Vasiliev Vladimir Viktorovich Artist Vasiliev Vladimir Viktorovich: biography, activities and interesting facts Vasiliev choreographer

Performer of the main roles in ballet performances Nutcracker/Prince ( Nutcracker), Pan ( Walpurgis Night), Poet ( Chopiniana), Danila ( Stone Flower), Prince, Stepmother (Cinderella), Batyr (Shurale), Andrey ( Page of life), Basil ( Don Quixote), Albert (Giselle), Frondoso ( Laurencia), Spartacus ( Spartacus), Majnun ( Leyli and Majnun), Ivanushka ( The Little Humpbacked Horse), Parsley( Parsley), Icarus ( Icarus), Macbeth ( Macbeth), Prin Desiree ( sleeping Beauty), Narcissus ( Narcissus), Lukasz ( forest song), Paganini ( Paganini), Paul the First ( Second Lieutenant Kizhe), Romeo ( Romeo and Juliet), Ivan groznyj ( Ivan groznyj), Sergey ( Angara), Baron ( Parisian fun), Zorba ( Zorba the Greek), Nijinsky ( Nijinsky), Balda ( The Tale of the Pope and his Worker Balda), Petr Leontievich ( Anyuta), Professor Unrath ( blue angel); Chaikovsky ( Long journey on Christmas night); Nijinsky-Diaghilev ( Diaghilev-Musaget)

Vasiliev's professional path began in the fall of 1958 on the stage of the country's first theater, where he was accepted immediately after graduating from college.

Having entered the Bolshoi, he did not even think that he would become a classical dancer: he liked parties in which you can play a role, a character through dance. Therefore, he decided that his lot was characteristic and demi-character roles.

The first season in the theater began (if only for a couple of months) with work in the corps de ballet, the lessons of which Vasiliev always considered very useful in his development. Even then, his solo performance of ballet scenes in operas was noted: the lezginka in The Demon, the gypsy dance in The Mermaid. The latter with L. Trembovelskaya and I. Khmelnitsky had such wild success the viewer that he had to encore. Pan's performance in "Walpurgis Night" from Gounod's opera "Faust" (staged by L. Lavrovsky, 1958) next to his beloved ballerina Olga Lepeshinskaya amazed with violent energy, furious, Bacchic frenzy: a brilliant grotesque dancer danced.

Until now, Vasilyev is perplexed why it was him, an inexperienced young man who came to the theater just a few months ago, that Galina Sergeevna Ulanova chose as her partner in the purely classical Chopiniana (1958). He himself, as often happened to him, was dissatisfied with his debut performance, but the honor and responsibility were great, and the beginning of the "classic" path was laid. It was Galina Sergeevna who would subsequently often direct him in the classical repertoire.

“Galina Sergeevna is a very demanding artist, very sensitive. With her work, what she once did, she left such an indelible mark on our perception that we treat every word that Galina Sergeevna says differently than the words of some other choreographer or dancer who reprimand us. Because her creative life passed before us, and the way she worked, how, what images she created on stage, she certainly affects our work. …. The most important thing that distinguishes Galina Sergeevna is an unusually complex inner world with a minimum of external means of expression. That's why her work is valuable to me personally. It has some kind of secrecy in the external plasticity and at the same time - an unusual internal fullness.

After "Chopiniana" there was an exquisite Prince in "Cinderella" by R. Zakharov (1959), a colorful Ali-Batyr in "Shural" by L. Yakobson (1960) and one of the most difficult, virtuoso parties - Paganini (1962) - to music by S. Rachmaninov in the production of the same name by L. Lavrovsky.

In 1959, together with a group of talented Soviet youth, Vladimir Vasiliev took part in World Festival youth and students in Vienna, where he received 1st Prize and a gold medal.

IN senior class school fate brought Vasilyev with wonderful person and the most interesting choreographer, an outstanding personality Kasyan Yaroslavovich Goleizovsky, who became Vasiliev's close friend and teacher, who revealed to the inquisitive young man so much new and beautiful not only in the art of dance, but also in literature, history, painting, sculpture. Vasiliev had previously been friends with many artists, visited their workshops, studied painting with them, began to write own paintings, and thanks to Goleizovsky, he also became interested in sculpture.

Friendship with this most interesting choreographer and person gave Vasiliev several unforgettable works, staged especially for him. With the famous "Narcissus" to the music of N. Cherepnin (1960), he performed at the first International Ballet Competition in Varna in 1964, where he and Katya were literally sent by order of the Ministry of Culture in the person of E. Furtseva (Vasiliev never again participated in ballet competitions). participated), and although he pulled out the number 13 during the draw at the competition, he won the Grand Prix. Since then, the Grand Prix at this most prestigious world show has not been awarded to anyone for more than half a century.

In the same 1964, the Paris Academy of Dance presented him with the Vaslav Nijinsky Prize "The Best Dancer in the World".

And “Narcissus” was later performed by other artists to whom Vasilyev gave this number, but no one else managed to create that image of primordial nature, the “childhood of mankind”, the complete merging of man with nature, which the choreographer sought, with such expressive power.

Other works with Goleizovsky are the lyrical "Fantasy" (1960) to the music of S. Vasilenko, the grotesque part of the Jester in a scene from the ballet "A Tale for the Jester Who Outwitted Seven Jesters" in documentary about Sergei Prokofiev (1960), and, of course, the unique image of Kais/Majnun in the oriental fairy tale-legend about the extraordinary and tragic love "Leyli and Majnun" by composer S. Balasanyan (1964). In this ballet, two scenes "Majnun's Monologue in the Desert" and an adagio with Layla became especially dear to Vasilyev. And today, many decades later, in these scenes, accidentally captured on film, the beauty of the “singing” is striking. human body, a stream of freely flowing plastic melodies and the "oriental flavor" of Vasiliev's dance. It contains an amazing combination of agonizing bliss and refinement with sudden outbursts of despair that tear apart the body. The dance is performed at such a crazy pace that the viewer invariably has a question: “Is this a speeded up shooting?”. Indeed, it is hard to believe that such perfection is possible in the dancer's comprehension of the sophisticated plastic form and complex, peculiar style proposed by the choreographer.

Goleizovsky often recalled the ballet idols of his time, and, above all, the legendary Nijinsky, whom he knew and loved well. Comparing Vasiliev with them, he nevertheless put him above everyone else, marveling at his originality and the scale of his talent.

In his article about K.Ya. Goleizovsky, Vasiliev noted: “ I am indebted to the many people I've been introduced to. creative destiny. But there were two people who had a huge impact on my creative outlook. These are choreographers Kasyan Goleizovsky and Yuri Grigorovich».

The meeting at the end of the fifties of the outstanding choreographer Yuri Grigorovich and the unique dancer Vladimir Vasilyev is probably one of the lucky destinies of the fate of both Masters. Grigorovich immediately noticed what an immense range of possibilities, equal in both technique and artistic embodiment, this performer is endowed with. And in his very first production at the Bolshoi Theater - the ballet "Stone Flower" by S. Prokofiev (1959), the choreographer gives Vasilyev the main role. E. Maksimova (Katerina) and M. Plisetskaya (Mistress of the Copper Mountain) became his partners Danila. The Bolshoi included this performance in the program of his first tour to the USA in 1959. For the 19-year-old artist, they also became the first - in life. And, although there were many of the most eminent masters on the tour, New York noted his extraordinary talent and charm from the very first performances.

