Ballet photo shoot by Svetlana Zakharova. Prima ballerina Svetlana Zakharova: interview with the new Anna Karenina of the Bolshoi Theater

Last premiere Season 237 Bolshoi Theater marred by scandal. Prima ballerina Svetlana Zakharova refused to participate in the ballet Onegin (July 12–21). People's Artist of Russia, laureate of the State Prize of the Russian Federation was supposed to perform the role of Tatyana Larina.

According to Izvestia’s source, who wished to remain anonymous, after the order of the lineups was announced (there were six in total, Ms. Zakharova and her partner David Hallberg were in the second), the ballerina defiantly left the rehearsal hall. On the same day, the announcement about her participation in Onegin at the Bolshoi Theater disappeared from her personal website.

According to the source, the dancer officially refused to participate in the production, however, the lineups of all performances where Zakharova and Hallberg were listed on July 13 and 17 were posted on the Bolshoi Theater website.

Bolshoi Theater press attache Katerina Novikova confirmed to Izvestia that Svetlana Zakharova decided not to participate in Onegin.

Her decision not to take part in premiere performances It's difficult for me to comment. I can assume that this is caused by her disagreement with the compositions that the directors insisted on,” said Ms. Novikova.

At the same time, Izvestia’s source in the Bolshoi Theater noted that if it had been the directors’ decision, the ballerina, “known for her respectful attitude towards colleagues,” would have agreed with him.

However, according to the publication’s interlocutor, the ballerina believes that artistic interests in this case are not the main ones, and the directors succumbed to pressure from the ballet management, who wanted to see other dancers in the first cast, “in this moment especially those actively promoted.”

The first cast of Onegin, approved by the Kranko Foundation, included Olga Smirnova (Tatyana), Vladislav Lantratov (Onegin), Semyon Chudin (Lensky), Anna Tikhomirova (Olga).

Svetlana Zakharova herself is currently unavailable for comment - her phone is turned off.

The Bolshoi Theater press attache Katerina Novikova also noted that “there is no way to get her answer.”

Svetlana Zakharova’s teacher and tutor at the Bolshoi Theater, People’s Artist of the USSR Lyudmila Semenyaka, when asked where her student was currently located, answered: “For all questions, please contact the theater.”

Chairman of the Arts Council Bolshoi Ballet Boris Akimov said that he was away and “just learned” about this news. However, despite the official statement from Ms. Zakharova and the disappearance of her name from the lineup list, he intends to wait until the evening rehearsal.

“I have to make sure for myself that she won’t come,” said Mr. Akimov.

The Russian fate of John Cranko’s ballet adaptation of the “encyclopedia of Russian life” cannot be called happy. When the Stuttgart Ballet first brought this performance on tour in 1972, the audience in the hall laughed, and domestic experts condemned Onegin for its spreading cranberries. Noted, in particular, were the guests in blouses at Larina's ball and the strange participation of the ladies - Tatyana and Olga - in the duel scene.

The unfriendly reception apparently upset the owners of the play, and subsequent attempts by the Russians to stage it met with resistance.

Yuri Burlaka, in particular, complained to Izvestia about the intractable Kranko Foundation when he was artistic director, noting that “the cost of the rights to the performance, together with the fees of artists, authors of musical arrangements and other persons involved in the production, turned out to be so high that the Bolshoi I had to abandon this idea." Mr. Burlaki even got the impression that representatives of the Kranko Foundation “categorically do not want Onegin to be shown in Russia.”

His successor, Sergei Filin, managed to get things moving. As the artistic director said in an interview with Izvestia shortly before the acid attack, he “was dealing with this issue for four years, communicating with the rights holders, convincing, proving.” As a result, according to the artistic director, he “succeeded in the main thing - making friends with the people who are responsible for this ballet.”

Mr. Filin's friends probably included the artistic director of the Stuttgart Ballet, Reed Anderson, who became the head of the production group at the Bolshoi Theater. In a May interview with Izvestia, he said that “preparations for Onegin began last summer,” but the casting took place a few days after the attack on the artistic director. In the same interview, Mr. Anderson noted that “rehearsals began several weeks ago,” but without his participation.

