Three of the best dancers of the Mariinsky Theater perform the part of Anna Karenina on the stage of the big theater. Why ballet dancers are leaving the Mariinsky Theater Mariinsky Ballet Company
One of the oldest and leading musical theaters in Russia. The history of the theater dates back to 1783, when the Stone Theater was opened, in which drama, opera and ballet troupes performed. Department of opera (singers P.V. Zlov, A.M. Krutitsky, E.S. Sandunova and others) and ballet (dancers E.I. Andreyanova, I.I. Valberkh (Lesogorov), A.P. Glushkovsky, A.I.Istomina, E.I.Kolosova and others) from the drama troupe took place in 1803. Foreign operas were staged, as well as the first works by Russian composers. In 1836, the opera A Life for the Tsar by M.I. Glinka was staged, which opened the classical period of Russian operatic art. Outstanding Russian singers O.A. Petrov, A.Ya. In the 1840s the Russian opera troupe was pushed aside by the Italian, which was under the patronage of the court, and transferred to Moscow. Her performances resumed in St. Petersburg only from the mid-1850s. on the stage of the Circus Theatre, which was rebuilt after a fire in 1859 (architect A.K. Kavos) and opened in 1860 under the name Mariinskii Opera House(in 1883-1896 the building was reconstructed under the guidance of the architect V.A. Schroeter). creative development and the formation of the theater are associated with the performance of operas (as well as ballets) by A.P. Borodin, A.S. Dargomyzhsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov, P.I. Tchaikovsky (many works for the first time). high musical culture the activity of the conductor and composer E.F. Napravnik (in 1863-1916) contributed to the collective. A great contribution to the development of ballet art was made by the choreographers M.I. Petipa, L.I. Ivanov. Singers E.A. Lavrovskaya, D.M. Leonova, I.A. Melnikov, E.K. Mravina, Yu.F. Platonova, F.I. Stravinsky, M.I. and N.N. Fignery, F.I. Chaliapin, dancers T.P. Karsavina, M.F. Kshesinskaya, V.F. Nizhinsky, A.P. Pavlova, M.M. major artists, including A.Ya.Golovin, K.A.Korovin.
After October revolution the theater became state, since 1919 - academic. Since 1920 it was called the State Academic Opera and Ballet Theatre, since 1935 - named after Kirov. Along with the classics, the theater staged operas and ballets by Soviet composers. Singers I.V. Ershov, S.I. Migai, S.P. Preobrazhenskaya, N.K. Pechkovsky, ballet dancers T.M. Vecheslova, N.M. V. Lopukhov, K. M. Sergeev, G. S. Ulanova, V. M. Chabukiani, A. Ya. Shelest, conductors V. A. Dranishnikov, A. M. Pazovsky, B. E. Khaikin, directors V. A. Lossky, S. E. Radlov, N. V. Smolich, I. Yu. Shlepyanov, ballet masters A. Ya. Vaganova, L. M. Lavrovsky, F. V. Lopukhov. During the years of the Great Patriotic War the theater was in Perm, continuing to work actively (there were several premieres, including the opera "Emelyan Pugachev" by M.V. Koval, 1942). Some theater artists who remained in the besieged Leningrad, including Preobrazhenskaya, P.Z. Andreev, performed in concerts, on the radio, participated in opera performances. IN post-war years The theater paid great attention Soviet music. The artistic achievements of the theater are associated with the activities of the chief conductors S.V. Yeltsin, E.P. Grikurov, A.I. Klimov, K.A. Simeonov, Yu.Kh. , choreographers I.A. Belsky, K.M. Sergeev, B.A. Fenster, L.V. Yakobson, artists V.V. Dmitriev, I.V. Sevastyanov, S.B. Virsaladze and others. In the troupe ( 1990): chief conductor V. A. Gergiev, chief choreographer O. I. Vinogradov, singers I. P. Bogacheva, E. E. Gorohovskaya, G. A. Kovaleva, S. P. Leiferkus, Yu. M. Marusin, V. M. Morozov , N.P.Okhotnikov, K.I.Pluzhnikov, L.P.Filatova, B.G.Shtokolov, ballet dancers S.V.Vikulov, V.N.Gulyaev, I.A.Kolpakova, G.T.Komleva , N.A. Kurgapkina, A.I. Sizova and others. Awarded the Order of Lenin (1939), the Order of the October Revolution (1983). Large-circulation newspaper "For Soviet art"(since 1933).
