“Dancing with Angelina, I see a white light ...” - irina_berezina. Pavel Dmitrichenko: “Everything that does not kill us makes us stronger Husband of Angelina Vorontsova

Criminal case on the fact of attack on the artistic director ballet troupe Bolshoi Theater Sergei Filin continues to gain momentum.

On this moment it is known that the court arrested the alleged organizer of the assassination attempt on Filin, the soloist Theater of the Bolshoi Theater Pavel Dmitrichenko.

The motives for the crime have not been voiced so far, but a number of media sources associate this with the conflict between the dancer and the artistic director, which occurred, presumably, because of the young Voronezh ballerina Anzhelina Vorontsova. The girl and the suspect, according to various sources, were tied up either simply love relationship or marriage.

Biography

Angelina Vorontsova- ballerina from Voronezh.

WITH early age she was doing rhythmic gymnastics, went to competitions, prepared for serious achievements.

However, on the advice of acquaintances, Vorontsova decided to go to the Voronezh Choreographic School, enrolling immediately in the third grade, being older than the others.

It is known that the ballerina's dad was against it and insisted that her daughter start learning languages.

For a 12-year-old girl to come to ballet at this age is too late. However, already at the final annual exam ( classical dance), Angelina Vorontsova is rated "excellent".

In 2007, the girl entered the competition among juniors " glass slipper” in Kharkov and received the first prize.

In 2008, Anzhelina Vorontsova competed at an even more prestigious competition - Arabesque. Bypassing many contestants not only from Russia, but also from abroad, the dancer becomes the first. In addition, she receives four more special awards, including 200 thousand rubles in prize money.

“The ballerina devoted almost her entire week to dancing. The only day of rest accepted in the choreographic school is Sunday. According to Angelina Vorontsova herself, sometimes she even dreams of ballet. However, it never bothered young talent- it was in him that the girl saw the meaning of her whole life, ”the local press wrote about her.

However, according to teachers, the young ballerina has an ideal physique for her art form. Angelina's mentor, People's Artist of the Russian Federation Tatyana Frolova, said that the girl harmoniously combines excellent external data, charm, physical fitness and high performance.

“I won’t say that there are no such talented young ballerinas as Lina in Voronezh, but there are very few of them,” she said.

In 2009, Vorontsova receives the highest award - gold medal in duets - at the XI Moscow International Competition of ballet dancers and choreographers. In the entire history of the Voronezh ballet school, this is the first award of this level.

In the same year he received a youth grant from the prestigious Triumph Award.

In the same year, Angelina Vorontsova leaves Voronezh. After winning the Arabesque, she receives an invitation to finish her studies in Moscow - at the academy of choreography.

After the reporting concert, Vorontsova was immediately hired by the Bolshoi Theater and got into a group led by Nikolai Tsiskaridze. The ballet "Paquita" was the debut of the young artist.

December 31, 2009 Anzhelina Vorontsova will make her debut in The Nutcracker in a duet with her teacher Nikolai Tsiskaridze.

It is known that after winning the Arabesque in 2008, Vorontsova and Sergei Filin invited Vorontsova and Sergei Filin to graduate from the Moscow Academy of Choreography and join their troupe at the Stanislavsky and Nemirovich-Danchenko Theater. However, the girl chose the Bolshoi Theater.

Then the press quoted Filin's words: "They already know exactly what performance they will put on Vorontsova in the new season."

Nevertheless, it was Filin who got the girl into the Moscow Academy of Choreography and began to pay the young girl a scholarship.

Conflict

Sergey Filin came to the Bolshoi Theater shortly after Vorontsova appeared there. After some time, information appeared that a difficult relationship began to develop between Filin and the ballerina.

“Tsiskaridze has repeatedly stated that Filin is oppressing his talented student, preventing her from dancing the main parts,” writes Delovoy Kvartal.

“As we know, what happened next was the following: Filin could not keep the girl, the management of the Bolshoi Theater found it necessary to invite future star to yourself. Of course, Lina preferred the modest "Stasik" main stage countries. It is remarkable that at that time all the ballet dancers supported her choice. I think I was the only one talking about "rules and propriety". However, I didn't know the whole story. Now I know, but this is not the main thing: I see that only the stage of the Bolshoi Theater is able to reveal Angelina. Nikolai Maksimovich Tsiskaridze became the teacher-tutor of the girl. Also at the request of the management, who went on an unprecedented recent history ballet step - to become a male dancer teacher, ”- a quote about Vorontsova from the blog of Evgeny Malikov.

In turn, Izvestia reports that the direct conflict between Pavel Dmitrichenko and Sergei Filin took place in December 2012.

According to media reports, 21-year-old Anzhelina Vorontsova approached Filin with a request to give her the part of Odette in Swan Lake, but he refused her rather rudely and allegedly advised Vorontsova to look at herself in the mirror.

“What kind of Odette are you?”, mr7.ru quotes the words of Filin. And then he allegedly advised Angelina to seek advice on creating an image.

TERMS OF USE

1. GENERAL PROVISIONS

1.1. This User Agreement (hereinafter referred to as the Agreement) determines the procedure for accessing the website of the St. Petersburg State budget institution culture "St. Petersburg State academic theater opera and ballet M.P. Mussorgsky-Mikhailovsky Theater ”(hereinafter - the Mikhailovsky Theatre), located on the domain name www.site.

1.2. This Agreement governs the relationship between the Mikhailovsky Theater and the User of this Site.

2. DEFINITIONS OF TERMS

2.1. The following terms have the following meanings for the purposes of this Agreement:

2.1.2. Site administration Mikhailovsky Theater– authorized employees to manage the Site, acting on behalf of the Mikhailovsky Theatre.

2.1.3. The user of the Mikhailovsky Theater website (hereinafter referred to as the User) is a person who has access to the website via the Internet and uses the Website.

2.1.4. Site - the site of the Mikhailovsky Theater located on the domain name www.site.

2.1.5. Content of the Mikhailovsky Theater website - protected results of intellectual activity, including fragments of audiovisual works, their titles, prefaces, annotations, articles, illustrations, covers, with or without text, graphic, textual, photographic, derivative, composite and other works, user interfaces, visual interfaces, logos, as well as design, structure, selection, coordination, appearance, the general style and arrangement of this Content, which is part of the Site and other objects of intellectual property collectively and / or separately contained on the Mikhailovsky Theater website, Personal Area with the subsequent possibility of buying tickets at the Mikhailovsky Theatre.

3. SUBJECT OF THE AGREEMENT

3.1. The subject of this Agreement is to provide the Site User with access to the services contained on the Site.

3.1.1. The Mikhailovsky Theater website provides the User with the following types of services:

Access to information about the Mikhailovsky Theater and to information on purchasing tickets on a paid basis;

Purchase of electronic tickets;

Providing discounts, promotions, benefits, special offers

Obtaining information about the news, events of the Theatre, including through the dissemination of information and news messages (e-mail, telephone, SMS);

Access to electronic content, with the right to view content;

Access to search and navigation tools;

Providing the opportunity to post messages, comments;

Other types of services implemented on the pages of the Mikhailovsky Theater Website.

3.2. All currently existing (actually functioning) services of the Mikhailovsky Theater website, as well as any of their subsequent modifications and additional services that appear in the future, fall under this Agreement.

3.2. Access to the Mikhailovsky Theater website is provided free of charge.

3.3. This Agreement is a public offer. By accessing the Site, the User is considered to have acceded to this Agreement.

3.4. The use of materials and services of the Site is governed by the current legislation Russian Federation

4. RIGHTS AND OBLIGATIONS OF THE PARTIES

4.1. The administration of the Mikhailovsky Theater website has the right to:

4.1.1. Change the rules for using the Site, as well as change the content of this Site. Changes to the terms of use come into force from the moment the new version of the Agreement is published on the Site.