Role craftsman and the artist Danila in The Stone Flower, as well as the role of Ivanushka in R. Shchedrin's subsequent ballet The Little Humpbacked Horse staged by A. Radunsky (1960), of course, was close to Vasiliev in its Russian style and character. His "Yesenin" appearance, "typification" perfectly matched the image of the hero of Russian fairy tales and legends. But, if in the role of Ivanushka the dancer bathed in the elements of humor, mischief, the bright colors of the Russian popular print, then in the role of Danila Vasiliev danced his selfless devotion, his ardent love for art. Surprisingly sensitively, Vasiliev captured the plastic Russian intonations in classical dance, which was especially clearly manifested in his Petrushka (1964). This “Russianness”, or rather natural breadth and unique national thoroughbredness, really marked the performing style of the first dancer of the 20th century. But very soon it became obvious that "Russianness", without losing its leading, main place in its individual characteristics, bloodlessly and naturally converged with artistic cosmopolitanism. In each new performance, Vasilyev presented on stage the truth that transcended temporal and national boundaries, lived above the limits of roles, swept away all genre restrictions and the boundaries of plastic systems. The patriarch of Russian ballet Fyodor Lopukhov wrote very emotionally about this: “ Speaking of the word "God" in relation to Vasiliev, I mean ... a miracle in art, perfection ... In terms of diversity, he cannot be compared with anyone ... He is both a tenor and a baritone, and if you want, a bass.". Later, Serge Lifar echoes this quote by Lopukhov, calling Vasiliev " magician of Russian ballet».

In 1966, Grigorovich invited Vasiliev to play the lead role in his production of The Nutcracker. Vasiliev's childhood and youth, his growing up in the choreographic school, were connected with this ballet by another choreographer V. Vainonen. He started in it with soldiers, then performed in all folk dances, and only at graduation he was entrusted to dance the main part with the charming Katya Maximova.

The joint creative life of these two young talents in the theater began to develop with the ballets of Yuri Grigorovich, an innovative choreographer, whose arrival they both warmly welcomed at the Bolshoi, and with whom for a long time were close friends and associates. Vasiliev always felt subtly what the choreographer wanted from him, rethinking what the director offered him and constantly being with him in a creative search, constantly improvising and trying and suggesting new movements, shades and strokes of the role.

The improvisational impression of Vasiliev's dance has always been one of his most important traits as a performer, one of the "secrets" of his influence on the audience.

With Grigorovich of that "golden" time of the Bolshoi, he felt a spiritual and creative community. The Nutcracker was probably the brightest performance in the work of both the choreographer and its main performers: the fragile and tender atmosphere of a Christmas fairy tale created by them is so tangible in it. The Nutcracker Vasiliev, according to the choreographer, is “an ideal fairy tale hero— a touching doll and a poetic prince, courageous and bold, and, as befits a true prince, truly elegant.”

It was The Nutcracker with Maximova and Vasiliev in the main roles on tour Bolshoi Theater in 1966, the old building of the Metropolitan Opera in New York closed.

In The Nutcracker, Vasilyev twice received a severe back burn: first at the Bolshoi in 1968 during a steam effect, and then in the same scene at the Metropolitan Opera, but with the use of chemicals. Both times Vasiliev brought the performance to the end, and in the auditorium no one suspected what it cost him!

However, in professional life Vasiliev, there were other stories as examples of the endurance and courage of the first soloist of the Bolshoi, which he had to show more than once during his performing career. Periostitis of the bones manifested itself in him from the first steps in the theater, when every movement was given with incredible pain Vasilyev overcame it only through patience and perseverance. A torn minisk, when only thanks to strong muscles he danced "Giselle" with A. Alonso and three "Don Quixote". Already on the operating table, the doctors could not believe that this was possible. And the torn ligaments on the encores in France, when he fell on the stage like a wreck. are just a few of the challenges ballet profession, which this favorite of the public overcame day after day, often dancing through incredible pain that no one was supposed to see. Even with the most difficult injuries, he went on stage and danced, not daring to deceive the audience's expectations.

A new version of The Sleeping Beauty was staged by Grigorovich for this duet in 1973. Again - an unexpected turn, because, it would seem, the party of the gallant French prince is far from Vasiliev's individuality. He generally disliked the "blue" princes: the sphere of ceremonial pantomime gestures was far from his creative aspirations. In addition, he always believed that his physical data was not very suitable for such roles. His figure, built rather according to the scheme of Leonardo - proportional, with developed male muscles, is seen in the sculptural works of the old Italian masters or in ancient images of dancing gods. Fedor Lopukhov wrote about it this way: Vasiliev remains a man in his dances, .. graceful like a man and graceful like a man ... He is powerfully beautiful in dance, like the creations of Michelangelo».

So it was in this version of Sleeping Beauty, where a joint search for a choreographer and a dancer led to the creation of an innovative image of the Prince - a lively young man who differed from the prim and palace stamp and at the same time organically fit into the drawing of the role.

In "Giselle" (1964), Vasiliev did not immediately come to the solution of the image of the protagonist. His Albert did not become a scoundrel, as he was seen by other performers of that time - rather, an unreasonable, inexperienced young man who did not think about the consequences of his actions. His interpretation of this role, shown in 1968 in Rome, made a splash. It was this version that later spread widely in the world.

G.S.Ulanova persuaded Vasilyev to dance Romeo in Lavrovsky's play (1973). The legendary Juliet of the ballet stage and Maximova's teacher helped him to prepare the performance. The nuances of the acting and plastic performance of this part, found by them together, presented the viewer not only with a boy in love, but also showed the process of his spiritual growth and maturation, the versatility of his nature.

« Then there was an absolutely marvelous teacher, tutor and himself - a terrific actor, the initiator of a heroic dance on the Soviet ballet stage - Alexei Nikolaevich Ermolaev.

Aleksey Nikolaevich Ermolaev was distinguished by one quality - he was not interested in whether we would do the pirouette accurately or not. Or rather, he ... believed that every dancer, a professional dancer, is simply obliged to do two rounds or three, if necessary, from fifth position to fifth. It goes without saying. But he always paid attention at his rehearsals - and it was very interesting - to the circumstances, everyday details and the meaning of what we are doing. That was very valuable." (from the memoirs of V.V. Vasiliev)

And yet the most revolutionary in the work of this remarkable artist was destined to be the ballet Don Quixote (1962), prepared together with his teacher, the famous dancer of the Bolshoi Theater Alexei Ermolaev. Vasiliev's performance of the part of Basil presented the ballet world with a new, revised edition, with newly invented movements and mise-en-scenes. This choreographic version of the role so successfully and firmly entered the fabric of this already “middle-aged” performance that it began to be considered canonical all over the world. In his article about Vladimir Vasiliev, Yuri Grigorovich described this event as follows:

« 1962 ... Everyone who is somehow connected with ballet, with the art of choreography, remembered him. In May of this year, Vladimir Vasiliev performed for the first time in the ballet Don Quixote, and I will not be mistaken if I say that he discovered new era in the history of men classical dance… He created a new standard, which has become a classic both in our country and around the world. Basil Vasilieva created completely new criteria not only for Don Quixote, but also for male dance in general».

A year after Vasiliev's premiere in Don Quixote, Vakhtang Chabukiani, another famous destroyer of the old canons in the ballet, gave him one of his favorite parts - Frondoso in the ballet Laurencia (1963).

Of course, the revolution made by Vasiliev in the male dance of the second half of the last century cannot be called a single act: there were predecessors, and comrades-in-arms, and “followers” ​​who independently manifested themselves. But it was Vasilyev who was recorded in the history of ballet as the first and main innovator: he rethought everything new that happened on the territory of the dance of that time in accordance with his ideas about the choreographic theater; I believed everything by my own attitude to art.

By the mid-60s, Vasiliev's God-given talent had already acquired a magnificent facet, turning his dance into a celebration of human plasticity in all its diversity. It had everything: irresistible charm, organicity, musicality, expressiveness combined with virtuoso technique, striking with an incredible soaring jump with an instant take-off and inaudible softness of landings, the beauty of pirouettes and the ease of the most complex lifts. Is it really possible to describe Vasiliev's "borderless dance" in words?!! The most authoritative in ballet world Pavel Gusev drew his conclusion: “ A bright and powerful master, Vladimir Vasilyev "rules the ball" at the Bolshoi Theater. It is impossible to dance better than him, just like him it is difficult, and worse, it is pointless!»