Forgotten ballet
You moved to work from St. Petersburg to South Korea. How popular is Asia with our ballet dancers now?
To be honest, my colleagues move to Europe and the USA many times more often. IN South Korea ballet is only about 50 years old, and the Universal Ballet company (the largest ballet company in South Korea, based in Seoul. - Ed.), where I now work, is 33 years old. In addition to it, there is also Korean in the country national ballet where only Koreans can work. No discrimination: similar companies exist in other countries, for example, in France. There, too, only the French dance.
- Why did you decide to leave the Mariinsky Theatre?
It all started with the fact that my colleague got a job at Universal Ballet. One day I asked her if they needed dancers there. I sent a video of my performances to the company, and soon I was called to work. I immediately agreed, because for a long time I wanted to change my ballet life in better side. And the company "Universal Ballet" turned out to have a very rich repertoire: there is something to dance.
The problem is that at the Mariinsky Theater on this moment more attention is paid to opera and music than ballet, which seems to have been forgotten. At first, new performances were still staged at the Mariinsky Theater, choreographers were invited, including foreign ones. But then it all kind of stopped.
Alexei Ratmansky (permanent choreographer of the American Ballet Theatre. - Ed.) was the last of the iconic choreographers to arrive two years ago. He staged the Concerto DSCH ballet to music by Dmitri Shostakovich at the Mariinsky Theatre. For a long time I danced in the same classical productions. But I also wanted some new repertoire, modern choreography.
But if we have a wonderful classic - "The Nutcracker", "The Fountain of Bakhchisarai", " Swan Lake"So maybe contemporary choreography and not needed?
Without new performances there will be no development of the theater and artists. Abroad understand this. For example, in South Korea we recently danced "Little Death" by Jiri Kilian (Czech dancer and choreographer. - Ed.). This modern classic, which goes to theaters in many countries of the world. But for some reason not in the Mariinsky. And here there is, among other things, the ballet "Romeo and Juliet" directed by Kenneth Macmillan (British choreographer, director Royal Ballet in 1970-1977. - Ed.), "Eugene Onegin" by John Neumeier (choreographer, head of the Hamburg Ballet since 1973. - Ed.), In the Middle, Somewhat Elevated ("In the middle something towered") William Forsythe (American choreographer, his ballet troupe Foresight Company is engaged in experiments in the field of modern dance. - Ed.).
Factory Gergiev
- Are we becoming a ballet province?
I wouldn't say so. It's just that the Mariinsky Theater is turning into a kind of factory. In a month, an artist can have 30–35 ballet performances. For example, I sometimes had to perform even twice a day. At first, people, opening such a tense poster for a month in advance, made surprised round eyes. But one gets used to everything. That's what we got used to over time. Every day they worked, went on stage, performed what they had to. But no one had enough time or energy to prepare new performances, because old things, the repertoire that is being staged, also need to be rehearsed. Many ballet dancers left precisely because of this routine monotonous work.
There are 6-7 performances per month. And we carefully prepare for each of them, because time allows. For example, recently they danced a modern program, and from each foreign choreographer (whose performances were included in this program. - Ed.) An assistant came, with whom we worked together: he explained some nuances, details. Since January, that I am here, I have already received so many emotions and danced so many things!
- Why do you think there is such a conveyor belt at the Mariinsky Theatre?