4.2. The user has the right:

4.2.1. Registration of the User on the website of the Mikhailovsky Theater is carried out in order to identify the User in order to provide the services of the Site, disseminate information and news messages (by e-mail, telephone, SMS, other means of communication), receive feedback, accounting for the provision of benefits, discounts, special offers and shares.

4.2.2. Use all the services available on the Site.

4.2.3. Ask any questions related to the information posted on the Mikhailovsky Theater website.

4.2.4. Use the Site solely for the purposes and in the manner provided for by the Agreement and not prohibited by the legislation of the Russian Federation.

4.3. The Site User undertakes:

4.3.2. Do not take actions that may be considered as disrupting the normal operation of the Site.

4.3.3. Avoid any actions that may violate the confidentiality of information protected by the legislation of the Russian Federation.

4.4. The user is prohibited from:

4.4.1. Use any devices, programs, procedures, algorithms and methods, automatic devices or equivalent manual processes to access, acquire, copy or monitor the content of the Site

4.4.3. By any means bypass the navigation structure of the Site to obtain or attempt to obtain any information, documents or materials by any means that are not specifically provided by the services of this Site;

4.4.4. Violate the security or authentication system on the Site or any network associated with the Site. Perform a reverse search, track or attempt to track any information about any other User of the Site.

5. USE OF THE SITE

5.1. The Site and the Content included in the Site are owned and operated by the Mikhailovsky Theater Site Administration.

5.5. The User is personally responsible for maintaining the confidentiality of account information, including the password, as well as for all, without exception, activities that are conducted on behalf of the Account User.

5.6. The user must immediately notify the Site Administration of the unauthorized use of his account or password or any other violation of the security system.

6. RESPONSIBILITY

6.1. Any losses that the User may incur in the event of intentional or reckless violation of any provision of this Agreement, as well as due to unauthorized access to communications of another User, are not reimbursed by the Administration of the Mikhailovsky Theater website.

6.2. The administration of the Mikhailovsky Theater website is not responsible for:

6.2.1. Delays or failures in the process of performing a transaction due to force majeure, as well as any case of malfunctions in telecommunications, computer, electrical and other related systems.

6.2.2. Actions of transfer systems, banks, payment systems and for delays associated with their work.

6.2.3. Improper functioning of the Site, if the User does not have the necessary technical means to use it, and also does not bear any obligations to provide users with such means.

7. VIOLATION OF THE TERMS OF THE USER AGREEMENT

7.1. The Administration of the Mikhailovsky Theater website has the right, without prior notice to the User, to terminate and (or) block access to the Site if the User has violated this Agreement or the terms of use of the Site contained in other documents, as well as in the event of termination of the Site or due to a technical malfunction or problem.

7.2. The Site Administration is not liable to the User or third parties for termination of access to the Site in case of violation by the User of any provision of this 7.3. Agreement or other document containing the terms of use of the Site.

The site administration has the right to disclose any information about the User that is necessary to comply with the provisions of the current legislation or court decisions.

8. DISPUTES RESOLUTION

8.1. In the event of any disagreements or disputes between the Parties to this Agreement, a prerequisite before going to court is the presentation of a claim (a written proposal for a voluntary settlement of the dispute).

8.2. The recipient of the claim, within 30 calendar days from the date of its receipt, notifies the claimant in writing of the results of the consideration of the claim.

8.3. If it is impossible to resolve the dispute on a voluntary basis, any of the Parties has the right to apply to the court for the protection of their rights, which are granted to them by the current legislation of the Russian Federation.

9. ADDITIONAL TERMS

9.1. By joining this Agreement and leaving their data on the Mikhailovsky Theater Website by filling in the registration fields, the User:

9.1.1. Gives consent to the processing of the following personal data: last name, first name, patronymic; Date of Birth; phone number; address Email(E-mail); payment details (in case of using a service that allows you to purchase e-tickets to the Mikhailovsky Theatre);

9.1.2. Confirms that the personal data indicated by him belongs to him personally;

9.1.3. Grants the Administration of the Mikhailovsky Theater website the right to carry out the following actions (operations) with personal data indefinitely:

Collection and accumulation;

Storage for an unlimited period of time (indefinitely) from the moment the data is provided until the moment it is withdrawn by the User by submitting an application to the Site Administration;

Refinement (update, change);

Destruction.

9.2. The processing of the User's personal data is carried out in accordance with paragraph 5 of part 1 of Art. 6 federal law from 27.07.2006 No. 152-FZ "On Personal Data" solely for the purpose of

Fulfillment of obligations assumed by the Administration of the Mikhailovsky Theater website under this agreement to the User, including those specified in clause 3.1.1. present agreement.

9.3. The User acknowledges and confirms that all the provisions of this Agreement and the conditions for processing his personal data are clear to him and agrees with the conditions for processing personal data without any reservations or restrictions. The User's consent to the processing of personal data is specific, informed and conscious.

Nikolai Tsiskaridze said that our countrywoman, the talented ballerina Anzhelina Vorontsova, who, after the "acid attack" on the artistic director of the Bolshoi Theater Sergei Filin, was called fatal (many believed that it was precisely because Filin oppressed the dancer, preventing her from performing the main roles in performances, her lover Pavel Dmitrichenko thus avenged her), got married.

The ex-premier of the Bolshoi Theater, and now the rector of the Vaganov School, also noted that our countrywoman is doing well, despite the fact that by “mixing” her name into an acid scandal, envious people tried to break her.

Those who do not personally know either Paul or Angelina, or the truth about their relationship, draw the wrong conclusions. Yes, they were together, but at the time of this scandal they were already diverging. Now everyone has their own life. As I heard, Pavel got married a year ago. Angelina just got married. Two years after all this horror, - said Nikolai Tsiskaridze. - She is a brilliant ballerina and talented person, proved this with a recent, yet another magnificent performance of "Corsair". But the fact that they tried to ruin life is a fact. Who? Ballet intriguers, let's answer like this, without names ...

It turned out that Angelina Vorontsova got married five weeks ago.

We wish her happiness! AND creative success! After all, the ballerina herself was always focused only on creativity, never participated in ugly stories. And in order to avoid unnecessary gargling of her name, in the summer of 2013 she quit the Bolshoi, joined the troupe of the Mikhailovsky Theater in St. Petersburg, and by the end of the year received the Soul of Dance award in the star nomination.

By the way, the well-known choreographer was very sorry that Vorontsova moved from the capital to St. Petersburg Heinrich Mayorov, in an interview with KP in October 2014, he praised Angelina very much:

Your compatriot is a beautiful girl . I remember her well, she entered the Academy with me. Gorgeous, amazing. She has everything set. At that moment I understand that there were good teachers, - Genrikh Alexandrovich said then. - I'm very worried about your girl. This redheaded fool Pavel Dmitrichenko,- ed.) spoiled everything for her - well, where did he climb? And she amazing girl, it’s understandable why she left for the Mikhailovsky Theater ...