As one of the performers of the role of Onegin, Ruslan Skvortsov, told Izvestia, Mr. Anderson was supposed to arrive in Moscow a week ago for the final phase of rehearsals, but did not arrive.

When asked about the reasons for his absence, neither the press service of the Cranko Foundation nor Mr. Anderson himself gave an answer.

However, the press service of the Stuttgart Ballet told Izvestia that the decision on the order of the cast was made by Mr. Anderson.

According to Mr. Anderson's decision, the premiere will be danced by Vladislav Lantratov and Olga Smirnova. Please also note that the order of the lineups was chosen not only because of the leading female role, but also because of the combination of all five main roles,” the press service noted.

Mr. Anderson was confident yesterday that Svetlana Zakharova would dance according to the planned schedule. However, today, according to a press officer, he was informed that "Ms. Zakharova has left Moscow and, apparently, will not be able to take part in the rehearsals necessary for her scheduled performances."

According to the Bolshoi Theater website, David Hallberg remains in the production - he will dance on July 21, his Tatiana will be Evgenia Obraztsova.

Spectators who believed that Bolshoi Theater premiers Svetlana Zakharova and David Hallberg would dance on the first day of the premiere block, as well as those who purchased tickets by believing the lineups with Zakharova’s participation posted on the Bolshoi Theater website after her refusal, will not be able to return their tickets.

According to the rules of the Bolshoi Theater - by the way, contrary to the Law of the Russian Federation “On the Protection of Consumer Rights” - the management has the right to replace the artist, and tickets can be returned to the theater only in case of cancellation or postponement of the performance.

Text: Nastya Volchek

Photo: ITAR-TASS, Starface.ru, Fotobank

34-year-old prima ballerina of the Bolshoi Theater Svetlana Zakharova told OK! about how marriage and the birth of her daughter changed her life and helped her look at many things more easily.

At the beginning of July, ballerina Svetlana Zakharova refused to participate in the premiere of the ballet Onegin due to her disagreement with the directors on the issue of casting. However, the editor-in-chief of OK! Vadim Vernik decided not to ask Svetlana about the reasons for her decision, just as he did not discuss the scandals that occurred over Lately at the Bolshoi Theater. In an interview, the ballerina talked about more pleasant things - marriage and the birth of her daughter.

Svetlana Zakharova met her husband, violinist Vadim Repin, at a New Year's concert. Zakharova saw her future husband on stage and “was amazed,” and after the performance she came up to get an autograph. The next time they met was only a year later. Zakharova does not talk about the details of her affair with Repin, but does not hide the fact that marriage and the birth of her daughter Anna in 2011 completely changed her life.

“Before, day and night, all thoughts were only about ballet. And after the birth of my daughter, the whole world turned upside down. It is not without reason that they say that motherhood changes a woman and beautifies her. I realized that I need to look at some things more simply, be wiser, not get irritated and not get hung up on just one profession,” Zakharova shared in an interview with OK! magazine.

Svetlana admitted that she was not at all worried about her career when she found out that she was pregnant. She left the stage, rested, went on tour with her husband and felt like “a woman who simply lives and enjoys.” After the birth of her daughter, Zakharova was on stage within three months. Now the ballerina tries not to be separated from 2-year-old Anna for a long time, and if the tour lasts more than five days, she takes her with her.

In August, Svetlana Zakharova and Vadim Repin will perform together in Switzerland at the Saint-Pré Classic festival, which is attended by people who are connected by friendship or family ties. The couple was first invited to the festival several years ago, when they learned that they were now together. But due to Svetlana’s busy schedule and maternity leave, the performance has not yet taken place.

In a few weeks, Zakharova will dance in Saint-Pré to the accompaniment of her husband a number to the music of Arvo Pärt Fratres “Plus Minus Zero”, which was staged by a young choreographer from St. Petersburg, Vladimir Varnava. The ballerina admitted that she was “a little afraid,” because if family life The spouses are ready to compromise, but in the profession they are not used to giving in.