It's just that the person who is at the head of the theater (Valery Gergiev. - Ed.) Is the same himself. He is very efficient. One day he is in Moscow at a meeting, three hours later he flies to Munich to conduct symphony orchestra, and five hours later again in Moscow at the reception. He apparently decided that his theater should work very actively. Of course, it's not bad. But sometimes I felt like a miner at the Mariinsky Theater: I worked from morning until night. For example, he often left home at 10 am and returned at midnight. Of course, it was very hard. On the other hand, any theater in the world has its own problems.
“North Korean bombs are not afraid here”
How were you received by fellow dancers in South Korea? Was there any increased interest in you, since you are from the Mariinsky Theater?
I did not notice any special enthusiasm. Perhaps earlier Europeans in ballet world Koreas were a curiosity, but now everyone has long been accustomed to us. For example, at Universal Ballet, about half of all dancers came from Europe. There are also Americans. By the way, in Korean ballet, a lot is taken from Russian ballet. In particular, there are many productions of the Mariinsky Theater here. Therefore, it is very easy for me here: I danced The Nutcracker or Don Quixote at the Mariinsky Theater, and I dance here.
- What conditions do Koreans provide to our dancers?
The conditions are very good, in this regard they are great. For example, they immediately provided me with housing - a small apartment, good wages, which is many times more than it was in St. Petersburg (however, prices are higher here), and medical insurance. At the Mariinsky Theater, ballet dancers, by the way, also did it. For example, a few years ago I had a knee operation on it.
- Is the competition in the ballet world higher in Russia or South Korea?
Competition is everywhere, without it you simply do not grow. But she is fit and healthy. I did not feel any sidelong glances or conversations behind my back either in St. Petersburg or in Seoul. But even if they say something about me, I am so immersed in work that I don’t notice it. In general, stories about glass fragments in pointe shoes and smeared suits are a myth. In my entire career in ballet, I have never encountered this. And I hadn't even heard of it. No bases.
- Asia is a completely different world. What was the hardest thing for you to get used to in South Korea?
When colleagues at the Mariinsky Theater found out about my departure, they said that it would be psychologically very difficult for me to live there. But in Seoul, I was so immersed in my profession that I felt absolutely nothing. I just dance without this St. Petersburg race and feel absolutely happy. Unless you need to learn the language. But you can live without it in Korea. The fact is that the local people are very friendly. It is worth getting lost in the subway or on the street, as they immediately fit on English language offer help, ask where I need to go.
- And how do they treat North Korea? Do you feel tension from such a difficult neighbor?
No. It seems to me that no one even thinks about it and is not afraid of Korean bombs. Everything is very calm here, and it seems that nothing is happening at all. There are no terrorist attacks, no disasters, not even any major scandals. But, despite the fact that it is so comfortable here, I still miss St. Petersburg, my family and the Mariinsky. This theater really gave me a lot. I studied there, gained experience, formed my taste, I danced there. And it will forever remain in my memory.
|
Mariinsky Theatrical Ballet, Mariinsky Theater Ballet
The history of the ballet troupe of the Mariinsky Theater began with court performances, where many professional dancers and dancers took part, who appeared after the establishment by Empress Anna Ioannovna in 1738 dance school under the guidance of the French teacher Jean-Baptiste Lande.
The ballet troupe was part of the theaters:
- Petersburg Bolshoi Theater (Stone; from 1783),
- Mariinsky Theater since 1860,
- State Mariinsky Theater (since 1917), which in 1920 was renamed the State academic theater opera and ballet (since 1935 named after S. M. Kirov), and in 1992 returned its former name - the Mariinsky Theater.