Recall, for big scene Voronezh talent was discovered by the master of ballet Vladimir Vasiliev. In 2008, in Perm, at the Arabesque competition, 16-year-old Angelina, a sophomore at the Voronezh Choreographic School, amazed the entire jury, headed by Vasiliev (). When Vladimir Viktorovich came to the Voronezh Opera and Ballet Theater in the summer of that year, Komsomolskaya Pravda spoke with the master, and he spoke enthusiastically about the plasticity and grace of the young ballerina (more):

- ... Angelina Vorontsova made a splash! It is so bright that I am still impressed! She has excellent external and physical data - an unusually large step, a magnificent rise, beautiful lines. Plus ed cue artistic gift. Both the Mariinsky Theater and the Bolshoi Theater have dancers who are physically gifted, but I have never seen a girl who, at the age of 16, possessed such artistry! We already have a name that can become the pride of the entire Russian ballet! I am proud that it was the Ulanova Foundation, which I head, that marked her by giving her this award (“Arabesque” - ed.), - he admitted then Vladimir Vasiliev " Komsomolskaya Pravda".

Vasilyev then did not forget about the Voronezh star, nominated Vorontsova for all-Russian award in the field of literature and art, the Triumph award, which she received in 2009 (). After success at the competition, Angelina transferred to the Moscow state academy choreography. After her graduation, Vorontsova immediately replenished her treasury of achievements with a new victory - she took a gold medal in a duet with Artem Ovcharenko at the XI Moscow International Competition of Ballet Dancers and Choreographers (more). After the academy, she danced at the Bolshoi Theater, including with Nikolai Tsiskaridze main party in The Nutcracker. Since July 2013, he has been serving at the Mikhailovsky Theater in St. Petersburg.

From Dmitrichenko and Vorontsova they began to make some kind of monsters who conceived a monstrous crime, but we could not dream of such a thing even in a nightmare ...

On the night of the seventeenth of January, the bell suddenly rang. She looked at the phone - Tsiskaridze. Surprised: so late he never called. Nikolai Maksimovich was very excited: - Lin, bad luck with Owl!

Reporters call me, asking me to comment, as if I know something!

And what happened?

They say he was doused with acid.

Pasha and I went on the Internet, read about the attack on Sergei Yurievich. Couldn't sleep for a long time. The next day, they saw Owl on TV, filmed with a hidden camera, and calmed down a bit. We thought: probably, everything is not so bad, since he is conscious and gives an interview. We were going to go to the hospital, but did not have time. A day later, Pasha was called in for questioning by phone. They told me to come on Monday, but he said: "I can't do it on Monday, let's do it better today." He was interrogated for about two hours. I don’t know the details, but as far as I understood, nothing special was found out.

Soon they called me too.

I thought that they were interrogating all the artists. Although I didn't understand why they called. What could I say?

In February, we both went to Italy for the Benois de la Danse festival. Life went on. Pasha did not try to hide from the investigation or put pressure on witnesses, which he would later be suspected of and because of which he would not be released from arrest. Although he could simply stay in Italy if he was afraid of something or was hiding something.

After returning from the festival, around mid-February, I was again called to the investigator. They began to interrogate Dmitrichenko's friends, theater artists. The tension grew, but I did not feel any anxiety for Pasha.

On the morning of March 5, at six o'clock, the doorbell rang. We looked into the video intercom and saw seven men. Among them was an investigator who interrogated us. We realized that it was the police and opened it. One of those who entered announced: "We are here with a search."

For three hours they were looking for something. Everyone in the apartment was dug up, but they behaved quite correctly. Things were put back in cupboards and drawers. When the search was over, the investigator said to Pasha:

And now we will drive to the place of your registration.

By coincidence, Dmitrichenko is registered in the same house on Troitskaya Street where Filin lives and in whose yard he was attacked. There is the apartment of Pasha's parents, but it has been rented out for eight years already.

Pasha began to explain:

You see, none of our family has been living on Troitskaya for a long time.

Let me at least call my father to warn the people who are filming it.

No, we will not call anyone,” the investigator said. - Not allowed.

It was only later that we realized that they were afraid that important “evidence” would be hidden there.

Pasha began to dress - in perfect prostration. I didn't feel much better than he did. Went to the elevator to see. I asked the investigator when to expect Pasha. He hesitated:

Don't know. After leaving the place of registration, we will take him for interrogation.

Pasha was taken away. We both took away all the equipment - and the computer, and telephones. I had to run outside and buy the cheapest device so as not to be left without a connection.

Went to the theatre. She went crazy there, did not know what to think, until she heard on television news that Dmitrichenko had been detained. It was soon reported that he was making a confession. For me it came as a shock. What are the indications? Pasha has nothing to confess! Two days later, when I saw him on TV, I gasped. After interrogation, he did not look like himself. His exhausted face kept repeating: “Yes, it's me. Yes. I organized ... ”His appearance made me think not only me. All our artists said: “What's wrong with him? Why does he look like that? The theater sympathized: “Lina, hold on, we will help you in any way we can.

We do not believe in Pasha's guilt." It was said by the most different people, including those with whom Pasha did not have friendly or friendly relations. No matter what horrors are told about the artists of the Bolshoi Theater, good and kind people work in it. helpful people ready to help a colleague.

On March 5, the day Pasha was detained, I had a performance. I probably could have taken time off, but I realized that if I refuse to work, I’ll just go crazy. She danced and smiled, although she wanted to cry. Then, for two weeks, she went on stage almost every evening. Only work saved me. Most of all, the absurdity and injustice of what was happening tormented me. From Dmitrichenko and Vorontsova they began to make some kind of monsters who conceived a monstrous crime, and we could not dream of such a thing even in a nightmare.

Nothing depends on me in this situation, but I can at least tell you what kind of people Pasha and I were: what we breathed, what we aspired to, how we met at the Bolshoi Theater and fell in love ...

Pasha grew up in Moscow. I am from Voronezh. The little one was very plastic and mobile, she easily sat on the twine. At the age of five, my mother took me to preparatory courses at the Voronezh Choreographic School. A few months later, I declared that ballet was boring, and asked for rhythmic gymnastics. They did not do choreography with the kids, only simple exercises on the rug. It was too easy for me. Therefore, the ballet seemed boring.

I took root in gymnastics and at the age of ten I was already a candidate for master of sports. At fourteen, I would certainly have received a master (before, this title is simply not given), but in spite of everything I decided to leave. I was hard to bear the separation from home and the constant pressure from the coaches. We often went to training camps and competitions. And not for a day or two, but for two or three weeks. They kept us in tight rein: we trained for eight hours, we couldn't eat and drink enough. I will never forget how at night they secretly ran with the girls to the toilet to drink water from the tap, and were shaking with fear - suddenly someone would see. It was impossible to take a step without the permission of the coach. But all the famous gymnasts went through these hardships. Without them, you can't win Olympic medals.

After performing at the Russian Championships in 2002, I was invited to Novogorsk, where our most famous athletes train, but I said that I would no longer do gymnastics.

I imagined what trials lay ahead, and was frightened. I liked working with objects, performing in front of the public. But I never really dreamed of becoming a champion.

After a five-year "plowing", I relaxed for half a year, and then my mother and I met the choreographer Valery Goncharov on the street. He helped me put on gymnastic numbers and regretted that I had left the sport. Valery Ivanovich said to his mother:

Olga Leonidovna, in my opinion, Lina needs to go to a choreographic school.

Isn't it too late? She graduated from the sixth grade, and they are accepted there after the third.

She has good data.

For such a capable girl, they can make an exception.

I really entered, and immediately into the third grade, corresponding to the seventh secondary school. I liked the school. There was only one drill in gymnastics, but here we were engaged in art and the teachers treated us like their own children. They did not scold, did not shame, treated very respectfully and carefully. This attitude amazed me. In gymnastics, we were afraid to admit if something hurt. And in the school we were constantly asked how we feel. Conducted medical check-ups.