Meeting Svetlana Zakharova turned out to be a difficult task: for several years now she has been combining the position of prima ballerina of the Bolshoi Theater and La Scala in Milan. He also manages to prepare solo programs and raise his five-year-old daughter. Our interview was postponed several times. And we end up meeting on a Sunday afternoon. But not in a quiet cafe, as it should be at such a time, but behind the scenes of the Bolshoi Theater. Celebrities are not allowed weekends: Svetlana is rehearsing “A Hero of Our Time,” and during the breaks she obediently answers my questions. In "plush" tracksuit and mini felt boots to keep warm, the ballerina looks very young. Much younger than in the photos. Fragile, almost ethereal, she amazes with her perfectly smooth skin, hypnotizes with her lively gray eyes and captivates with her sweet, childish manner of chuckling in conversation.

Cardigan, Givenchy by Riccardo Tisci; bodysuit, Intimissimi; necklace, white gold, diamonds, Cartier High Jewellery; ring, platinum, diamonds, Tiffany & Co.; bracelet, silver, Stephen Webster; Carrera watch, steel, rose gold plated, mother-of-pearl, diamonds, TAG Heuer

PHOTO Timur Artamonov

ELLE How do you manage to keep up with everything?

I’m used to planning: rehearsals and performances are strictly scheduled two years in advance. I try to take my daughter and mother on tour. My husband (violinist Vadim Repin - ELLE note) also flies to where the family is. And when I’m in Moscow, I’m not busy every evening: the prima dancers, unlike the corps de ballet dancers, perform in turns.

Jacket, Alexander Terekhov; shirt, Luna di Seta; Tiffany T pendant, white gold, diamonds, Tiffany & Co.; Divas’ Dream necklace, white gold, diamonds, Bulgari

PHOTO Timur Artamonov

ELLE What are you working on now?

S.Z. I’m finishing preparations for a solo evening called Amore (smiles). On May 12 and 14 we will present it in Modena and Parma, Italy, and the premiere at the Bolshoi is planned for the 24th and 25th. The program consists of three modern one-act ballets. The first two are serious and dramatic. And the third - “Strokes through Tails” by Irish choreographer Margarita Donlon - is light and humorous.

ELLE Russian ballet is known primarily for its classical productions. We don't like modern dance that much. Why did you choose it?

S.Z. The whole world loves classics, not just our audience. I have already danced all the roles you can dream of, in a variety of versions. For example, " Swan Lake"Performed in more than ten versions on different stages around the world. I want to experiment, to test the capabilities of my body in something different. Modern dance is a movement that gives freedom. Classics have boundaries and rules that cannot be exceeded. Dignity modern choreography also in the fact that it helps to loosen up, so that later when performing classical repertoire feel freer.

ELLE Are you involved in creating your own costumes?

S.Z. If the performance is classic, then they are sewn according to established designs; nothing can be changed. This is not the case with modern dance. Costume designers listen to my wishes. Clothing for a performance should not only be interesting, but also comfortable. By the way, both the Paris Grand Opera and Milan's La Scala sewed for me, but no one compared to the Bolshoi tailors. Here the best choice materials, the lightest suits that are always comfortable. To work on the ballet “Strokes through Tails,” I invited Igor Chapurin, who has already worked for the Bolshoi Theater several times. He is aware that materials should be weightless, breathable, nothing should restrict movement, etc.

ELLE A in ordinary life what do you like to wear?

S.Z. I spend a huge part of my time in a tracksuit (smiles). And if we sum up the requirements for clothing: comfortable, elegant, wrinkle-free. So that the item can be put in a suitcase, taken out at the hotel and not think about ironing. When it comes to shoes, I love ballet flats, but don’t look for any connection here with my profession. They are stylish, comfortable, go with everything... I have a whole collection of Chanels alone.