- 1 19th century
- 2 XX century
- 3 21st century
- 3.1 Ballet dancers
- 3.1.1 Ballerinas and premieres
- 3.1.2 First soloists
- 3.1.3 Second soloists
- 3.1.4 Character dance soloists
- 3.1.5 Luminaries
- 3.1 Ballet dancers
- 4 See also
- 5 Notes
- 6 Links
19th century
Ricardo Drigo, 1894 Lev Ivanov, 1885 Caesar Pugni, 1840 Marius Petipa, 1898 Leon Minkus, 1865 Pyotr Tchaikovsky Alexander GlazunovSh. L. Didlo had a noticeable influence on the development of the St. Petersburg ballet. Didelot's dance poems "Zephyr and Flora" (1804), "Cupid and Psyche" (1809), "Acis and Galatea" (1816) by Kavos foreshadowed the onset of romanticism. 1823 the theater staged the ballet " Prisoner of the Caucasus, or Shadow of the Bride "to the music. Kavos (1823). The repertoire created by Didelot revealed the talents of M. I. Danilova, E. I. Istomina, E. A. Teleshova, A. S. Novitskaya, Auguste (O. Poirot), N. O. Goltz. In 1837, the Italian choreographer F. Taglioni and his daughter M. Taglioni showed the ballet La Sylphide in St. Petersburg. 1842 in the ballet "Giselle", staged by J. Coralli and J. Perrot, E. I. Andreyanova performed with success. In 1848-1859, the St. Petersburg ballet was headed by J. Perrot, who staged the ballets Esmeralda, Catarina and Faust by Pugni. In 1859, the ballet was headed by choreographer A. Saint-Leon, he staged the ballets The Little Humpbacked Horse (1864) and gold fish» (1867). Marius Petipa (since 1847 a ballet soloist, then a ballet master, in 1869-1903 - the main choreographer of the theater) became the successor of Perro and Saint-Leon.
During his stay in Russia, Marius Petipa staged ballets on the imperial stage: The Pharaoh's Daughter to the music of Caesar Pugni, in 1862; "King Candavl" by Caesar Pugni, in 1868; "Don Quixote" by L. F. Minkus, 1869; "Two Stars" by Caesar Pugni, 1871; "La Bayadère" by L. F. Minkus, 1877; "The Sleeping Beauty of P. I. Tchaikovsky, edited by Drigo, (1890-1895), I and III acts, in collaboration with Lev Ivanov (Ivanov's text - 2nd scene of the first act, Venetian and Hungarian dances in the second act, third act, except for the apotheosis); "Swan Lake" (together with L. I. Ivanov, 1895); "Raymonda" to the music of A. K. Glazunov, 1898; "Le Corsaire" to the music of Adam, Pugni, Drigo, Delibes, Peter Oldenburgsky, Minkus and Trubetskoy, 1898; "Paquita" by Deldevez, 1899; "Tests of Damis" by A. K. Glazunov, 1900; "The Four Seasons" (Four Seasons) by A. K. Glazunov, 1900; ) Drigo, 1900; "Mr. Dupre's Disciples", 1900; "Magic Mirror" Koreshchenko, 1904; "Rosebud Romance", Drigo (the premiere did not take place).
Marius Petipa's ballets demanded high professionalism troupe, which was achieved thanks to the pedagogical talents of Christian Ioganson, Enrico Cecchetti. ballets by Petipa and Ivanov were performed by: M. Surovshchikova-Petipa, Ekaterina Vazem, E. P. Sokolova, V. A. Nikitina, Maria Petipa, P. A. Gerdt, P. K. Karsavin, N. G. Legat, I. F. Kshesinsky, K. M. Kulichevskaya, A. V. Shiryaev.
20th century
A. V. Shiryaev, 1904 A. A. Gorsky, 1906 Mikhail Fokin, 1909At the beginning of the 20th century, the keepers of academic traditions were artists: Olga Preobrazhenskaya (1871-1962), Matilda Kshesinskaya, Vera Trefilova, Yu. N. Sedova, Agrippina Vaganova, L. N. Egorova, N. G. Legat, S. K. Andrianov , Maria Kozhukhova (1897-1959), Olga Spesivtseva (1895-1991) (July 5 (18), 1895 - September 16, 1991)
In search of new forms, Mikhail Fokin relied on modern art. The favorite stage form of the choreographer was one-act ballet with laconic continuous action, with a clearly expressed stylistic coloring.