I quickly caught up with my classmates and began to dance solo things. Mom was happy for me, supported me in every possible way. Some acquaintances told her: “Why do you need this ballet? Where will Lina go after school? Backing dancers for pop singers? It would be better to get a serious and well-paid profession. Or does she expect to sit on your neck until old age?

My parents divorced when my sister and I were young. (Katya is three years older than me.) Father practically did not help. Mom pulled us alone. She was a laboratory doctor by profession, received little and, in order to provide for her family, worked two or even three rates.

At the age of fifteen, I won the Crystal Slipper competition. Inspired by success, a year later, my teacher from the school and I went to Perm for the prestigious Arabesque competition.

I unexpectedly for many (and to be honest, for ourselves) received the first prize for a female dance and a few more special ones. A total of five awards. The votes of Ekaterina Maksimova and Vladimir Vasiliev, who headed the jury, turned out to be decisive. Then Vladimir Viktorovich spoke very flatteringly about me in his interviews.

On the "Arabesque" I first saw Nikolai Tsiskaridze. He brought his student to Perm. Much later, already working with Nikolai Maksimovich, I learned that he heard about the “talented girl from Voronezh” from Ekaterina Sergeevna Maksimova and went to see me. “The music started playing, and how you jumped onto the stage in a twine! Tsiskaridze recalled. - I was subdued! After the final gala concert, she came up for an autograph.

Nikolai Maksimovich signed and suddenly said:

Baby, you need to go to Moscow.

No, what are you, I still have a year and a half to study! I'll get my diploma and I'll definitely go.

You did not understand. It is necessary to study and graduate in Moscow. It's on a completely different level. Leaders come to the Academy of Choreography for exams the best theaters countries. And what awaits you in Voronezh?

I did not want to change anything, but then I often remembered the words of Nikolai Maksimovich.

After "Arabesque" they noticed me. They began to call home from various cities and invite them to work in the theater.

My mother and I answered everyone that first I had to graduate from college. Once there was a call from Moscow. Mom picked up the phone.

Hello, - said some woman, - I am Natalya Malandina, assistant to Sergei Filin, artistic director of the ballet troupe of the Stanislavsky and Nemirovich-Danchenko Theater. Are you, obviously, Angelina's mother?

Sergei Yuryevich was not present at the competition in Perm, but he heard a lot about your daughter. She has the opportunity to get into the Stanislavsky Theater.

Sorry, but all this is somehow unexpected and premature, - answered my mother.

Let's talk a year later, after Linochkin's release.

However, Filin soon came to Voronezh himself for our reporting concert. He offered to transfer to the Moscow State Academy of Choreography (MGAH) with the prospect of employment at the Stanislavsky Theater. And my mother and I were going to the capital in August. About a year before that, I performed at the festival of choreographic schools in Kazan and met Marina Konstantinovna Leonova, rector of the Moscow State Academy of Arts. She did not promise anything definite, but advised me to come and show myself. I didn’t really hope to get into the academy, the competition there is crazy. But what the hell is not kidding?!

The show went well. Leonova took me to the last course, and my mother and I moved to Moscow.

Filin gave us a room in a service apartment - at the expense of the theater. He was sure that after graduating from the Moscow State Academy of Arts I would go to Stasik. In a three-room apartment, besides me and my mother, several theater artists lived. The conditions were not brilliant, and it turned out to be quite difficult to travel every day from Bratislavskaya to the academy on Frunzenskaya. Thanks to Marina Konstantinovna - soon she settled me in a boarding school, free of charge. I didn't pay a dime for my studies either. Otherwise, we simply could not have stayed in Moscow.

On weekdays I lived in a boarding school, and on weekends I went to Bratislava to my mother. She, of course, is just a heroine, I will be grateful to her all my life. She left for me hometown, work, an established life in a separate apartment and started all over again, practically from scratch.

It was very difficult for her - both mentally, physically and financially. Mom was spinning like a squirrel in a wheel to feed us and send money to Katya. My sister stayed in Voronezh with her grandmother, studied at the commercial department at the medical institute.

In the stream of lies that fell upon me after the tragedy with Sergei Filin, it sounded that the artistic director of the Stanislavsky Theater, while I was studying, paid me a scholarship, hired teachers. If it were so ... But no, my mother and I had to survive in Moscow on our own.

I think all these fables are born at the Ballet and Opera forum. Gossip usually spreads from there. This is done by a rather specific "near-theatrical" people, ready to do anything for a ticket to the Bolshoi.

The guys in the class were wary at first. I just came to the last course. Some, probably, were offended that Marina Konstantinovna singled me out. I graduated from the academy with a solo performance and participated in all the numbers at the state exams, I always stood in the first line. But gradually they got used to me and accepted me into the team.

The atmosphere in the Moscow State Academy of Arts was normal, although not as calm and peaceful as in the Voronezh School. There I also rehearsed a lot, but in Moscow the workload was much higher. My teacher, Natalya Valentinovna Arkhipova, worked with me a lot. She amazing person, probably the most honest and sincere of all the ballet people I have ever known.

Everyone said that you need to go to the Bolshoi Theater.

Both the teachers and the children knew that I was going to Stasik and tried to dissuade me. They said that the Bolshoi is a completely different repertoire. Only there they put on large-scale multi-act performances, which are often simply impossible to imagine at the Stanislavsky Theater. My classmates only dreamed of the Bolshoi Theatre. And I had no idea that I could get there. Popular rumor claimed that the Bolshoi was taken exclusively by connections and for bribes. My mother and I had no connections, no money.

At the very beginning of 2009, thanks to the same Maximova and Vasilyev, I received the Triumph youth award.

I learned about it from Filin. Somehow calls:

Why didn't you say you got an award?!

- Triumph.

Hear it for the first time.

Wow! So, let's go to the ceremony together. You should get an invitation.

The next day I received the envelope. And I was a little upset, because with great pleasure I would have gone to the award ceremony with my mother, but I did not dare to disobey Sergey Yuryevich.

Now I think: why did he need to appear with me? Maybe Filin wanted to show everyone that I was "his" artist? Before the ceremony, Sergei Yurievich and I went to a boutique of a well-known Italian brand, where they picked up an evening dress for me. Owl said: “Be careful not to tear off the tags. Then you will return everything. After the ceremony, Sergey Yuryevich took me to the Stanislavsky Theater, where I took off my "ball gown" and gave it to him. Just like in the fairy tale about Cinderella.

The other would probably be upset, but I was extremely happy that I got to an extraordinary ceremony, that great artists honored me with attention. Although the "Triumph" caught strange looks. Looking at Sergei Yuryevich and me, many, apparently, decided that it was he who arranged the award for his young companion. We looked, probably, ambiguously. But I didn't think about it.

I was too young and only rejoiced like a child that, having received a hundred thousand rubles, I could buy clothes for myself and my mother. We had almost nothing. The only thing that saved us was that both of us had never been anywhere except work and study. I sat in the academy all the time, rehearsing day and night. Prepared for final exams and for the Moscow international competition ballet dancers and choreographers.

Once I got into a conversation with one boy in a boarding school, and he said: “Lin, why do you need this Owl? You're only sixteen." I didn't immediately understand what he meant. It turned out that the guys thought that I had a relationship with him. And Sergey Yuryevich and I did not communicate so often. Never noticed much interest on his part. Once, Filin came to visit us at Bratislavskaya when we settled in, and then he only called, asking how things were going, studying.

So it was very disappointing to hear that.

After the final exams, Gennady Yanin, the then head of the Bolshoi Ballet Company, talked to my mother. He wanted me to work for him. Mom replied that we had already agreed with Sergei Yuryevich. But life itself put everything in its place.