The special, unique plastic expressiveness of Vasiliev's hands, in which either incredible masculine strength and power, or almost childish tenderness and timidity, will remain unforgettable! It was as if they were sung about in a song: “like two big birds” - their swing was such a bewitching sight. Vasiliev soared over the stage with his arms wide open, and it seemed that he could embrace all of humanity with them. Ballet critics called these hands "Versailles", and in form they are an exact cast of the father's large working hands. But their endless cantilena created the feeling of incredibly long, boundless lines. The audience saw the artist covering the huge stage of the Bolshoi, although in life Vasiliev was not a giant. But it is the illusion, in which one unconditionally believes, that creates real art, the art of theater in particular.

Vasiliev gave this illusion to his audience in many bright and unique roles. And yet the world still associates his name with the image of the rebellious Roman gladiator in Yuri Grigorovich's ballet "Spartacus" (1968), which has become, without exaggeration, a cult. The choice of the main character was apparently not an easy task for the choreographer. For Vasiliev himself, this proposal was unexpected: in previous productions by I. Moiseev and L. Yakobson, the role of Spartacus was played by tall and stately artists of a heroic role, to which he himself was not very suitable. But the dancer was instantly carried away by the idea proposed by the choreographer, and this choice became truly historic. According to the definition of A. Messerer: “ at the age of twenty-eight, Vasiliev made a role that immediately got into the "selected series, which has general cultural and timeless significance.". For many generations of ballet lovers in Russia, Vasiliev became “our Spartacus” not only on stage: the will and desire to win, courage and perseverance in the name of justice and happiness, embodied by him in the performance, inspired people in life to overcome any obstacles and difficulties for the sake of cherished goal. The legendary Italian ballerina, also a partner of Vasiliev, Carla Fracci wrote about him: “ Vladimir Vasiliev is a symbol for the generation that grew up with him. The embodiment of a beautiful dream».

Ironically, it was Spartak that became the apogee in the creative community of Yuri Grigorovich and Vladimir Vasiliev. As is often the case, reaching highest point, their relationship both in creativity and in life began to decline. Vasiliev has always been a principled and straightforward person. Straightforwardness was a natural state for Vasiliev. The fact that he criticized several of Grigorovich's "post-Spartak" works at the Artistic Council of the theater had no ulterior motive or built-in strategy. He then sincerely believed that it was not only possible, but also necessary, without hiding, to speak openly the truth “in the eyes” of everyone, even the chief choreographer and especially a friend. Such criticism, in his simple-hearted conviction, should have helped and benefited the common cause. Naturally, she strongly touched Grigorovich to the quick. He perceived and regarded it differently, and after the production of Ivan the Terrible, the part of which Vasilyev had already prepared with Galina Ulanova (1975), and the ballet on the Soviet theme Angara (1976), there was a final break, painful for both: their paths diverged forever .

Fate decreed that Vasiliev never had a “creative void”. In 1977, a master appeared in his life, whom he had always admired. The famous choreographer Maurice Bejart staged "Petrushka" on it in his troupe "Ballet of the 20th century". Working with Bejart carried a lot of new and interesting things. The original artistic vision of this unique choreographer opened up new horizons for Vasiliev in the art of choreography. In 1979, Bejart gave him and Katya a duet of extraordinary beauty and plasticity from his ballet "Romeo and Julia" to the music of G. Berlioz, which they performed on the set of the film "White Nights". The great choreographer admitted in an interview that he had never met such a dancer before, who “ combines everything: virtuosity, technique, dramatic talent, versatility and power».

Each speech by Vasiliev, regardless of his geographic point, was unique and unforgettable, each invariably gave rise to an increasing number of fans around the world, many of whom followed him on all his foreign trips. From role to role, from ballet to ballet, Vasiliev created the image of a dancer of the world, which no one will be able to repeat or recreate after he left the stage for a long time to come.

Short, but interesting and fruitful was the work of Vasiliev and Maximova with the famous Italian director, a student of Visconti, Franco Zeffirelli in 1982 in the film-opera La Traviata. Their meeting took place thanks to a friend - the English lady Saint Just, nee Princess Obolenskaya. To the question of her friend Zeffirelli, whom he could invite as the best ballet couple peace, she exclaimed: "How, don't you know? Of course, Katya and Volodya! True, Vasilyev did not like the choreography originally proposed for the film, and he decided to abandon filming. But, having received "carte blanche" from Zeffirelli, he changed the choreographic pattern Spanish dance, staging it in his own way, and together with Maximova brilliantly performed to the pleasure of the exacting Italian master. The applause and enthusiastic exclamations of the choir and mimams on the set after their performance is not a specially invented scene built by the director, but just a spontaneous, sincere reaction of the audience, successfully included in the film.

In 1987, Roland Petit invited Vasiliev to the main role in " blue angel with the troupe of the Marseille Ballet. The performances in Paris were a great success.

The premiere of Lorca Massine's production of Zorba the Greek (1988) to the music of M. Theodorakis with Vasiliev in the title role at the grandiose Verona Arena made a splash. The audience, who filled the square near the walls of the ancient Arena after the performance, chanted “Zorba!” to him. For Italy, which for more than thirty years provided Vasilyev with its best stages and arenas, Vasilyev forever remained "Il Dio della Danza". He was recognized everywhere, bowed in the streets, held photo exhibitions, vied with each other invited to participate in a variety of events and projects.

In addition to his constant partner, Vasilyev also danced with other outstanding ballerinas, such as Maya Plisetskaya, Raisa Struchkova, Marina Kondratieva, Nina Timofeeva, Irina Kolpakova, Alicia Alonso, Carla Fracci, Noella Pontois, Josephine Mendez and others. It was easy and reliable for his partners on stage - they loved to perform with him - there were legends about his ability to "hold" a ballerina. With Alicia Alonso, he danced only once at the request of the ballerina herself. It was Giselle at the Grand Theater of Havana (1980). Despite Vasiliev's injury, which, of course, was known only behind the scenes, his performance shocked the Cuban public. With the wonderful Italian ballerina Carla Fracci, Vasiliev danced Giselle a lot throughout Italy. In a gala performance at La Scala in honor of the great Charlie Chaplin, they danced the pas de deux from Giselle. Later, with Carla Fracci, they performed together in the play Nijinsky (1984) at the San Carlo Theater and Diaghilev-Musagete at the Rome Opera (2009) directed by B. Menegatti.

Unemployed, and in 1988 completely dismissed from the Bolshoi Theater, Maksimova and Vasiliev toured extensively in the USA, France, Italy, Argentina with a group organized and for which the choreographer V. Vasiliev created his repertoire. As a guest star, he performed with the Kirov Theater and MALEGOT, the Perm Theatre, the Polish Ballet, as well as the Kremlin Ballet, the formation of which Vasilyev significantly contributed to by staging for him, with the support of the French company Nina Ricci, a lyric, full of humor ballet Cinderella (1991), where he first performed in the female part of the Stepmother (Cinderella was brilliantly performed by Ekaterina Maksimova).

Ironically, this Russian dancer, who glorified the art of his homeland, performed his last classical performance on the American stage of the Metropolitan Opera in 1990 with the troupe of the American ballet theater. About this last "Giselle" by Vasiliev and Maximova, the New York Times wrote: heartfelt and emotional performance... Their performance, filled with deep romanticism, became a real event».