Dress, Céline; earrings, Volants de la Reine watch, white gold, diamonds, sapphires, all - Breguet; Tiffany Victoria pendant, platinum, diamonds, Victoria Bow bracelet, platinum, diamonds, Tiffany T ring, white gold, diamonds, all - Tiffany & Co.

PHOTO Timur Artamonov

ELLE How do you relieve leg tension?

S.Z. Massage after the performance - I wouldn’t be able to work without it. In every country I visit, I have favorite artists. But most often the same specialist from La Scala comes to see me in Italy and neighboring European countries.

ELLE Ballerina's decoration is a swan neck. How do you care for her?

S.Z. Behind the neck?! Almost nothing. Only behind the face: I use Guerlain. I am friends with the creative director of the brand, Olivier Echaudmaison. He often comes to my performances in Paris, and when he flies to Moscow, we always meet. He gives me a huge amount of cosmetics. Thanks to him, I have the opportunity to try all the new products of the brand. Now, even on stage, I wear only Guerlain makeup. The makeup is not as dense as the canons require. But without the feeling of a mask, like stage makeup. So after the performance I don’t wash off my makeup, I go home straight away.

Parka, Max Mara; top, Intimissimi; B.zero1 earrings, white gold, pavé diamonds, Bulgari; Tiffany Victoria necklace, platinum, diamonds, Tiffany & Co.

PHOTO Timur Artamonov

ELLE Do you really put on makeup yourself before a performance?!

S.Z. We have make-up artists, but I do it myself. Forty minutes - and you're done! There was a make-up lesson at the choreographic school, but gradually I began to apply it completely differently from how we were taught. I got away from theatrical winged eyeliners that are designed to make my eyes look bigger. I want to be natural. In fact, to make your eyes look expressive even from a gallery, you don’t have to lengthen them at all. There are many other theatrical secrets and ways to demonstrate facial expression.

ELLE What's the best part about your profession?

S.Z. Preparing for the performance. When you are searching, you don’t sleep at night because music is playing in your head. And for days you run from rehearsal to fitting. The premiere itself no longer causes so much joy. It even becomes a little sad, because what I was preparing for has already happened.

ELLE And the most unpleasant thing?

S.Z. Big exercise stress. Sometimes I’m so tired that sometimes, when I wake up, I can’t immediately understand whether I have a performance today or a rehearsal. And if it’s a performance, then what kind. At such moments, I take a break for at least a day.

ELLE So what are you doing?

S.Z. I allow myself to rest. I'm canceling rehearsals. I'm staying at home. I walk with my daughter, I can go shopping, do anything, just not physical labor.

Top, Alexander McQueen; Diamants Classiques necklace, white gold, diamonds, Paris Nouvelle Vague ring, white gold, diamonds, all - Cartier; Divas’ Dream necklace, white gold, diamonds, Bulgari

PHOTO Timur Artamonov

ELLE For a ballerina, giving birth to a child is a feat. How has your life changed since the birth of your daughter?

S.Z. I don't consider this a feat. I'm not the first, I'm not the last. When I found out that I was expecting a child, I was very happy. And I also thought: “Finally I can rest!” I left the stage for a year, and it was such a wonderful time! I gained strength, emotions, inspiration, new potential opened up. I think, maternity leave even prolongs stage life.

For myself, I am not a star at all. Just a person who works hard every day

ELLE How quickly did you get back?

S.Z. When Anya was not even three months old. A few weeks after giving birth, I was already standing at the machine. It wasn't easy, even if you cry. All my life I calmly raised my leg (holds my hand near my ear. - ELLE note.), and it stayed there. But suddenly the muscles stopped obeying me, they didn’t hold me at all. It was so strange!

Cardigan, Givenchy by Riccardo Tisci; bodysuit, Intimissimi; socks, Calzedonia; slip-ons, AGL; necklace, white gold, diamonds, Cartier High Jewellery; bracelet, silver, Stephen Webster; ring, platinum, diamonds, Tiffany & Co.; Carrera watch, steel, rose gold plated, mother-of-pearl, diamonds, TAG Heuer

PHOTO Timur Artamonov

ELLE Welcome to the world of ordinary people.