In May 2009, we had graduation concerts, and at the same time the Stanislavsky Theater celebrated the seventieth anniversary of the ballet troupe. I rehearsed both at the academy and at Stasik. His soloist Semyon Chudin was supposed to dance with me at the graduation concert the ballet Paquita. With him, I have been preparing for the Moscow competition for almost a year. But Sergey Yuryevich suddenly put me on the poster of two of his anniversary concerts, without asking permission from Leonova, although I was not an artist of his troupe, I was a student at the academy and obeyed the rector.

She was against me dancing at the anniversary in Stasik, it was important for her graduation concert. Marina Konstantinovna told Filin about this, and a conflict arose between them.

I had no idea what was going on. But I was very surprised when, after a rehearsal at the Stanislavsky Theater, I was invited to the personnel department and urgently registered in the state, and immediately to the seventeenth ballet category. The eighteenth was the highest at that time; folk artists. It was unexpected, because I had not even received my diploma yet.

Before graduation, Chudin injured his back, I went to Paquita with another artist of the Stanislavsky Theater - Georgi Smilevsky.

Filin promised that Chudin would dance with me at the Moscow competition. He said that Semyon's injury was not serious, he would have time to recover. And at the very last moment, he suddenly announced that it was not necessary to participate in the competition.

Leonova could not allow our efforts to go to waste. She agreed that Chudin would replace Ovcharenko. Artem danced at the Bolshoi, but often helped the academy. Upon learning of this castling, Filin said:

Give up Ovcharenko!

I can't, I don't have a partner, and there are only ten days before the competition.

Well, to hell with it, with this competition!

Sorry, Sergey Yurievich, but I whole year prepared, Arkhipova put so much effort into it.

I can't let her down and Leonov.

Give up Ovcharenko, he repeated.

Ovcharenko was a student of Tsiskaridze. Filin and Nikolai Maksimovich had a difficult relationship, which I did not suspect at the time. And also, perhaps, Sergei Yuryevich received information from his people at the Bolshoi that director Anatoly Iksanov met with Tsiskaridze and asked him to convince Angelina Vorontsova not to refuse an invitation to the theater. (I found out about their conversation much later.) Nikolai Maksimovich fulfilled his mission.

When it became clear to Filin that I would not refuse the competition and Ovcharenko, he called my mother and told me to put the keys to the room on Bratislavskaya on the table the next day.

Mom was horrified. Luckily, we didn't have much. I took part of it to the boarding school, the rest my mother moved to a colleague at work, who agreed to shelter her. And just a couple of days later, the Bolshoi Theater provided us with housing - excellent two-room apartment where my mother moved. While the competition was going on, I continued to live in the boarding school.

Filin demanded that I come to him at the theater to explain myself. But Leonova and Arkhipova unanimously said: “Linochka, in no case do this, you don’t need unnecessary shocks before the competition!” Natalya Valentinovna even accompanied me to Stasik when I took the keys, a tutu and a suit for a modern room. Everyone was left on guard.

Sergei Yuryevich still has not forgiven me for not coming to talk to him.

I read that he approached me with a question why he quit, and I answered him rudely - this is not true. And after the return of Sergei Yuryevich to the Bolshoi, of course, I greeted him, and did not look at him as if at a wall. But more on that later...

Mom called Filin. Tried to explain that I could not do otherwise. She also realized that it was not worth going to Stasik: by that time, Sergei Yuryevich had managed to show himself as a rather tough and authoritarian leader who did not tolerate objections. He did not really listen to his mother, he hung up.

I won the competition. She received a diploma and came to the Bolshoi Theater. Almost immediately, Vladimir Vasilyev invited me to participate in his new production"The Conjuring of the House of Escher". I danced with Artem Ovcharenko and Yan Godovsky, we were the main performers.

It's just a gift of fate - to work with Vladimir Viktorovich, to become the first performer in his performance. I could not believe in my happiness. So she strove to pinch her hand: Am I awake? And really working with this great man?

At the Bolshoi, they hired luminaries. This is slightly lower in rank than the soloist, but the salary is almost the same. I immediately took up the development of a solo repertoire. My teacher was Nikolai Maksimovich Tsiskaridze.

We got along very quickly. Although at first Tsiskaridze “examined” me. For example, he casually asked:

What is edelweiss?

I told:

Flower. What's with the weird question?

Then he asked:

And how many fairy tales does Pushkin have?

For him, the level of erudition of the artist is very important. I answered almost all questions, and Nikolai Maksimovich calmed down.

In professional terms, it turned out to be much more difficult to pass the test with Tsiskaridze. His ballet class very different rapidly execution of movements. I did not have such practice, I did not immediately get used to it. She stood on the side of the machine and was dying of fear. Only soloists and prima go to Nikolai Maksimovich. I first saw Maria Alexandrova, Ekaterina Shipulina, Elena Andrienko and other stars at his place.

I couldn't keep up with them and was terribly ashamed of it. I wanted to show myself better side, but it didn't work.

Tsiskaridze teased: “Come on, Alina Kabaeva, show me how you do ballet!” He knew about my gymnastic past and saw at the Moscow competition in the number "Cleopatra", staged by Morihiro Iwata. I was bending very strongly there, doing splits, standing on my elbows. Nikolai Maksimovich remembered this.

When he was appointed my teacher, I was very happy, but also surprised. I did not expect that Tsiskaridze himself would want to work with me, and in general it is very rare for a man to take a female student. Then Sergey Yuryevich Filin will persistently advise changing the teacher. Say, a man cannot know a woman's dance.

But Nikolai Maksimovich knows him! Firstly, he went through the school of Semenova and Ulanova, rehearsed a lot with them, listened carefully and memorized every nuance. And then he introduced more than one young performer into ballets. To say that he does not understand something in our business is wrong. It is no coincidence that many experienced dancers at the Bolshoi Theater, if their female teachers fall ill or leave, turn to Nikolai Maksimovich and ask to work with them.

Tsiskaridze was not just my teacher, he introduced me to the ballets that he himself danced. First of all - in the ballet "The Nutcracker". Nikolai Maksimovich dances it every year on the thirty-first of December, and then he gave me a gift for New Year. After the performance, Anatoly Gennadyevich Iksanov approached. Congratulated, gave flowers.

It was a pleasure.

The Bolshoi was well received. I didn't feel jealous or hostile. But at first she was frightened, did not know how to behave. I am quite shy, I never make contact first, and in the theater I, in fact, had no one to establish it with. Due to my age and position, I could not communicate with folk and honored artists in the class of Nikolai Maksimovich. And she practically did not intersect with the rest of the troupe, since she was not engaged in corps de ballet rehearsals, she prepared a solo repertoire with a teacher and accompanist. For a long time I only knew the girls I sat with in the dressing room. Usually everyone gets to know each other on tour, but at first I didn’t have them, and I walked around the theater like through a dark forest, not knowing anything, not understanding anything. ABOUT romantic stories there was no question.

I was in a kind of isolation. She just worked like crazy, preparing new parties. Two seasons have flown by. Everything was going great. And then Owl returned to the Bolshoi ...

The fact that our troupe was headed by Sergei Yuryevich, I found out by accident. That evening there was a ballet "Raymonda". Usually, going to make-up before the performance, the artists sign in a special form. Next to him lay the order to appoint Filin to our artistic director under a five-year contract.

Heart skipped a beat. Semenyaka was standing nearby. Apparently, I changed my face, because she asked:

What, did you read the order?

Well, why are you so upset? He always liked you.