On April 18, 2000, a grandiose gala concert was held at the Bolshoi Theater in honor of Vasiliev's anniversary, which brought together the entire cultural elite of Moscow, and foreign guests arrived. For this event, an exhibition of his paintings was arranged in the White Foyer of the theatre, commemorative silver and bronze medals depicting the legendary flying Spartak-Vasilyev (sculptor F. Feveysky), a collection of his poems "The Chain of Days" and "Encyclopedia of a Creative Personality - Vladimir Vasiliev" were issued . The idol of many generations of ballet lovers in last time performed on his native stage as an artist - he danced "Sirtaki" from the ballet "Zorba the Greek", which had never been seen in Moscow. At 60 years old, he was still the same great dancer and artist, able to capture and captivate any audience.

But he will still take the stage as a dancer and dramatic actor. This opportunity will be given to him by the Rome Opera and director Beppe Menegatti in the performances "A Long Journey into Christmas Night" in 2000 (the role of Maestro-Tchaikovsky) and "Diaghilev-Musaget" (double role of Nijinsky and Diaghilev) in 2009. After the departure of Katya Maximova from life confessional and tragic will be his performance of the “Ballad” dedicated to her by F. Chopin in his own production in NY City center, and then in Perm, Voronezh and Donetsk in 2010.

Here is how the well-known theater critic S. Korobkov wrote about this performance of Vasiliev's "Ballads" (with D. Khokhlova):

“A handsome and flexible man, in whom nature has preserved both his posture and habit, by the power of his gift and the flight of his thought, he expanded the space of the theater to cosmic expanse. Lightly supporting the young ballerina and barely touching her face, he prolonged the moments of important dialogue, as Chopin prolonged his pianisticbrio, dreaming of penetrating the secrets of the universe and accepting new souls into their world of ever-elusive beauty. The magic of Vasiliev's confession snatched from memory the great artistic images of the century in which he was formed as an artist, and confirmed the commonality - personal and artistic - of great artistic natures. Here, in addition to the world of Vasiliev, a parallel world was also formed: from the mysteries of Hamlet by John Gielgud, from the piercing glances of Othello Laurence Olivier, from the subtle spiritual movements of Marlon Brando, from the melody of the paintings of Bergman and Fellini. All those who sooner or later stopped hiding themselves behind the character and dared to speak for themselves, who dared to confess their era.

Vasilyev also remembered with the same heartfelt performance in the second number “Smile” dedicated to Maximova to the song by Ch. Chaplin (in Spanish by M. Jackson) at the gala evening at the Bolshoi Theater “And all that is done by you. Dedicated to Ekaterina Maksimova" in 2014.

Ballet lovers still called Vasilyev wonderful when he appeared as Natasha Rostova's father in a short miniature "Natasha Rostova's First Ball" at the opening ceremony of the Winter Olympic Games in Sochi in 2014 (choreographer R. Poklitaru).

Art is a difficult path. External harmony, refinement and elegance of lines are fraught with hard work not even years, but whole decades. If you were engaged in staging a dance great choreographer Vasiliev, there is no doubt about the quality of the final result. He is a star, with reflections of which both young and eminent artists strive to come into contact. Man-epoch, man-legend - choreographer Vladimir Vasiliev. His biography is completed permanent job, creativity and love for a single woman.

On the eve of the war

In the family of felt factory workers back in 1940, on April 18, a boy was born. Mom held the responsible post of head of sales, and her father was a simple driver. The sincere love that united their hearts gave birth to a talented person who never ceases to be admired by the whole world on both sides of the ocean.

complex, tragic events, originating on June 22, 1941, separated the family. Vladimir Viktorovich's father went to the front, and his mother worked at her native factory in 3 shifts, torn between her one-year-old son and work. The salvation was six older mother's sisters - native aunts, for whom the little boy was the meaning not to lose his mind in that terrible and difficult time. Warm soulful gatherings in the evening over a cup of hot tea, unhurried conversations over the preparation of the next pie and cheerful celebrations of the New Year remained the best memories of childhood.

Tempering character

Vladimir Viktorovich Vasiliev, a choreographer in the future, survived the hungry years that the war brought. Destruction, ruins of houses, death and an irresistible thirst for life in an unformed personality left an imprint forever. The trials that are littered with a person's path purify his soul, and those that have fallen on his childhood make him honest, noble and generous for good deeds.

In 1945, his father returned from the front, and the family began to live in in full force. Some controversy in life positions parents (mother attended the temple, and dad was an ideological communist) did not prevent the couple from being happy. While the adults were reviving the country from the ashes, the future choreographer Vasiliev played ball, deftly jumped on the roofs and was not inferior in courage and fearlessness to his older comrades, which earned him the respect of the entire court.

First steps to dance

The choreographer in the future, since childhood, was surrounded by a huge number of friends. And then one of the many friends, and part-time neighbor invited him to a dance club, located in the Kirov House of Pioneers. At first glance, the sensitive teacher Elena Romanovna Rosse saw in the blond tomboy a love of dance. Eight-year-old Vladimir Vasilyev was a born choreographer. He reproduced the first time new material. On his example, they learned the movements and considered the best student.

Once on the stage of the Bolshoi Theater with a solo performance of folk dances, he realized that his fate was finally sealed. Chiseled and flexible ballerinas, amazing jumps, lifts captured the boy's thoughts. Natural determination and devotion to his dream allowed him to enter the choreographic school of the Bolshoi Theater in 1949, and a year later to achieve superiority among classmates.

Master's handwriting

Vladimir Vasiliev, a choreographer-student, early formed his own unique style. His teacher Mikhail Markovich Gabovich noted the inner fire of a young student, reflected in his every movement. Light virtuoso jumps, filigree lines, a force that captivates from the first movements, that expression and irresistible energy that fills the entire space of the stage on which the future great choreographer Vasiliev performed ... Acting inclinations and incredible charisma made it possible to convey to the viewer the whole gamut of his feelings and thoughts heroes.

Debut

In 1958, he was accepted into the troupe of the Bolshoi Theater, where he immediately established himself as a dancer of characteristic images. The future choreographer Vasiliev Vladimir Viktorovich began with the performance of bright, colorful images in the operas "Mermaid" and "Demon". The solo part in "Walpurgis Night" became for him. It was in the role of Pan that he attracted the attention of a meeting with which influenced his whole future life.

The great ballerina has become one of the most important chapters in the book of life called “Vasiliev - choreographer. Biography, written by fate itself. Her pedagogical talent, friendship and faith in the professional future of the young man helped shape the personality of the great director, director and dancer. Joint work in "Chopiniana" became an invaluable experience and opened Vladimir Viktorovich as an excellent performer of classical parts.

Rapid takeoff

After joining the Bolshoi Theater Yu.N. Grigorovich, the young dancer took part in his production of "Stone Flower", which won the favor of not only the choreographer, but also the love of the most fastidious critic - the spectator. After such a triumph, Vladimir Viktorovich was involved in the main roles of the entire diverse repertoire of the Bolshoi Theater: Cinderella, Pages of Life, Don Quixote, Paganini in the production of the same name, Laurencia, Giselle, Romeo and Juliet.

minion of fate

He was not yet 25 years old when the solo part in the “Dance Suite” was embodied on stage (staged by Ivanushka in R. K. Shchedrin’s ballet The Little Humpbacked Horse (staged by A. I. Radunsky, 1960), Slave in Spartacus A. I. Khachaturian (staged by L. V. Yakobson), Lukash in “The Forest Song” by G. L. Zhukovsky (staged by O. G. Tarasova and A. A. Lapauri). the best, and this is not the limit of your possibilities.