S.Z. Exactly! I realized how the audience was looking at us with a silent question: “How do you do this?”

ELLE Do you feel like a star?

S.Z. No, on the contrary, I feel like an eternal student who still has a lot to learn. I can’t say that I eat myself all the time, but dissatisfaction is often present. Fortunately, now you can record the performance and calmly look at yourself from the outside to see how it all turned out. Well, the public’s reaction speaks volumes... But for myself, I’m not a star. Just a man who plows every day.

On March 23, the Bolshoi Theater will host the premiere of John Neumeier’s ballet “Anna Karenina” with Svetlana Zakharova in the title role. The country's main prima spoke to InStyle about the new performance, personal happiness and plans for the future.

Svetlana is wearing a Dior bodysuit and skirt

Choreographer John Neumeier, with whom you have already worked before, here at the Bolshoi, is called the main psychologist and experimenter of the ballet stage. How did he surprise you this time? Imagine: the curtain opens and you see an election rally, in the center is Karenin in a modern suit, his portraits are everywhere. I never expected that this would be a production about our time, literally a ballet with smartphones in hand. Anna in fashionable outfits

and with a cigarette. John Neumeier is a brilliant choreographer, director, philosopher! He always creates vivid images that are cleverly intertwined and very interesting to follow. What kind of heroine is Anna for you - strong or weak?

More likely, just very lonely. Everyone around is busy with themselves, and essentially no one cares about her. And when Vronsky bursts into her life, she discovers feelings within herself that she cannot refuse. Even for the sake of his son Seryozha, whom he loves madly and never forgets for a moment. You are a rare example of a ballerina who is equally strong in both classical and modern dance. What is the most difficult thing about this “split”? Return! Go from classics to

You are the ideal, universally recognized Giselle, Princess Aurora, Odette-Odile. And at the same time - Carmen, Manon Lescaut, and now Anna Karenina. Which images are closest to you?

All these roles are very dear to me. There are performances where you can show all your technical and physical capabilities. And there are those where the whole soul is wide open, all emotions and feelings, like exposed nerves, rush out. And then you don’t think about technology, but immerse yourself headlong in the image of your heroine and live her life.

“I like that the public strives to attend all the premieres at the Bolshoi. Famous faces can be seen in the stalls. People carefully select outfits and jewelry. For me, this is a sign of good taste and respect for the theater."

Svetlana Zakharova

In a Chanel dress

Is there something in ordinary life that you, as a prima and star, cannot afford? Well, for example, go down to the subway? Just last summer I came down. Then the entire center was dug up, Moscow was stuck in one giant traffic jam, and it was ten times faster to get to the Bolshoi by metro. But a few trips were enough for me to understand that I live in my reality and am not ready to change it even to save time. Yes, I can’t afford many things - because I’m tired or because I want to save strength, energy, emotions for my family and friends. Are awards important to you? To be honest, receiving awards is very nice. It’s great when you are highly appreciated by your colleagues, and when the state rewards you, it’s generally a special emotion! I will never forget how I was awarded the State Prize

Russian Federation, what awe and excitement I felt when my name was announced. I walked through the hall of the Grand Kremlin Palace, hundreds of eyes were looking at me, but I didn’t notice anything around. Then the president presented the award - at that moment it seemed to me that I could move mountains...

I heard that your seven-year-old daughter Anya already dreams of becoming a ballerina. Are you ready for this? She, however, has very good coordination, she is musical and quickly grasps everything. I will only be glad if she follows in my footsteps. This is a difficult profession, and my daughter knows about it firsthand. But the most important thing for me is that she has a goal in life.

“Ballerinas are expected to have an almost model-like appearance - legs and arms should be long, the instep should be high, the stretch should be maximum - and pure academicism.”

Everyone says that the Bolshoi has a special stage, and it’s not even a matter of the degree of its inclination, but something else. Aren't they fantasizing?