Mikhail Fokin owns ballets: The Pavilion of Armida, 1907; "Chopiniana", 1908; Egyptian Nights, 1908; "Carnival", 1910; "Petrushka", 1911; "Polovtsian Dances" in the opera "Prince Igor", 1909. Tamara Karsavina, Vaslav Nijinsky and Anna Pavlova became famous in Fokine's ballets.
The first act of the ballet "Don Quixote", to the music of Ludwig Minkus (based on the ballet by M. Petipa) reached his contemporaries in the version of Alexander Gorsky in 1900.
Later, in 1963, The Little Humpbacked Horse was staged (by Alexander Gorsky, revived by Mikhailov, Baltacheev and Bruskin.
Since 1924, Fyodor Lopukhov staged performances at the theater, the first production of which was the play "Night on Bald Mountain" (music - Modest Mussorgsky); then in 1927 - "The Ice Maiden"; 1929 - "Red Poppy", together with Ponomarev and Leontiev; 1931 - "Bolt", music - Dmitry Shostakovich, 1944 - "Vain Precaution" to the music of G. Gertel (Leningradsky Maly Opera theatre in evacuation in Orenburg and the Leningrad Opera and Ballet Theatre. S. M. Kirov); 1947 - "Spring Tale" music. B. Asafyeva (according to musical materials Tchaikovsky) (Leningrad Opera and Ballet Theater named after S. M. Kirov)
In the first years after the October Revolution of 1917, the theater was faced with the task of preserving the heritage. leading artists worked in the theater: E. Ville, E. P. Gerdt, Pyotr Gusev, A. V. Lopukhov, E. M. Lukom, O. P. Mungalova, V. I. Ponomarev, V. A. Semyonov, B. V. Shavrov.
- In 1930, choreographers Vasily Vainonen, Leonid Yakobson and V.P. Chesnokov staged the Golden Age Ballet to music by Dmitri Shostakovich.
- Ballets were staged from 1932 to 1942: The Flames of Paris, choreographer Vasily Vainonen, 1932; The Fountain of Bakhchisarai, choreographer Rostislav Zakharov, 1934; in 1939 - "Laurencia", choreographer Vakhtang Chabukiani.
In 1940 choreographer Leonid Lavrovsky staged the ballet Romeo and Juliet. Later, this performance was resumed by Semyon Kaplan, in 1975.
During the Great Patriotic War, artists who remained in besieged Leningrad, under the leadership of O. G. Jordan went to the front, performed at factories and hospitals. The main team was evacuated to Perm, where in 1942 the performance "Gayane" was staged by choreographer Nina Anisimova
The ballet soloists of the theater of the period 1920-1940 were the students of A. Ya. Vaganova, M. F. Romanova, E. P. Snetkova-Vecheslova and A. V. Shiryaeva: Nina Anisimova, Fairy Balabina, Tatiana Vecheslova, Natalia Dudinskaya, A. N. Ermolaev, N. A. Zubkovsky, O. G. Jordan, Marina Semyonova, Konstantin Sergeev, Galina Ulanova, Vakhtang Chabukiani and Alla Shelest, Tatyana Vecheslova.
In 1941, after graduating from the Moscow Choreographic School in the class of the St. Petersburg teacher Maria Kozhukhova, Inna Zubkovskaya entered the theater.
In the post-war period, the ballet repertoire of the Kirov Theater appeared new productions in which danced: I. D. Belsky, B. Ya. Bregvadze, Inna Zubkovskaya, Ninel Kurgapkina, Askold Makarov, Olga Moiseeva, N. A. Petrova, V. D. Ukhov, K. V. Shatilov N. B. Yastrebova.