The perseverance that helped in childhood not to give in to the older guys, self-confidence, the thread of Ariadne leading through the prairie of backstage life, and love for dance allowed me to prove my skills again and again by deed. The exact understanding of the musical material, the perfect mastery of every cell of the flexible body, the organicity of the embodied image delighted and surprised not only the audience, but also eminent masters of ballet art. Vladimir Vasiliev (choreographer) easily immersed himself in the kind, sincere Ivanushka, the passionate Basil, the cruel, blood-soaked tyrant.

One for life

A beautiful first touching affection filled the heart of Vladimir Viktorovich during the years of study at the dance school. Ekaterina Maksimova was notable for her special adherence to principles, sometimes turning into stubbornness, which interfered with her subject teaching, but was decisive in mastering the dance. The strength contained in such a fragile girl attracted and at the same time frightened Vladimir Vasilyev. But Maksimova's unexpected illness brought them closer, and the nascent feelings helped to overcome the terrible migraines that had tormented the girl for a year.

Quarrels characteristic of this age separated young people for three whole years. Everyone used this time for their professional growth, and both managed to be invited to work at the Bolshoi Theater without any support.

One love story

Vladimir Viktorovich Vasiliev is a choreographer whose personal life has always been associated with one woman. Three years apart - and fate gave them a meeting with mutual friends, after which the couple did not part. In the summer of 1961, young people legalized their relationship, and the honeymoon took place in the most romantic city on the planet - Paris.

This is a unique case, because in the Soviet Union spouses were not allowed to go abroad together. There was presented a picture in which, by a mystical coincidence, Maksimova and Vasiliev played lovers. "USSR with open heart"allowed the newlyweds to enjoy the heady air of France, even under the close supervision of officials.

Life ups and downs

The great Vladimir Vasiliev is a choreographer whose family and work were closely intertwined in his life. A beloved woman, an invaluable Muse, a wonderful partner was always there, she understood all the subtleties and aspects of such a difficult art.

In 1971, the couple were in a car accident. Suddenly, an elk ran out onto the track, and a foreign car racing at high speed miraculously did not turn into a pressed tin can. Ekaterina Maksimova received a serious health problem. The next health problems manifested themselves during a rehearsal, five years after the accident on the road. The injury turned out to be so serious that the ballerina could remain in a wheelchair. Vladimir Vasiliev was ready to move mountains, and he turned, having achieved treatment for his wife in the Kremlin hospital, where she quickly recovered and was able to dance again.

Unfortunately, the family always consisted of two people, and children's laughter never visited their house. But talented teachers invested their hearts in their numerous students, for whom they became creative parents.

Worldwide recognition

Stunning plasticity and acting talent were highly valued abroad, where the pearl of Russian ballet was always greeted with applause. Vladimir Vasiliev actively collaborated with many outstanding choreographers. Maurice Bejart, Roland Petit, Lorca Massine invited him to their productions for the main roles. The love of the public knew no bounds - the French idolized the Russian legend, the Argentines proclaimed it a national hero, and in the USA, despite the difficult political situation, Vasiliev became an honorary citizen of one of the cities. Special relations have developed with hospitable Italy. The Roman Opera, La Scala, San Carlo more than once received the choreographer on their stages, where the audience enjoyed his virtuoso playing and perfect plasticity.

creative search

The seething energy did not fit within the framework of the performer, even such a brilliant one. The choreographer Vasilyev staged his first own work in 1971, it was the ballet Icarus. Storylines, the genre did not interest the creator, he was attracted by the development of the image through music, the versatility transmitted by dance. The master embodied his attitude in Fragments of a Biography, Nostalgia, Swan Lake and many other works.

Acting talent is captured in such films as "Fuete", "Gigalo and Gigolette". Huge work as a director and director was done by Vasiliev in Anyuta, Road House, Gospel for the Evil One, The Princess and the Woodcutter, Juno and Avos. The diversity of the works is once again revealed by the multifaceted choreographer Vasiliev, without looking back, opens to his beloved viewer.

After graduating from GITIS in 1982, he began teaching as a choreographer, and a few years later became a professor and head of the department of choreography. In the mid-1990s, he was appointed artistic director of his native Bolshoi Theatre. In this crisis period for art, V. V. Vasiliev manages not only to save, but also to revive the temple of Melpomene, attracting the attention of the viewer through television, the Internet, and print media. Carrying out charity events and concerts, the great choreographer increased the former glory of the Bolshoi Theater.

Since the beginning of the new century, the people's artist, winner of many awards, has been actively working around the world, giving master classes, staging performances, participating in charity concerts. Passion for literature pours out on paper with a whole collection of poems. Inspired by painting, Viktor Vladimirovich paints his native landscapes, which are successfully exhibited.

In 2009, the main person for the famous choreographer, Ekaterina Maksimova, who for half a century shared successes and falls, all joys and sorrows, passed away, was his inspiration and like-minded person. For a strong, energetic Vasiliev, surrounded by the love of friends and students, this is an irreparable loss, but the strength of the spirit of such a perfect divine work makes him wake up every day and create new masterpieces that make people feel, realize the harmony of the world around.

Victor Vasiliev is a choreographer, whose photos are always heartfelt. The look of beautiful wise eyes hides a whole universe of emotions that a great man so talentedly shares with his beloved viewer.

Ivan Vasiliev is changing his profession. Ivan Vasilyev got married. Ivan Vasilyev is ready to say "no" to the President of Russia for the sake of homemade meatballs... Famed ballet dancer, star of the Mikhailovsky and Bolshoi theaters Ivan Vasilyev told the editor-in-chief of HELLO! Svetlana Bondarchuk about the recent wedding with Maria Vinogradova, which took place on June 6 in Moscow, a new round in his career - in May, Ivan made his debut as a choreographer, presenting his first performance "Ballet No. 1" at the Barvikha Luxury Village concert hall - and also remembered interesting stories from his ballet past.

Ivan Vasiliev and Svetlana Bondarchuk during an interview at the Vanil restaurant

Svetlana. I think that even those who are not so familiar with ballet and have not seen Ivan Vasiliev on stage remember him at the opening ceremony of the Olympics in Sochi, in that part of the show where the scene of Natasha Rostova's first ball was played out. A handsome young man with romantic curls in a spectacular hussar tunic performed several jumps - incredible flight jumps that were simply breathtaking.

I happened to see Ivan Vasiliev's duet with ballerina Natalya Osipova more than once on the stage of the Bolshoi - it always made a huge impression. And once it turned out that I was at the epicenter ... I don’t want to say a scandal, but Natasha and Ivan then really shocked us. Imagine HELLO! conducts photography at the Mikhailovsky Theater and suddenly we learn that Natalia Osipova and Ivan Vasiliev have signed a contract with the Mikhailovsky Theater. Incredible: the stars main stage countries "escaped" to St. Petersburg. And not even to the Mariinsky. Literally half an hour later, the information spread to all news agencies, in the evening they talked about it in the news on central channels. But we were the first to know!

Today, fortunately, nothing prevents Ivan from dancing both at the Mikhailovsky Theater and at the Bolshoi (now he is a guest star here). Ivan recently made his debut with his own choreography: he presented his first project, Ballet No. 1, at Barvikha Luxury Village. I'm sure it wasn't the last show. The stars of the Bolshoi participated in the performance, but I can say for sure that on that evening the most intent glances were directed at the ballerina Maria Vinogradova. Many already then knew that they were engaged to Ivan Vasiliev. And now I am pleased to inform the readers of HELLO! that Ivan and Maria got married last Saturday, on which I sincerely congratulate them.

Svetlana. Ivan, we met you, if I'm not mistaken, about seven years ago. It was in the Chapurin bar. It was a lot of fun. We even drank, I remember.

Ivan.(Laughs.)

Svetlana. At that time I didn’t have many acquaintances from the world of ballet, and it was a discovery for me that you, ballet people, are so completely earthly and nothing human is alien to you. You can have fun and dance. You, in my opinion, have a great sense of humor, and, in fact, what I'm talking about: I would like you to repeat for readers HELLO! that amazing story related to the Olympics, which he once already told me.