Yes, the hardest and most complex! Maybe because of its size, maybe because of traditions, history, those great people who came to see it. I can’t explain it, but nowhere in the world do I worry as much as I do at the Bolshoi. I've even stopped fighting this. I just tell myself: “I have to get through this moment,” I close myself internally, concentrate and take a step...

Zakharova Svetlana Yurievna is a ballet dancer from Russia. From 1996 to 2003 she was a soloist at the Mariinsky Theater. Also, since 2003 she has been a prima ballerina of the Bolshoi and since 2008 of Milan's La Scala theaters. Since 2006 Laureate State Prize

Russian Federation, and since 2007 - member of the United Russia party.

The height of ballerina Svetlana Zakharova is currently 175 centimeters.

Brief biography: early years Motherland future star - Ukrainian city of Lutsk, where she was born in 1979. Her family consisted of a father, a military man, and a mother, who had direct relation

to art (choreographer of a children's studio) and instilled in her daughter a love for it. Under her supervision, the child began to master the first basics and achieve small but successful successes. At the age of 10, Svetlana enters choreographic school

Kyiv and studied there for 6 years in the class of a worthy teacher Valeria Sulegina.

In 1995, she took part in the Vaganova-Prix competition, organized by the Vaganova Academy of Russian Ballet, where she achieved excellent success, taking 2nd place and second only to a graduate of the academy.

Continuation of training and first roles Such talent could not be ignored, so she immediately received an invitation to the city of St. Petersburg, where she was enrolled in the ballet academy. Amazing fact

is that with Svetlana Zakharova’s height of 168 centimeters (at that time) and weight of 48 kilograms, the fragile girl was taken straight to her final year. Such an incident has never been repeated in the entire history of the educational institution. In 1996, Svetlana graduated from the Academy in the class of Elena Evteeva (famous Soviet ballerina and teacher) and immediately after graduation joins the troupe Mariinsky Theater

Her debut film is the ballet “The Fountain of Bakhchisarai”, in which Svetlana danced the role of Maria. Then comes the role of Gulnara in the production of Le Corsaire, as well as the seventh waltz and mazurka in Chopinian. However, critics consider her main role in the ballet “Giselle” to be the pinnacle of Zakharova’s career. For the Russian stage this was nonsense, since such a complex part young talents it's been a long time since they've performed at such a level high level. At the young age of 18, Svetlana Zakharova, weighing like a feather, has already become a real prima of the Mariinsky Theater, who began to participate in all major scenes: “Swan Lake” and “The Sleeping Beauty” by Pyotr Ilyich Tchaikovsky, as well as “Don Quixote” and “La Bayadere” » Ludwig Minkus. She takes leading roles in the ballets Apollo by Musageta, Symphony in C Major, Jewels and Serenade by Balanchine. The fuel for success is Team work with John Neumeier, an American choreographer and dancer working in Germany. Thanks to him, Svetlana reveals herself not only as a classical ballerina, but also as an artist of ultra-modern dance.

At the same time, Zakharova's first tour around the world began. She conquers France, being the first from the collapsed USSR to conquer the Parisian stage, on which she performs the role from the ballet “La Bayadère” three times. Her name is also glorified in major cities West:

New York (Metropolitan Opera).
London (Covent Garden).
Naples (San Carlo).
Buenos Aires (Colon Theater).
Munich ( Bavarian Opera).
Tokyo (National Theatre).

At the end of 2002, the ballerina danced the pas de deux from the ballet “Giselle” together with the then famous main dancer of the Bolshoi Theater, Nikolai Tsiskaridze.

Transition to the Bolshoi Theater

In 2003, Svetlana Zakharova, with the height and weight of a weightless feather, at the invitation of Vladimir Vasiliev, flies to another ballet center - the Bolshoi Theater of Moscow. People's Artist of the USSR, ballerina and choreographer Lyudmila Semenyaka takes her under her wing.

Major work begins with the premiere of the ballet “Pharaoh’s Daughter,” in which he took part famous artist, choreographer and director from France Pierre Lacotte. The performance was recorded and even released on DVD.