IN latest releases A. Ya. Vaganova in the 50s, two names appeared and sparkled: Irina Kolpakova and Alla Osipenko, since the 1957 season, a student of V. S. Kostrovitskaya Gabriela Komleva appeared in the theater, in 1958, a student of N. A. Kamkova, Alla Sizova, appeared in the theater , in 1959 E. V. Shiripina released the future world star Natalia Makarov, in 1963 a student of L. M. Tyuntina Natalya Bolshakova appeared in the theater, in 1966 - a student of the same teacher Elena Evteeva, in 1970 a student of N. V. Belikova Galina Mezentseva appeared in the theater, and also in 1970-1972 gg. a graduate of the same teacher Lyudmila Semenyaka danced in the theater, students of Alexander Pushkin Rudolf Nureyev worked in the Kirov ballet, since 1958 and Mikhail Baryshnikov, in 1967, since 1958 - Yuri Solovyov (a student of Boris Shavrov).
In the 80s, the theater came next generation, among the new stars Altynai Asylmuratova, Farukh Ruzimatov, Elena Pankova, Zhanna Ayupova, Larisa Lezhnina, Anna Polikarpova.
XXI Century
In the new millennium in the ballet troupe of the theater: Ulyana Lopatkina, Diana Vishneva, Yulia Makhalina, Alina Somova and Victoria Tereshkina.
ballet dancers
For 2016, the following artists form the basis of the Mariinsky Ballet:
Ballerinas and premieres
- Ekaterina Kondaurova
- Uliana Lopatkina
- Julia Makhalina
- Daria Pavlenko
- Oksana Skorik
- Alina Somova
- Victoria Tereshkina
- Diana Vishneva
- Timur Askerov
- Evgeny Ivanchenko
- Kimin Kim
- Igor Kolb
- Vladimir Shklyarov
- Danila Korsuntsev
- Denis Matvienko (guest soloist)
First soloists
Second soloists
Character dance soloists
luminaries
The Pharaoh's Daughter, 1898
One of the performances, 2005
"Swan Lake", 2004
La Bayadère, 2011
see also
- History of the Petersburg ballet school
Notes
- Soloists of the Mariinsky Ballet. Mariinskii Opera House. Retrieved 17 August 2016.
Links
- Ballet soloists - on the website of the Mariinsky Theater
|
||||||||||||||||||||||||||
Mariinsky Theater Ballet, Mariinsky Theater Ballet, Mariinsky Theater Ballet, Mariinsky Theater Ballet
Ballet of the Mariinsky Theater
Publications section Theaters
Contemporary Russian ballerinas. Top 5
The proposed top five ballerinas included artists who began their careers in the main musical theaters of our country - the Mariinsky and the Bolshoi - in the 90s, when the situation in politics, and after it in culture, was rapidly changing. ballet theater became more open due to the expansion of the repertoire, the arrival of new choreographers, the emergence of additional opportunities in the West and at the same time more demanding on the performing skills.
This short list of new generation stars is opened by Uliana Lopatkina, who joined the Mariinsky Theater in 1991 and is now almost ending her career. At the end of the list is Victoria Tereshkina, who also began working in the era of perestroika in ballet art. And right behind her comes the next generation of dancers, for whom the Soviet legacy is just one of many directions. These are Ekaterina Kondaurova, Ekaterina Krysanova, Olesya Novikova, Natalya Osipova, Oksana Kardash, but about them another time.