Ivan. Yes, it was really funny. The fact is that while preparing for this ceremony, I spent a week and a half in Sochi. I was not allowed to go to Moscow even for one day, although I tried with all my might to go there. It is clear that after the opening ceremony, the first thing I rushed to the hotel, grabbed a suitcase, got into a taxi to get to the airport as soon as possible, and from there to Moscow. Because in Moscow Masha was already waiting for me with turkey cutlets with pepper, which she cooked and even sent me pictures via Viber. And here I am in the car driving, and suddenly - bam! - a call: "Vanya, Vladimir Vladimirovich is gathering everyone tomorrow. You should be there." I say: "No, I can't, I have a plane!" - "But this is Vladimir Vladimirovich ..." And then I give out: "Well, maybe he will be able to meet me in Moscow?" - "Vanya, it will be rather embarrassing for me to tell Putin about this." Well, embarrassing, so oops! And I hung up. Let's go further. Ten seconds pass, and suddenly it starts: I got a call from everyone who could. Masha finally called me: "Vanya, okay, the cutlets will wait, well, stay there already." In general, I asked to turn the car around and stayed another day.

Svetlana. So love is the most important thing for you. Love for homemade meatballs. (Laughs.)

Ivan. Yes, Masha jokes about me: "That's why you love me - for cutlets."

Svetlana. Is she really that good at cooking?

Ivan. My wife cooks everything perfectly: from elementary buckwheat with mushrooms to Tom Yum soup. In general, she pampers me terribly. I'm so spoiled thanks to her and terribly fastidious. I want only the most delicious. (Laughs.)

Svetlana. The other day you and Masha got married, congratulations again!

Ivan. Thank you.

Svetlana. But a month earlier, another important event happened for you: you made your debut as a choreographer. Was it really such an old dream?

Ivan. We can say that the dream of childhood. Because, as a 12-year-old teenager, I already knew that I would definitely bet. Now I have such a stage in my career: I danced a lot of what I thought, and now I need to move on. I want to not just dance, I want to create something new, interesting. In this project "Ballet No. 1" I have collected the best artists Big: Denis Savin, Kristina Kretova, Anna Okuneva, Alexander Smolyaninov... I saw at rehearsals that they are really passionate about the process, that they want to work, they are open to any of my craziest ideas. (Laughs.)

Svetlana. If this was your old dream, surely there was someone who pushed you to this decision, helped you take a step?

Ivan. Masha, for which I am very grateful to her. I am such a person, I always have a lot of plans in my head. I can hurt them endlessly. Walking around the apartment until three in the morning, inventing something, thinking, saying: "I want, I want, I want." And at some point, Masha simply said to me: "Do you want? Come on!" You see, I needed to hear these words from native person: "Let's". I needed this shot "to start" so that I ran. And now I will run until I reach the red flag on a high mountain.

Svetlana. Masha must be warned so that she still takes care of you. (Laughs.)

Ivan. Now she herself is tormented by the fact that I sometimes jump up in the middle of the night: I have inspiration. I start to come up with new choreography, wander around the apartment, suddenly find myself in the kitchen. I don’t understand myself how I ended up there ... (Laughs.) Masha comes to the kitchen. The light is off, I'm standing in the dark, somehow twitching there ... (Laughs.) She looks: "Vanya ..."

Svetlana. It seems, Ivan, that you are not looking for easy ways. You have a wonderful career as a dancer, and suddenly you are embarking on a path unknown to you - choreography. You dance in the Bolshoi - suddenly you go to the Mikhailovsky Theater.

Ivan. You're right. When I get too comfortable, I want to change everything and start over. To leave the Bolshoi, where I could dance Spartacus, Don Quixote and so on for years, and go to the theater, which did not sound the same as it does now, and grow in it in a new way.

Svetlana. Your dad, a military man, apparently also did not look for easy ways when he sent you to ballet. For a man to send his son to ballet is, you see, a little unusual. Especially if he himself is not associated with this art. How did it happen?

Ivan. It was hard not to give me away, because, in fact, from the age of four I danced in folk ensemble in Dnepropetrovsk, where we moved from Primorsky Krai, where I was born. And then, when I saw ballet for the first time, I said that I only wanted to do ballet.

Svetlana. How old were you?

Ivan. Seven years.

Svetlana. How did you know it was yours?

Ivan. I don't know, it's like something is guiding me through life. As if something inside sits and pushes me in the right direction. And I think that I went in the right direction: I'm doing what I love. I go to work not under duress, but with pleasure. Only if you don’t have to get up for her at seven in the morning. (Laughs.)

Svetlana. So do you like to sleep?

Ivan. For me, sleep is essential. I love to sleep a lot. All theaters suffer from this. But my current status in ballet allows me to ask for late rehearsals.

Svetlana. Did you immediately stand out in the choreographic school?

Ivan. I have always stood out in character. I have the character of a leader: I strive to be the best in everything I undertake. But my teachers, on the contrary, doubted. The teacher from the folk dance ensemble said: "Well, where does he go to ballet? Look, he has short legs, small, plump ..." Time showed that he was wrong.

Svetlana. Absolutely. Fundamentally. But still there are certain physical standards. It turns out that you are destroying stereotypes?

Ivan. Standards are all relative. If you compare me to today's long-legged princes, then yes, I am beyond the standards. But if you look a little wider or a little further, into the past, then no. Vladimir Vasiliev is not tall, Rudolf Nureyev's legs were not the longest.

Svetlana. You remind me most of all of Nureyev.

Ivan. Thank you. This is my favorite dancer.

Svetlana. But, when you started, everyone, probably, rather compared you with Vasiliev? Maybe even thought you were his relative?

Ivan. Yes, there were a lot of questions. Moreover, my dad is the full namesake of Vladimir Viktorovich Vasiliev. Once I got a call from some competition and asked: "Ivan, can you take part in our gala concert?" I replied, "Unfortunately, I can't." - "Will your dad be able to come to us, sit on the jury?" I replied: "Of course, he can. But he will only evaluate the front step."

Svetlana. You got, one might say, by inheritance the crown party of Vasilyev - Spartak. Are your Spartacus similar?

Ivan. No, we are completely different Spartacus. He is the Spartacus that was needed at that time: the greatest and noblest hero.

Svetlana. What heroes are needed now?

Ivan. My Spartacus, in my opinion, is more down to earth, more humane. As they say, life. But, of course, Vladimir Viktorovich always made a colossal impression on me in this game. It is impossible to repeat it. In general, it is impossible to copy artists of such a scale as Vasilyev, Lavrovsky, Vladimirov, Nureyev. And the one who strives for this is mistaken. You need to create your own.

Svetlana. But here I can say for sure what unites you with Vasiliev - a pronounced male charisma. Although after all, in the view of the layman, a ballet dancer is, frankly, not a very masculine profession. Well, are there certain stereotypes? They also exist for actors. But you don't have it at all.

Ivan. In fact, there are a lot of real men in the ballet world. (Laughs.) And sometimes we laugh at ourselves: what kind of profession we have chosen - we paint eyelashes, put on tights. We love to tease this. Because there are ballets - the so-called blue classics like "Giselle", "La Sylphide", where all the dramaturgy fits into a simple circuit: fell in love - swore - married. Or fell in love - swore - everyone died. It's just a pleasure to neigh over pantyhose. Although at the same time it is art, it is a fairy tale. And we are inside this fairy tale.

Svetlana. Ivan, do you and Masha dance a lot together now?

Ivan. Yes, we dance in many places: in Giselle, La Sylphide, Spartak and Ivan the Terrible.

Svetlana. Tell me, are you the owner? Jealous man?