Thinking about it, I relaxed. I decided that Sergei Yuryevich had nothing to keep angry at me for, after all, we acted the same way. He blamed me for violating the agreement and leaving for the Bolshoi. And he himself did not complete four months under the contract at Stasik and returned to his alma mater as soon as the opportunity presented itself. I thought we'd get along, but I was wrong. "The first bell" sounded pretty soon: I was removed from the Paris tour.

Why - it was clear. About a month before that, I went to Paris on behalf of the Maris Liepa Foundation and danced Chopiniana with Tsiskaridze at the Champs-Elysees Theatre.

Apparently, Filin could not survive it. I became convinced of the way he treats Nikolai Maksimovich while preparing for the Moscow International Ballet Competition.

After the arrival of Sergei Yuryevich, Bolshoy Tsiskaridze was gradually no longer allowed to new productions. Just one example: last season in May, he was supposed to dance the premiere of Jewels. But before that, he performed in the same ballet at the Mariinsky Theater - with Ulyana Lopatkina. The performance was remembered by many, I saw it only in the recording, but I must say that it is wonderful. As a result, Tsiskaridze never danced at the Jewels Bolshoi Theatre. The management decided that he ... would not have time to learn the game before the premiere.

Many rejoiced when Filin was appointed to us, after all, he himself was the premiere of the Bolshoi Theater, everyone knew him. But the hopes that "one's own" person would treat the troupe with understanding and respect did not come true. Before the appearance of Sergei Yuryevich, we entered the repertoire smoothly and gradually. The management appreciated the leading artists, they danced a certain number of performances, and no one removed them from the role without explanation. Filin broke this system. He brought with him a lot of new performers who wanted to prove themselves. With his filing, the newcomers began to push back the old-timers. Sergey Yuryevich immediately made his nominees soloists, leading soloists and premieres. Of course, there was dissatisfaction in the troupe. It's one thing when Mariinsky Theater they invite Svetlana Zakharova, and it’s completely different when unknown artists are recruited.

It is probably no coincidence that such stars as Andrei Uvarov, Natalia Osipova and Ivan Vasiliev left the Bolshoi Ballet in the last two years. I wouldn't be surprised if other premieres and prima ballerinas follow. Some after all are practically not occupied in the repertoire.

Sergey Yuryevich likes to tell that he did not "clamp" anyone and did not put forward to the first positions without any special reason. As an example, he cites the career of his own wife Masha. Like, with him she will never turn from a soloist into a prima: as she performed small parts, she will continue to perform. But in 2011, when Filin became artistic director, Maria Prorvich suddenly became a corps de ballet dancer and began to dance premiere after premiere. Yes, her parties are not the most important, but, in my opinion, the difference in the previous and current position of Mary is obvious.

At the very beginning of work, Filin told the artists: "Come in with all your questions and problems, the doors are always open."

I naively believed, took these promises at face value. In the spring of 2011, Vladimir Viktorovich Vasiliev offered to go to America with the "Spell of the House of Eschers". The tour was scheduled for July. I went to Sergei Yuryevich and asked to be released.

Which America? - he said. - We are currently staging the ballet Symphony of Psalms. You are busy there.

But the compositions have not yet been approved!

So what, the numbers match. Okay, I'll talk to Vasiliev myself and solve this problem.

Thanks, Sergey Yurievich!

I rejoiced.

Wait, you'll thank me later.

I never got on tour. And Vasiliev ... stopped communicating with me. Apparently, Filin told him that I didn't want to go. Two months after returning to the Bolshoi, Sergei Yurievich had a conflict with Pavel Dmitrichenko. I didn’t really know him then, I just knew him as a ballet soloist.

There was a skirmish in the BRZ - the Great Rehearsal Hall. There was a run of "Giselle". When the first act ended, Sergei Yuryevich began to shout at the corps de ballet: - You all do not go at full speed, do not try, do not work out!

If you don't like something, leave! I'll take others. Do you think there is no one to replace you?!

Dmitrichenko was busy in the run. In Giselle he dances Hans. Pasha cannot stand even the slightest manifestation of injustice, and then he could not remain silent.

Why do you insult artists, why don't you appreciate them? - asked Dmitrichenko. - They are the pride of our theatre. The corps de ballet of the Bolshoi has been recognized as the best in the world for the second year in a row. Or do you not know about it? So read online.

Flynn turned purple. He decided to show who's boss. I'm used to behaving like this at my previous place of work. But Stasik and the Bolshoi are completely different theaters.

Our artists have a very developed self-esteem, which is understandable: the best work here.

They got into a big fight. The funny thing is that then Filin began to say in almost every interview that we have the best corps de ballet in the world! But Pasha took revenge. Dmitrichenko danced the Evil Genius in Swan Lake. We never change line-ups, only if the artist is seriously ill or something happened to him. And Dmitrichenko was suddenly removed from the play without explanation. Fermentation began among the soloists, many wanted to go to Filin in order to protect Pasha, but quickly wilted. They were probably afraid that they would also be removed. Or they will find a way to punish them in some other way.

On that run, I noticed Dmitrichenko. I remember thinking: “What a brave guy!

Not afraid of anything." But we didn't talk for a long time.

Once I left the theater and saw Pasha on a motorcycle at the entrance.

Sit down, he suggested. - Let's go with the wind.

No, thanks. I'm better on the subway.

She turned and ran away. I was afraid of something.

It wasn't until the next season that our relationship got off the ground. When they began to communicate, I immediately felt that Pasha was “my” person. He is very gentle and caring. A true friend, good son and brother. Pavel is from a family of dancers. His parents once worked in the Moiseev Ensemble, but have long since retired. Pasha has two older sisters.

Dmitrichenko came to the Bolshoi immediately after graduating from the Moscow State Academy of Arts in 2002.

He is a very talented dancer, but his creative life was not easy. After an injury at the end of the first season, problems with his leg began. Pasha had to undergo several operations. The first was unsuccessful, the leg did not heal, festered. For a long time he could not work and was already thinking about leaving the theater. “If they told me that in a few years I would dance Spartacus, I would never have believed it,” he recalled. This is one of the most difficult parts both technically and in terms of acting, and performing it is a real test for a dancer. Especially for a dancer with an operated leg.

Pavel played this role beautifully. Yuri Grigorovich, director of the legendary ballet, greatly appreciated his interpretation.

Dmitrichenko is generally one of his favorite artists. If not for him, I think Pasha would never have received the title role in the ballet Ivan the Terrible, staged by Yuri Nikolayevich.

Pasha loves his profession, but he is not a fan of ballet, like some of our colleagues, who are ready for anything new role. I always said that ballet is not the whole life, one day you will have to leave it. Of course, when Pasha had a job, he devoted himself completely to her. How else, if you were entrusted with such a party as Ivan the Terrible or Spartak? After all, it is necessary not only to dance - to live. But if there was a pause, Pasha did not fall into despair and did not sit idle. IN Lately actively engaged in dachas. He headed the garden association of the Bolshoi Theatre. On Mondays, on his only day off, he got up at seven in the morning and went to the Moscow region - met with local authorities, surveyors, builders, gas workers.

Everything was on it: the design of sites, and roads, and gas. Recently, Pasha was also elected head of the union of creative workers of the Bolshoi Theater. The artists, apparently, understood that, like him, their interests are unlikely to be defended by anyone.

Dmitrichenko always cared about others more than about himself. Once a colleague twisted his leg on the run. Pasha immediately stopped rehearsing, grabbed the guy in his arms and carried him to the car to take him to the emergency room. When another dancer, Viktor Alekhin, fell seriously ill, Dmitrichenko initiated a fundraiser for his treatment. He and many other artists donated the fees from the premiere performance of the ballet "Ivan the Terrible" to the "Vita Assistance Fund."