Uliana Lopatkina
Today's media call Natalia Dudinskaya's student Ulyana Lopatkina (born in 1973) the "style icon" of Russian ballet. There is a grain of truth in this catchy definition. She is the ideal Odette-Odile, a genuine “two-faced” heroine of “Swan Lake” in Konstantin Sergeyev’s coldly refined Soviet version, who also managed to develop and convincingly embody on stage another swan image in Mikhail Fokine’s decadent miniature “The Dying Swan” by Camille Saint-Saens. According to these two works of her, recorded on video, Lopatkina is recognized on the street by thousands of fans around the world, and hundreds of young ballet students are trying to comprehend the craft and unravel the mystery of reincarnation. Refined and sensual Lebed is Uliana, and for a long time to come, even when the new generation of dancers outshine the brilliant galaxy of ballerinas of the 1990s-2000s, Odette-Lopatkina will tell fortunes. She was also unattainable, technically accurate and expressive in "Raymonda" by Alexander Glazunov, "The Legend of Love" by Arif Melikov. She would not have been called an "icon of style" without the contribution to the ballets of George Balanchine, whose American heritage, saturated with the culture of the Russian imperial ballet, the Mariinsky Theater mastered when Lopatkina was at the peak of her career (1999-2010). Her the best roles, it was roles, and not parties, since Lopatkina knows how to dramatically fill plotless compositions, that became solo works in "Diamonds", "Piano Concerto No. 2", "Theme and Variations" to the music of Pyotr Tchaikovsky, "Waltz" by Maurice Ravel. The ballerina participated in all avant-garde projects of the theater and as a result of cooperation with contemporary choreographers will give odds to many.
Uliana Lopatkina in the choreographic miniature "The Dying Swan"
Documentary"Ulyana Lopatkina, or Dances on weekdays and holidays"
Diana Vishneva
Second by birth, only three years younger than Lopatkina, a student of the legendary Lyudmila Kovaleva Diana Vishneva (born in 1976) in reality never “came” second, but only first. It so happened that Lopatkina, Vishneva and Zakharova, separated from each other for three years, walked side by side at the Mariinsky Theater, full of healthy rivalry and at the same time admiring each other's huge, but completely different possibilities. Where Lopatkina reigned as a languid graceful Swan, and Zakharova formed a new - urban - image of the romantic Giselle, Vishneva performed the function of the goddess of the wind. Before she graduated from the Academy of Russian Ballet, she already danced on the stage of the Mariinsky Kitri - main character in Don Quixote, a few months later she showed her achievements in Moscow on the stage of the Bolshoi Theater. And at the age of 20 she became the prima ballerina of the Mariinsky Theatre, although many have to wait for promotion to this status up to 30 years or more. At 18 (!) Vishneva tried on the role of Carmen in a number composed especially for her by Igor Belsky. In the late 90s, Vishneva was rightfully considered the best Juliet in the canonical version of Leonid Lavrovsky, she also became the most graceful Manon Lesko in the ballet of the same name by Kenneth MacMillan. Since the early 2000s, in parallel with St. Petersburg, where she participated in many productions by such choreographers as George Balanchine, Jerome Robbins, William Forsyth, Alexei Ratmansky, Angelin Preljocaj, she began performing abroad as a guest étoile (“ballet star”). Now Vishneva often works in her own projects, ordering ballets for herself. famous choreographers(John Neumeier, Alexey Ratmansky, Carolyn Carlson, Moses Pendleton, Dwight Rhoden, Jean-Christophe Maillot). The ballerina regularly dances in the premieres of Moscow theaters. Huge success accompanied Vishneva in the ballet of the Bolshoi Theater in the choreography of Mats Ek's "Apartment" (2013) and John Neumeier's play "Tatyana" based on "Eugene Onegin" by Alexander Pushkin at the Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater in 2014. In 2013, she became one of the organizers of the November festival of contemporary dance Context, which since 2016 has been held not only in Moscow, but also in St. Petersburg.