Ivan. Yes.

Svetlana. For example, if your wife will dance with another partner?

Ivan. This is absolutely normal. This is a theatre. And if I dance with another partner, I have no doubt that Masha will survive this calmly. I dance in all the theaters of the world, with different ballerinas of different nationalities. It's just our profession.

Svetlana. But what about these close contacts in ballet? All these support...

Ivan. Well, that's how we were brought up. We have been dancing a duet dance since childhood. We take the girls by the legs to lift them up. They don't take it as an insult. (Laughs.)

Svetlana. Explain to me: what is it like to dance with the woman you love? On the one hand, this is probably easier, but on the other ...

Ivan. More responsible. This is a double burden on the nerves. I will never forgive myself if I drop my soul mate. (Laughs.) Although, thank God, I haven't dropped anyone yet.

Svetlana. I know that you are one of the highest paid ballet dancers in the world. But now, when you have a family, your financial requirements, probably, should increase even more? To what extent is the money side of the issue decisive for you?

Ivan. I never started from the number of zeros in the fees. And I'm not going to do it in the future. Creativity is my priority. If I'm interested in a job, it doesn't matter how much I get paid for it. Speaking specifically about choreography, the main thing for me as a choreographer is to create something new. That's my goal now.

Svetlana. Do you want children?

Ivan. Yes very.

Svetlana. What about Maria's career? She's ready?

Ivan. Certainly. Everything has its time.

Svetlana. Will you have a honeymoon trip?

Ivan. Unfortunately, we only have a two-week holiday. We are going to Dubai in August.

Svetlana. No, it's terrible. It is very hot there at this time.

Ivan. Late, everyone. We are going there already. Because we spent the last vacation in Mauritius and it was cold there. This summer I decided to go to a place where one hundred percent will be very hot.

Svetlana Bondarchuk and Ivan VasilievSvetlana. Ivan, I want to ask you: what is the most important thing in life for you? What comes first?

Ivan. My favorite. Basically I live for my family. If I didn't have a family, my beloved woman, mother, brother, grandmother, I don't know what I would do... Live for myself? I don't understand this at all. I am not doing art for myself and I am not dancing for myself. I have a family, I have a rear, I have somewhere to return, there are those for whom I go to the ends of the world, twitch in pantyhose, sweat, then I don’t sleep on the plane. Everything is just for them.

Svetlana. Thank you Ivan. You know what I thought: invite me to your rehearsal sometime?

Ivan. With pleasure.

Svetlana. When you will bet. I'm very interested in how this happens, honestly.

Ivan. With pleasure. Although in these moments I'm a little like a madman. But I like it.

Facts about Ivan Vasiliev:

Dancer Ivan Vasiliev was born in the village of Tavrichanka in the Primorsky Territory into a military family. In 2006 he graduated from the Belarusian Choreographic College and in the same year became a soloist of the Bolshoi Theater in Moscow. A year after entering, he was already entrusted with the main role in the ballet "Spartacus" by Yuri Grigorovich.

In 2009, Ivan participated in the program "Kings of Dance" along with five other best dancers in the world. In 2012, he became a guest soloist with the American Ballet Theatre, and a year earlier he moved from the Bolshoi Theater to the Mikhailovsky troupe in St. Petersburg.

Now Ivan Vasiliev dances both at the Mikhailovsky Theater and at the Bolshoi as a guest soloist. This year, at the Bolshoi, he performed for the first time in the title role in the ballet Ivan the Terrible.

The duet of Ivan Vasiliev and ballerina Natalia Osipova has been one of the loudest in the ballet world for several years. Despite the fact that fate separated the artists in different directions, they often continue to perform together.

Ivan Vasiliev and soloist of the Bolshoi Theater Maria Vinogradova got married on June 6 this year. Two and a half years ago, they first danced together in the ballet "Spartacus" and since then they have been dancing together: on stage and in life.

Ivan Vasiliev's schedule is scheduled for months ahead, today we can already say where he can be seen on stage next season. On September 26, the dancer will take part in the Kremlin Gala "Stars of the Ballet of the 21st Century" at the State Kremlin Palace, an annual event held by the V. Vinokur Foundation in support of culture and art. Ivan will present a fragment from the ballet "Scheherazade" in a duet with Maria Vinogradova, as well as his own choreographic number to the music of Max Richter, which he will perform together with the soloist of the Bolshoi Theater Denis Savin.

Vladimir Vasiliev has become a truly man-epoch in Russian ballet. Meanwhile, the beginning of the life of the future dancer, it would seem, did not portend a ballet career.

The future famous dancer was born in 1940 in Moscow. His parents were not connected with art in general and with ballet in particular: his father was a driver, his mother was a sales manager. The family was happy, despite ideological differences (the father was a staunch atheist, and the mother was an Orthodox Christian). Early childhood Vladimir fell on the difficult years of the war - the boy's father was at the front, his mother worked in three shifts at the factory.

As a child, Vladimir had many friends, and one of them invited him to a choreographic circle at the House of Pioneers, where he studied himself. Teacher E. R. Rosse saw his talent, and seven-year-old Vladimir began to learn the art of dance. In the circle, he quickly became the best student - so much so that other guys learned the movements by his example. In 1948, the children's choreographic ensemble performed on the stage of the Bolshoi Theater, Vladimir participated in the performance of Ukrainian and Russian dances - and it was then that he fully realized his desire to connect life with ballet.

In 1949, Vladimir Vasiliev entered the Moscow Choreographic School, where he also became one of the best. Already in his student years, those qualities are manifested that later will be the hallmarks of a dancer: expression, ease of jumping, strength and masculinity of dance, acting data. He learns from Mikhail Gabovich, who characterized his student as follows: "Volodya Vasiliev dances not only with his whole body, but with every cell of it, with a pulsating rhythm." T. Tkachenko spoke even more definitely about him after his performance in the ballet Francesca da Rimini, where the young man convincingly revealed the deeply tragic image of the heroine’s old husband: “We are present at the birth of a genius!”

In 1958, having completed his studies, Vladimir Vasilyev became an artist at the Bolshoi Theatre. He performs in characteristic images in operatic choreographic scenes - a gypsy dance in "Mermaid" by A. Dargomyzhsky, a lezginka in "Demon" by N. Rubinshtein. His performance of the role of Pan in "Walpurgis Night" in "Faust" by Ch. Gounod attracted attention to him, and with her he performed his first classical part at the Bolshoi Theater - a soloist in the ballet "".

Truly triumphant was the performance of Vladimir Vasilyev in the ballet "" in 1959 staged. The choreographer entrusted him with the main role - Danila. This success opened the way for the young dancer to various central roles: the Prince in "", Batyr in "Shural", Frondoso in "", title roles in the ballets "Paganini" and "" and others.

For some parts, Vladimir Vasiliev became the first performer: soloist in A. Varlamov's "Dance Suite" to music, Lukash in the ballet by O. Tarasova and A. Lapauri to the music of M. Skorulsky "Forest Song", Ivanushka in "" R. Shchedrin directed by A Radunsky. The dancer participated in the first performance of two choreographic versions of A. Khachaturian's ballet "": in the production he played the role of a slave, and in the production he played the title role. He took part in the first performance and other ballets staged: the main role in "", Prince Desire in "The Sleeping Beauty", in the ballet of the same name to music, Sergei in "Angara" to the music of A. Eshpay. He was the first dancer to perform the role of Romeo in the USSR in M. Bejart's ballet to the music of G. Berlioz "". The dancer was also appreciated by another choreographer - K. Goleizovsky, who created for him the miniature "Narcissus" and the part of Majnun in the ballet "Leyli and Majnun" to the music of S. Balasanyan.