Alekhine was sent to Germany. Thank God he's on the mend.

How unfair and painful it is that just when Pasha finally received a worthy repertoire and success came to him, he was deprived of the opportunity to work, declared the organizer of a monstrous crime! I am very sorry for him - not only as a loved one, but also as an artist. Everything was so good with him, we thought about the wedding ...

The novel developed rapidly. At the end of November we went to Venice together. Pasha organized a magical trip. And even though it lasted only three days, I will never forget it.

Before leaving, he came to our house to meet my mother. She accepted it right away. I saw that we love each other, that our eyes glow with happiness.

Pasha was not shy about confessing his feelings. Once he wrote on the pavement at our entrance: “Angela, I love you!” Mom gasped when she saw huge red letters and a heart next to it. Usually everyone calls me Angelina or Lina. And Pasha - Angela.

We did not advertise our romance. It turned out to be easy. We went to different classes, and we had different schedules and different repertoire. Tsiskaridze was the first to recognize. No matter how you hide, rumors spread very quickly in the theater. We understood that sooner or later they would “denounce” him, and decided that my teacher, as a person really close to me, should hear about our relationship from ourselves. Came with Pasha to his locker room: -Nikolai Maksimovich, we're going to Venice.

Do not you mind?

Of course not! - he said. - Go guys. I'm happy for you!

In Venice it was damp and dank. Even there the weather is bad at the end of November. If it weren’t for Pasha, who radiated amazing warmth and love, I probably would have become depressed and ill. And she was surprisingly upbeat. For three days I dragged my beloved around museums and local attractions. He cannot stand such a pastime, endured all these excursions only for my sake.

Our last trip so far was also to Venice. In February we both participated in youth program the Benois de la Danse festival. Pasha by age can hardly be considered a ballet youth - in January he turned twenty-nine - he was asked to replace a sick artist.

We danced in the town of Legnago, and on the weekend, together with our colleagues, we went to Venice - the city of our love. Now I'm thinking: is this really the end? Is the circle closed?

Sergei Yuryevich and his wife in their interviews call Pasha hot-tempered, rude and always dissatisfied. It's hard for me to agree with this. He could be harsh, but only with those who were rude, tried to humiliate. Many prefer to remain silent, but Pasha did not give up. It is only incomprehensible how the “rude and eternally dissatisfied person” has so many defenders and friends? They fight for him in every possible way: they collect signatures, draw up references, help with lawyers, carry parcels. Why, if Pasha is so bad?

He rarely quarreled. If someone, in his opinion, behaved incorrectly, he tried to explain himself. I don't remember Pasha ever having a rough fight with another artist or director. And he is highly respected in the team.

None of the people who know Pasha can believe in his guilt. “Dmitrichenko - the customer of the crime? they say. - It can not be! It doesn't fit in my head! And in general, it is impossible to imagine that a normal, successful man decides to kill or mutilate a person and break own life, the life of his loved ones only because his girlfriend was not given roles!

Masha Prorvich says that I demanded from Sergei Yurievich the part of Odette - Odile. And he replied that he had twelve prima ballerinas standing in line for " Swan Lake for which I am not yet ready.

And in general - you need to work with a female teacher. This advice, they say, was perceived by Nikolai Maksimovich as an insult. “Keep in mind,” Tsiskaridze said to Filin, “Angelina recorded this conversation on a voice recorder!” Reading this is strange and amazing. Everything was different.

In the spring of last year, it became clear that I was purposefully put in less significant parties. They seem to provide work, but on a completely different level. Not at all the one that was promised by the leadership from the very beginning, even before the arrival of Filin. Nikolai Maksimovich decided to talk with Sergei Yuryevich so that he would give me the opportunity to dance Swan Lake. It was at the rehearsal of the ballet Le Corsaire, between acts.

I was not present at the conversation, but Tsiskaridze told me: “Everything is fine, he doesn’t seem to mind.” And then an interesting situation arose.

"Swan" I could dance in mid-May or June. But I was scheduled for an American tour. I did not perform the leading solo parts in those performances, but it turned out to be absolutely impossible to shoot Angelina Vorontsova: there was no one to replace, although we have a queue of seven soloists for each variation! Who will take the stage depends on the desire or unwillingness of the leader. I had to go to America, so it was not possible to prepare a game at Lebedin. Filin acted in his usual manner. It seems that he promised something, and then made the fulfillment of the promise impossible.

But what about the "Swan"? - I asked Filin, returning from the tour. You didn't seem to mind.

I still don't mind," he replied. - But we have not yet decided on the compositions for this ballet.

As time went. At the end of the season, I think last days July - Sergei Yuryevich called me to his place.

You need to give up Tsiskaridze.

His contract as a teacher is ending. According to my information, it will not be renewed, you will have to work with someone else.

But why, in this case, should I refuse Nikolai Maksimovich?

Sharpen relationships? One way or another, everything will work itself out.

Flynn was disappointed. He pushed me to the scandal, but I did not succumb.

It is true that he advised to work with a female teacher. And not once, but constantly, at every opportunity. But my performances showed that everything works out great with Nikolai Maksimovich. And every time I answered: “My teacher completely suits me, it is comfortable to work with him, besides, he gives classes. Namely, the professional training of the artist begins with the class.

The next season has begun. With "Swan" it was still unclear. In December last year, I ventured to visit Filin. She didn't demand anything, she just said:

Sergei Yuryevich, I would still like to try myself in the part of Odette - Odile.

You know - I've been dancing at concerts for a long time and pas de deux, and adagio from "Swan Lake" and pretty well prepared. In addition, this ballet is performed much more often than others, it is easier to get into it.

Can I prepare some more pieces and show you?

Well get ready...

I didn't feel any resistance. But I haven't heard anything definitive yet.

When the compositions of the ballet The Nutcracker were hung out, I saw that out of twenty performances I had only two.

Of course, it was not very pleasant, but what could I do? It is not customary for us to challenge management decisions. And when I hear that Pasha allegedly demanded to make himself prime minister, and prima me, I am surprised that this is said by a ballerina of the Bolshoi Theater, who knows its specifics very well. There is no practice of "making" stars by magic.

Pasha and I are not obsessed with titles. Yes, I wanted and still want to dance in Swan Lake - because there are developments and it is easier to get into this frequently performed ballet. But in order to perform Odette - Odile, it is not necessary to be a prima. And Pasha did not need to be a prime minister to dance Spartak and Ivan the Terrible, which he did.

Because of me, he never came into conflict with Filin.

And tried to defend others. In December last year, a commission was meeting on grants, which all ballet dancers of the Bolshoi Theater receive once every three months. It decided who gets how much. The last word was for the artistic director. Sergey Yuryevich tried to reduce payments to those who were not interesting and necessary to him, and to increase them to his nominees. Pasha tried to restore justice, after which he was removed from the commission.

Of course, he was worried that the girl he loved was not put in some parties or removed from the tour, but it never occurred to him to go to our leader to download rights. This is against theater ethics.

At one time we discussed the possibility of my leaving for another theater. Pasha said: “If you do this, I will only support you.

After all, there are other good troupes.” In general, we did not often discuss professional matters, he said that it was better to consult a teacher, and I am convinced that none of my troubles could cause him to conflict with Filin, which allegedly led to the tragedy ...

I believed that the nightmare would dissipate, we would get Pasha out of jail. His friends and colleagues did not sit idly by, collecting testimonials, guarantees, and preparing a collective letter.

