaries in the version of Alexander Gorsky in 1900.
Later, in 1963, The Little Humpbacked Horse was staged (by Alexander Gorsky, revived by Mikhailov, Baltacheev and Bruskin.
Since 1924, Fyodor Lopukhov staged performances at the theater, the first production of which was the play "Night on Bald Mountain" (music - Modest Mussorgsky); then in 1927 - "The Ice Maiden"; 1929 - "Red Poppy", together with Ponomarev and Leontiev; 1931 - "Bolt", music - Dmitry Shostakovich, 1944 - "Vain Precaution" to the music of G. Gertel (Leningradsky Maly Opera theatre in evacuation in Orenburg and the Leningrad Opera and Ballet Theatre. S. M. Kirov); 1947 - "Spring Tale" music. B. Asafyeva (according to musical materials Tchaikovsky) (Leningrad Opera and Ballet Theater named after S. M. Kirov)
In the first years after October revolution In 1917, the theater was faced with the task of preserving the heritage. leading artists worked in the theater: E. Ville, E. P. Gerdt, Pyotr Gusev, A. V. Lopukhov, E. M. Lukom, O. P. Mungalova, V. I. Ponomarev, V. A. Semyonov, B. V. Shavrov.
- In 1930, choreographers Vasily Vainonen, Leonid Yakobson and V.P. Chesnokov staged the Golden Age Ballet to music by Dmitri Shostakovich.
- Ballets were staged from 1932 to 1942: The Flames of Paris, choreographer Vasily Vainonen, 1932; The Fountain of Bakhchisarai, choreographer Rostislav Zakharov, 1934; in 1939 - "Laurencia", choreographer Vakhtang Chabukiani.
In 1940 choreographer Leonid Lavrovsky staged the ballet Romeo and Juliet. Later, this performance was resumed by Semyon Kaplan, in 1975.
During the years of the Great Patriotic War artists remaining in besieged Leningrad, under the leadership of O. G. Jordan went to the front, performed at factories and hospitals. The main team was evacuated to Perm, where in 1942 the performance "Gayane" was staged by choreographer Nina Anisimova
The ballet soloists of the theater of the period 1920-1940 were the students of A. Ya. Vaganova, M. F. Romanova, E. P. Snetkova-Vecheslova and A. V. Shiryaeva: Nina Anisimova, Fairy Balabina, Tatiana Vecheslova, Natalia Dudinskaya, A. N. Ermolaev, N. A. Zubkovsky, O. G. Jordan, Marina Semyonova, Konstantin Sergeev, Galina Ulanova, Vakhtang Chabukiani and Alla Shelest, Tatyana Vecheslova.
In 1941, after graduating from the Moscow Choreographic School in the class of the St. Petersburg teacher Maria Kozhukhova, Inna Zubkovskaya entered the theater.
In the post-war period, the ballet repertoire of the Kirov Theater appeared new productions in which danced: I. D. Belsky, B. Ya. Bregvadze, Inna Zubkovskaya, Ninel Kurgapkina, Askold Makarov, Olga Moiseeva, N. A. Petrova, V. D. Ukhov, K. V. Shatilov N. B. Yastrebova.
IN latest releases A. Ya. Vaganova in the 50s, two names appeared and sparkled: Irina Kolpakova and Alla Osipenko, since the 1957 season, a student of V. S. Kostrovitskaya Gabriela Komleva appeared in the theater, in 1958, a student of N. A. Kamkova, Alla Sizova, appeared in the theater , in 1959 E. V. Shiripina released the future world star Natalia Makarov, in 1963 a student of L. M. Tyuntina Natalya Bolshakova appeared in the theater, in 1966 - a student of the same teacher Elena Evteeva, in 1970 a student of N. V. Belikova Galina Mezentseva appeared in the theater, and also in 1970-1972 gg. a graduate of the same teacher Lyudmila Semenyaka danced in the theater, students of Alexander Pushkin Rudolf Nureyev worked in the Kirov ballet, since 1958 and Mikhail Baryshnikov, in 1967, since 1958 - Yuri Solovyov (a student of Boris Shavrov).
In the 80s, the theater came next generation, among the new stars Altynai Asylmuratova, Farukh Ruzimatov, Elena Pankova, Zhanna Ayupova, Larisa Lezhnina, Anna Polikarpova.
XXI Century
In the new millennium in the ballet troupe of the theater: Ulyana Lopatkina, Diana Vishneva, Yulia Makhalina, Alina Somova and Victoria Tereshkina.
ballet dancers
For 2016, the following artists form the basis of the Mariinsky Ballet:
Ballerinas and premieres
- Ekaterina Kondaurova
- Uliana Lopatkina
- Julia Makhalina
- Daria Pavlenko
- Oksana Skorik
- Alina Somova
- Victoria Tereshkina
- Diana Vishneva
- Timur Askerov
- Evgeny Ivanchenko
- Kimin Kim
- Igor Kolb
- Vladimir Shklyarov
- Danila Korsuntsev
- Denis Matvienko (guest soloist)
First soloists
Second soloists
Character dance soloists
luminaries
The Pharaoh's Daughter, 1898
One of the performances, 2005
"Swan Lake", 2004
La Bayadère, 2011
see also
- History of the Petersburg ballet school
Notes
- Soloists of the Mariinsky Ballet. Mariinskii Opera House. Retrieved 17 August 2016.
Links
- Ballet soloists - on the website of the Mariinsky Theater
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Mariinsky Theater Ballet, Mariinsky Theater Ballet, Mariinsky Theater Ballet, Mariinsky Theater Ballet