An outstanding domestic dancer called V. Vasiliev "a brilliant exception to the rule", referring to his exceptional ability to transform. He was equally convincing in the image of the lyrical Nutcracker Prince, the heroic Spartacus, the passionate Basil in "". Choreographer F. Lopukhov, comparing ballet images with operatic voices, said that V. Vasiliev is “both tenor, and baritone, and bass.” V. Vasiliev's performances abroad were as successful as at home: he was called the "god of dance" in France, he was awarded the title of honorary citizen of the American city of Tucson and Buenos Aires. His talent was appreciated by such a famous Italian director as Franco Zefirelli - in his film-opera "" V. Vasiliev staged and performed a Spanish dance.

Even in his student years, a feeling arose between Vladimir Vasilyev and the ballerina. In 1961, they became spouses, and became not only a wife for the dancer, but also a constant partner, whom he called his muse. to the music of V. Gavrilin based on the story by A.P. Chekhov "Anna on the neck", "Macbeth" to the music of K. Molchanov. He also staged plotless ballets, the main actors” in which music and a dance revealing it became: “These bewitching sounds” to the music of A. Corelli, J. F. Rameau and W. A. ​​Mozart, “Nostalgia” to the piano music of Russian composites, “Fragments of a biography” to the music of Argentinean composers. In 2015, V. Vasiliev created a unique production to the music of the Mass in B minor "Give Us Peace", which combines elements of oratorio, ballet and dramatic action.

Ballet is the main, but not the only area of ​​creativity of Vladimir Vasiliev: he is engaged in painting and writing poetry.

Music Seasons

Even on the Russian stage - the best ballet scene in the world - dancers rarely appear with such expression, strength, courageous beauty of the dance and the breadth of the creative range.

In 1947, Volodya Vasiliev happened to be in the classes of the choreographic circle of the Kirov House of Pioneers. The teacher Elena Rosse immediately noted the boy's special giftedness and invited him to study in the senior group. IN next year he studied already in the city Palace of Pioneers, with the choreographic ensemble of which in 1948 he first performed in a concert on the stage of the Bolshoi Theater - these were Russian and Ukrainian dances. In 1949, Vasiliev was admitted to the Moscow Academic Choreographic School in the class of E.A. Lapchinskaya.

As many of his senior colleagues and tutors recalled, at that time he did not give the impression of a dancer capable of performing such diverse roles. At that time, the dancer looked somewhat rustic, with more developed musculature than is customary according to classical canons, which is why he seemed a little squat. However, Vasiliev completely transformed on stage, and his movements and face became so spiritual that the performance of any role, from heroic to lyrical-romantic, was organic for him. Magnificent choreographic abilities, a powerful jump-flight strengthened this impression.

In 1958 he graduated from college in the class of M.M. Gabovich, the famous premiere of the Bolshoi Theatre. At the graduation concert, he not only danced traditional variations and pas de deux, but also created a deeply tragic image of the sixty-year-old jealous Giotto in the ballet Francesca da Rimini.

August 26, 1958 Vladimir Vasiliev was admitted to ballet troupe Bolshoi Theatre. He graduated from the school as a demi-character dancer and was not going to dance the classics. However, there was something in the young dancer that drew the attention of the great Galina Ulanova to him, and she invited him to be her partner in the classical ballet Chopiniana.

I believed in his talent and choreographer Yuri Nikolaevich Grigorovich, who then just came to the theater. He offered the eighteen-year-old graduate of the school the central part in his production of the ballet S.S. Prokofiev's "Stone Flower", in which Vasiliev immediately won the love and recognition of viewers and critics.

The role of Danila the Master was followed by other main parts of the modern and classical repertoire: Prince (Cinderella, 1959), Andrey (Pages of Life, 1961), Basil (Don Quixote, 1962), Paganini (Paganini, 1962 ), Frondoso ("Laurencia", 1963), Albert ("Giselle", 1964), Romeo ("Romeo and Juliet", 1973).

In 1964, he performed two diametrically opposed roles: the emotional, passionate Majnun (Leyli and Majnun directed by K. Goleizovsky), whose plasticity is filled with oriental flavor and expression - and Petrushka (ballet of the same name after M. Fokin, staged by Boyarsky), in whose party Vasiliev managed to combine the "mechanism" of the puppet's plasticity, its internal and external stiffness with deep drama.

All the parts of Vladimir Vasilyev were distinguished by great diversity, which required the diversity of his role from the artist. The image of the Nutcracker created by him in the production of Yuri Grigorovich was very interesting. Vladimir Vasilyev managed with his characteristic artistry to show the transformation of the Nutcracker-doll into an image full of spirituality and nobility.

In 1968, Vladimir Vasiliev created on stage heroic image Spartacus, performing this part in Grigorovich's ballet. The part of Spartacus was technically very difficult, the dancer needed to show in it the highest level of choreographic technique at that time, and Vasiliev coped with this task brilliantly. The artistry of Vladimir Vasiliev allowed him to create not only a choreographically perfect, but also an extremely expressive, convincing image of a hero fighting for freedom. For this role, Vasiliev was awarded the Lenin Prize and the Prize of the Lenin Komsomol.

His Romeo in the 1973 play Romeo and Juliet is not the young, reverent hero who usually appeared in productions of this Shakespearean tragedy. In the performance of Vasilyev, Romeo is no longer a boy. He is young, but has courage and tragedy.

In each new work, Vasiliev proved that he was really an "exception to the rule", a person who could embody any image on stage.

It is impossible to talk about Vladimir Vasiliev without mentioning his constant partner, faithful companion and life partner - Ekaterina Maksimova, in a duet with whom Vasiliev's best parts were created. The fragility, childish immediacy of Maximova contrasted with the masculinity and strength of Vasiliev. The Maximov-Vasilyev duet became a symbol of the Bolshoi Theater and the entire Soviet ballet for many years.

During his creative career Vasiliev has performed extensively and with great success abroad - at the Paris Opera, La Scala, the Metropolitan Opera, Covent Garden, the Roman Opera, and the Colon Theatre. Maurice Béjart staged his own version of Stravinsky's Petrushka (Ballet of the 20th Century, Brussels, 1977) especially for him. The standards of performance, declared by Vasiliev, in many respects remain out of reach until now - for example, the Grand Prix International Competition ballet dancers, which he won in 1964, was never awarded to anyone else at subsequent competitions.

Vasiliev was the first performer of the central parts in many productions by Yuri Grigorovich, but gradually there was a serious difference between them in creative positions, which grew into a conflict, as a result of which in 1988 V. Vasiliev, E. Maksimova, like a number of other leading soloists, were forced to part with the Bolshoi Theatre.

His ballet debut was the ballet "Icarus" by S.M. Slonimsky on the stage of the Kremlin Palace of Congresses (1971 - the first edition; 1976 - the second). Already in the first work, the distinctive features of Vasiliev's choreographic style were manifested - extraordinary musicality and the ability to reveal the subtlest shades of human feelings in plastic. He staged chamber ballet evenings, in which everything is determined by music and the development of feelings, and not by a specific plot, he transferred Shakespeare's "Macbeth" (1980), Chekhov's "Anna on the Neck" ("Anyuta", 1986) to the ballet stage, created his own versions classical performances. Taking up staging work, Vladimir Vasiliev, feeling the need for special knowledge, graduated from the ballet master department of GITIS in 1982 and became a teacher there, and then the head of the department. In 1990 he received the title of professor of choreography.

In 1995, by decree of the President of Russia, Vasiliev was appointed artistic director - director of the Bolshoi Theater. He managed to bring the theater out of a difficult crisis. A modern contract system, the traditions of benefit performances were revived. Every year, the theater hosted premieres that made it possible to rally creative potential troupes, including those with the participation of outstanding foreign masters: Peter Ustinov, Pierre Lacotte, John Taras, Susan Farrell.