On March 7, a meeting was held at the theater, which was attended by employees of the investigating authorities. They talked about Pasha's fault as something proven and made it clear to everyone that the case was actually closed. The group was outraged. And after the remark of the lawyer Filin:

Why are you so worried about Dmitrichenko?

He has normal conditions in the pre-trial detention center. Why don't you worry about Sergei? - everyone just yelled:

How can you say such a thing?!

A positive reference to Pavel Dmitrichenko was signed by one hundred and fifty employees of the Bolshoi Theater. Thirty people's and honored artists vouched for him. The team sided with Pasha. I did not hear anyone say: “Yes, of course, he should be imprisoned! He's a scoundrel, a scoundrel!"

The letter in defense of Pasha was signed by three hundred and fifty people. Then, in a strange way, some of them were removed from the tour in London - Maria Allash, Anna Leonova ...

Pasha's parents were given a meeting two weeks after their son's arrest.

He held himself so as not to upset them, and they tried to show that everything was in order. Pasha worries about them, especially about her mother: she has diabetes and she is a disabled person of the second group.

Recently they told me that they went to the temple and talked with the priest.

Do you know, Lina, what he said? Probably, these events were sent by God to save Pasha's life. Yes, he is imprisoned, but alive. And in freedom, something terrible might have happened to him.

What? - I did not understand.

You know how he drove a car, a motorcycle.

Almost died once. So God decided to save him.

Pasha somehow got into an accident in his BMW, only airbags saved him. He was not injured, but the car had to be taken to a landfill. The father’s words seemed a little strange to me, but I decided: “So be it, if it gives some consolation to Pasha’s parents.”

I was only allowed into prison once, at the end of April. But this too - great luck. Dates are given to close relatives, and we are not spouses. The investigation simply showed sympathy.

I still can't remember our meeting without tears. I thought we would talk like people for at least an hour, but I had to talk on the phone through the bars and two glasses.

I was sitting in a special booth, opposite - through a guarded passage - was Pasha. He did not complain, on the contrary, he said that everything was fine, they did not offend him, there was an opportunity to eat normally. But gradually he told what he had to.

From the fifth to the seventh of March, Pasha was under interrogation and practically did not eat for two days. For some reason, it so happened that when other detainees were fed, important events were held with him all the time.

Pasha spent four hours in the so-called "glass". I didn’t really understand that it was a special camera or some kind of booth. Only one person can be in it and only in a certain position - standing or bending in half. At first we got an inexperienced lawyer, he could not influence anything. He didn't even bother to feed Pasha.

In fact, he was left to himself. And we didn’t know anything about him and went crazy. Only five days later, a note from Pasha was handed over from the pre-trial detention center: “Do not believe in anything and hold on. The main thing is that everyone is healthy, but everything is fine with me, I eat three times a day. But while we were not able to organize transfers - there were holidays- Pasha practically sat hungry. What is given to prisoners cannot be eaten. And everyone has one bowl, they put only the first or second in it, or they dump everything in a heap.

I tried not to cry when I listened to it. And he, to support me, smiled, joked. He did not seem scared or depressed, although, of course, he was having a hard time. After the trial, which took place on April 16 and extended Pasha's detention, he even had a heart attack.

On a date, he was interested in affairs in the theater.

Said, "Don't freak out. Be sure to work." I did not begin to tell that the relationship with Galina Olegovna Stepanenko, and. O. artistic director of the Bolshoi Ballet, so far they are not very shaping up. Pasha told me that at one time she was not indifferent to him ...

I tried to cheer him up. She said that the guys are fighting, collecting money. “Better give them to Vita Alekhine. He needs them more, ”Pasha answered.

The question that tormented me: why did he confess to what he did not do, I could not ask. On dates, it is not allowed to talk about the circumstances of the case, to discuss what constitutes the secret of the investigation.

But no matter what they write about Pasha, I don’t believe that he is somehow involved in what happened to Sergei Yuryevich.

This meeting cost me huge forces. Returning home, she called Nikolai Maksimovich, for the first time in her life asked to cancel the rehearsal. “Yes, yes, of course, I understand everything,” he replied. And I fell on the bed and lay there until the evening. I couldn't even cry.

My teacher is very supportive. In mid-May, Nikolai Maksimovich and I went to Kazan for the Festival classical ballet named after Rudolf Nureyev, they danced the ballet "Giselle". It became a real distraction. The Bolshoi Theater still has work, but it is on a completely different level.

And very rarely justified. I heard from a lawyer that only half a percent of acquittals are passed in Moscow, but I really hope that Pasha will fall into them ...

Angelina Vorontsova, whose name was associated two years ago with an attack on the artistic director of the Bolshoi Theater Ballet Sergei Filin, got married. But not with the dancer Pavel Dmitrichenko, who is now serving a sentence. Angelina became the wife of another man.

Nobody has forgotten this terrible state of emergency in the world of art. Acid was thrown in the face of Sergei Filin, and one of the leading dancers was named the customer of this monstrous crime Big Pavel Dmitrichenko. According to the investigation, Angelina was his girlfriend, Filin did not let her grow, oppressed her in every possible way, so Dmitrichenko took revenge.

According to the teacher and the first partner of Vorontsova at the Bolshoi Theater Nikolai Tsiskaridze, "in what they said and wrote, there are three percent truth." Tsiskaridze said that at the time of the crime, Pavel and Angelina had almost parted.

A year ago, while in prison, Pavel got married, - said Nikolai Tsiskaridze. And more recently, on September 21, 2015, Angelina married Mikhail Tatarnikov, chief conductor and music director Mikhailovsky Theatre. There she is now on staff as a leading ballerina.

The ballerina was tried to be broken by behind-the-scenes intriguers, of which there are many in ballet world. Who exactly, Tssikaridze did not name. But she, as we see, everything is going well - both in her career and in her personal life. Already at the Mikhailovsky Theater in St. Petersburg, she danced 17 parts. But for Pavel Dmitrichenko, intriguers broke his career and life. Although there are big doubts about his guilt even after the trial.

According to Tsiskaridze, Dmitrichenko will not return to the profession. Unlike Vorontsova, his career is over. “It’s not even worth deceiving yourself. Pasha, I think no one understands this. Ballet is a daily workout. Even half a year or a year of break for ballet is too much. And there is too long a break,” said Nikolai Maksimovich.

Angelina Vorontsova was born in Voronezh on December 17, 1991. She studied at gymnasium No. 4 and was engaged in rhythmic gymnastics, performed at all-Russian competitions. She started ballet at the age of 12. In 2003-2008 studied at the Voronezh Choreographic School, where her teachers were famous ballerinas in the past, folk artists RSFSR: first Marina Leonkina, then Nabilya Valitova and Tatyana Frolova.

In 2008 she was admitted to the Moscow State Academy of Choreography in the class of teacher N. Arkhipova. In 2009 she graduated from the Academy and was invited to the troupe of the Bolshoi Theater of Russia. She rehearsed under the direction of Nikolai Tsiskaridze, he was also the first partner of Vorontsova in the performances of the Bolshoi Theater.

Since July 2013 she has been a ballerina of the Mikhailovsky Theatre. In the current repertoire of the ballerinas there are leading and solo parts in the ballets Giselle, or Wilis, Swan Lake, La Bayadère, Don Quixote, Halt of the Cavalry, Laurencia, Flames of Paris, Class Concert ”, “Vain Precaution”, “Sleeping Beauty”, “The Nutcracker”, “Romeo and Juliet”, “Prelude”, “White Darkness”. She took part in tours of the Mikhailovsky Theater in the USA.