After 5 years of work at the Bolshoi Theater creative biography Svetlana Zakharova is filled with another a joyful event, when she enters into a contract with the famous Milan theater La Scala.

In this cultural center she is immediately given the status of etouile, which in simple language means “the highest category for a ballet dancer.” Ballerina Svetlana Zakharova again makes a splash, as when she immediately enrolled in the last year of the ballet academy, becoming the first Russian dancer to receive such status.

In the same year, Svetlana was awarded the title People's Artist Russian Federation, and literally 2 years later in 2010 she received the French Order of Arts and Letters.

Recent years

In 2013, the artist became involved in an incident. Because of her refusal to perform the role in John Cranko’s production of Onegin, being in the second cast, there was an assumption that the theater director Anatoly Iskanov resigned from his position precisely for this reason.

In 2014, elegant, light, but already stretched out like a sprout, Svetlana Zakharova, with a height of 175 centimeters, is invited to participate in the opening ceremony olympic games in Sochi, where she plays the role of Natalya Rostova.

Ballerina Svetlana Zakharova returns to her homeland again to the Bolshoi Theater in Moscow and participates in the largest productions: “The Lady of the Camellias”, “The Legend of Love” and “A Hero of Our Time”; receiving a “ballet Oscar” for them - an award from the international competition “Benois de la Danse”.

In 2015 this award Svetlana wins for the picture of director John Neumeier in the role of Marguerite Gautier and for the composition of choreographer Yuri Grigorovich, playing the character of Mekhmene Banu in the ballet.

Present tense

Despite her already quite mature age, it is not a hindrance for Svetlana, and she is in the same excellent physical and moral shape. In 2017, her solo work entitled Amore was staged at the Bolshoi Theater. The program includes three one-act ballets.

In addition to concerts, in March the program “ the main role"on the TV channel "Russia K" with the direct participation of Svetlana in it.

In 2018, she continues to perform on domestic stages and in Milan theater"La Scala".

The ballerina also visited Japan, where she performed at the Russian Seasons festival, held in concert hall city of Tokyo Orchad Hall.

Social activity

In 2006, ballerina Svetlana Zakharova joined the Council for Culture and Arts. Co next year was elected among the candidates nominated political party“United Russia”, and sat in this place until 2012, after which she honestly admitted that she only wanted to engage in ballet activities.

As politician Her merit is the establishment of a special scholarship for students of the Saratov School of Arts. She is guided by the opinion that financially supporting young talents is also very important.

Svetlana is the founder of the budget fund “Talent and Success”.

One of the biggest problems Russian art Zakharova believes that there is a shortage of Russian competent choreographers, which is why there is a complete borrowing of ideas from other Western countries.

Personal life

Svetlana Zakharova met her future husband at one of the New Year's concerts. Vadim Repin is a successful violinist and winner of the Queen Elizabeth Competition held in Brussels in 1989.

Interesting fact: the acquaintance happened under funny circumstances when famous ballerina approached the musician just for an autograph. A whole year has passed since their next meeting.

The young people entered into a relationship and soon got married. The talented couple decided not to advertise their wedding. A year later their daughter Anna was born. This event pleased Svetlana not only with its replenishment, but also with the opportunity to take a break from regular physical and mental stress.

However, the rest did not last long, and after three months of the birth of her daughter, the artist again stood on her favorite stage. And yet, this an important event could not but influence her worldview. Now the talented dancer’s thoughts were spinning not only about her life’s work, but also about her beloved daughter Anna.

If the tour lasts more than 5 days, then Svetlana takes the child with her, as her mother once did with her, opening up the world of ballet to her daughter.

Photo by Svetlana Zakharova

In 2015, the Moscow Art Museum organizes an exhibition as part of the IX Fashion and Style in Photography festival. When the museum invited Svetlana to take part in a photo shoot, she immediately and with pleasure plunged into the process.

The artist chose one of the best Russian photographers, Vladimir Fridkes. He managed to create an incredible plastic image, which Prima’s fans were able to look at from a completely different angle.