Documentary "Always on the move. Diana Vishneva»
Svetlana Zakharova
The youngest in the top three of the famous chicks of the A. Vaganova Academy from the 90s, Svetlana Zakharova (born in 1979) instantly overtook her rivals and somewhat overtook them, acting like the once great Leningrad ballerinas Marina Semyonova and Galina Ulanova, "to serve" in the Moscow Bolshoi Theater in 2003. Behind her shoulders was studying with the excellent teacher of the ARB Elena Evteeva, experience of working with Olga Moiseeva, the star of the Kirov Ballet of the 70s, and a gigantic achievement list. In any of the performances of the St. Petersburg period, Zakharova stood out clearly. Her strong point, on the one hand, was the interpretation of heroines in the old ballets by Marius Petipa, restored by Sergei Vikharev, and soloists in avant-garde productions by leading choreographers, on the other. According to natural data and technical specifications» Zakharova not only surpassed her colleagues at the Mariinsky Theater and after at the Bolshoi, she entered the cohort of the most sought-after ballerinas in the world who dance everywhere in guest status. And the most important ballet company in Italy - the ballet La Scala - offered her a permanent contract in 2008. Zakharova at some point admitted that she danced Swan Lake, La Bayadère and Sleeping Beauty in all possible stage versions from Hamburg to Paris and Milan. IN Bolshoi Theater, shortly after Zakharova moved to Moscow, John Neumeier staged his program ballet "Dream in midsummer night”, and the ballerina flashed in it in the double role of Hippolyta-Titania, paired with Oberon Nikolai Tsiskaridze. She also took part in the production of Neumeier's Lady of the Camellias at the Bolshoi. Zakharova successfully collaborates with Yuri Possokhov - she danced the premiere of his Cinderella at the Bolshoi Theater in 2006 and in 2015 she performed the role of Princess Mary in A Hero of Our Time.
Documentary film “Prima ballerina of the Bolshoi Theater Svetlana Zakharova. Revelation"
Maria Alexandrova
At the same time, when the triad of St. Petersburg dancers conquered Northern Palmyra, the star of Maria Alexandrova (born in 1978) rose in Moscow. Her career developed with a slight delay: when she came to the theater, ballerinas of the previous generation - Nina Ananiashvili, Nadezhda Gracheva, Galina Stepanenko - danced their century. In ballets with their participation, Alexandrova - bright, temperamental, even exotic - was on the sidelines, but it was she who got all the experimental premieres of the theater. Critics saw the still young ballerina in Alexei Ratmansky's Dreams of Japan, and soon she was already interpreting Catherine II in Boris Eifman's Russian Hamlet and others. ”, “Raymonda”, “Legend of Love”, she patiently waited for years.
The year 2003 became fateful, when the choreographer chose Alexandrova as Juliet new wave Radu Poklitaru. It was an important performance that opened the way for a new choreography (without pointe shoes, without classical positions) at the Bolshoi Theater, and Aleksandrova held the revolutionary banner. In 2014, she repeated her success in another Shakespearean ballet - "The Taming of the Shrew" choreographed by Mayo. In 2015, Alexandrova began working with choreographer Vyacheslav Samodurov. He staged a ballet about the theatrical backstage - "Curtain" in Yekaterinburg, and in the summer of 2016 chose the role of Ondine in the ballet of the same name at the Bolshoi Theater. The ballerina managed to use the forced waiting time to hone the dramatic side of the role. The secret source of her creative energy, aimed at acting, does not dry out, and Alexandrova is always on alert.
Documentary film “Monologues about myself. Maria Alexandrova"
Victoria Tereshkina
Like Alexandrova at the Bolshoi, Victoria Tereshkina (born in 1983) was in the shadow of the aforementioned trio of ballerinas. But she did not wait for someone to retire, she began to energetically capture parallel spaces: she experimented with novice choreographers, did not get lost in the difficult ballets of William Forsythe (Approximate Sonata, for example). Often she did what others did not undertake, or undertook, but could not cope, but Tereshkina succeeded and still does absolutely everything. Her main forte was her impeccable possession of technique, endurance and the presence of a reliable teacher nearby, Lyubov Kunakova, helped. It is curious that, unlike Alexandrova, who went into genuine drama, which is only possible on the ballet stage, Tereshkina "set" on the improvement of technique and elevated the triumphant plotlessness into a cult. Her favorite subject, which she always acts out on stage, grows out of her sense of form.
Documentary film “Royal box. Victoria Tereshkina"
