“Amateur” decided to talk about the legends of ballet art of the 20th century.
Olga Preobrazhenskaya
In 1879 she entered, where I studied with teachers Nicholas Legat and Enrico Cecchetti . After graduation she was accepted intoMariinskii Opera House, where her main rival wasMatilda Kshesinskaya. Since 1895 she toured Europe and South America, successfully performed in the theater La Scala. In 1900 became a prima ballerina. She left the stage in 1920.
In 1914 she began her teaching career, from 1917 to 1921 she taught a plastic class at the Mariinsky Theater opera troupe, taught at the Petrograd Choreographic School, at the School of Russian Ballet A. L. Volynsky.
In 1921 she emigrated, since 1923 she lived in Paris where I opened it ballet studio and continued her teaching career for almost 40 years. Also taught at Milan, London, Buenos Aires, Berlin . She left teaching in 1960. Among her students were Tamara Tumanova, Irina Baronova, Tatiana Ryabushinskaya, Nina Vyrubova, Margot Fonteyn, Igor Yushkevich, Serge Golovin and others.
Olga Iosifovna died in 1962 and buried on(some sources erroneously indicateMontmartre cemetery).
Matilda Kshesinskaya
Born into a family of ballet dancersMariinsky Theater: daughter of a Russian PoleFelix Kshesinsky(1823-1905) and Yulia Dominskaya (widow of the ballet dancer Leda, she had five children from her first marriage). Sister of ballerina Yulia Kshesinskaya (“Kshesinskaya 1st”; married Zeddeler, husband - Zeddeler, Alexander Logginovich) And Joseph Kshesinsky(1868-1942) - dancer, choreographer, director, Honored Artist of the RSFSR (1927).
In 1896, Preobrazhenskaya received the status of prima ballerina.
Graduated in 1890 Imperial Theater School, where her teachers were Lev Ivanov, Christian Ioganson and Ekaterina Vazem . After graduating from school she was accepted into the ballet troupeMariinsky Theater, where at first she danced as Kshesinskaya 2nd (Kshesinskaya 1st was officially called her older sister Julia ). Danced on the imperial stage with 1890 to 1917.
In 1896 received the status prima ballerinas imperial theaters (probably largely due to his connections at court, since the chief choreographer Petipa did not support her promotion to the very top of the ballet hierarchy).
In 1929 opened her own ballet studio in Paris . Kshesinskaya’s student was a “baby ballerina”Tatiana Ryabushinskaya.
In exile, with the participation of her husband, she wrote memoirs , originally published in 1960 in Paris in French. The first Russian publication in Russian was published only in 1992.
Matilda Feliksovna lived long life and died December 5, 1971 a few months before his centenary. Buried atCemetery of Sainte-Genevieve-des-Boisnear Paris in the same grave with her husband and son. On the monument epitaph : “Your Serene Highness Princess Maria Feliksovna Romanovskaya-Krasinskaya, Honored Artist of the Imperial Theaters KShesinskaya».
Vera Trefilova
Vera Trefilova was born into an artistic family. N.P. Trefilov’s mother, a non-commissioned officer’s widow, was a dramatic actress and was not married. Outstanding dramatic actress became godmother M. G. Savina.
Besides Despite the fact that sources also give the ballerina the surname Ivanova, she bore three more surnames after her husbands: after her 1st husband - Butler, after her 2nd - Solovyova, and after her 3rd - Svetlova.
Trefilova was a follower classical ballet
Graduated in 1894Petersburg Theater School, teachers Ekaterina Vazem and Pavel Gerdt , and was immediately accepted onto the stage at the ImperialMariinskii Opera House to the corps de ballet with the promise that in a few years she will take role soloist - which happened in 1906 after she, already working on stage, continued to take lessons, her teachers were:Katarina Beretta, Enrico Cecchetti, Maury in Paris, Evgenia Sokolova, Nikolai Legat . In 1898, at the premiere of The Mikado's Daughter, the choreographer She replaced L. I. Ivanov Ekaterina Geltser, but the exit was unsuccessful, leaving the ballerina in the corps de ballet for several more years. Nevertheless, she performed in small solo roles. And having finally become a soloist, she already felt confident in the difficult first roles.
Trefilova was a supporter of classical ballet, denying innovation. But she became a master of academic ballet.
V. Trefilova worked at the Mariinsky Theater from 1894 to 1910.
Yulia Sedova
Graduated St. Petersburg Choreographic Schoolin 1898. Lead teacher Enrico Cecchetti staged for her and his other student Lyubov Egorova special graduation performance “Dance Lesson at the Hotel”, designed to demonstrate good mastery of performance technique.
Although from the first years of her stay at the Mariinsky Theater, she was entrusted with significant roles, her career was far from going well, only in 1916, before resigning, she received the highest title in her ballet career as a ballerina. There were subjective reasons for this; the director openly didn’t like herimperial theatersV. A. Telyakovsky, who left many unflattering reviews about her in his diaries. She was accused of squabbles and intrigue. Now it is impossible to judge the objectivity of these statements, especially if we take into account the specific atmosphere of relations in the St. Petersburg ballet, which was actually run byMatilda Kshesinskaya.
Sedova had a large build, broad shoulders, strong muscular legs
Objectively, we can say that the artist had an enterprising, active nature and apparently got along with her colleagues, as evidenced by the numerous tours that she led. However, apart from subjective reasons, it is not entirely successful career, there were also quite objective ones. She had a large-boned build, broad shoulders, strong muscular legs with large feet, therefore, while achieving very good results in complex jumps and rotations, she lost in the plasticity of poses. Thus, her external data did not suit the spoiled St. Petersburg ballet public.
By 1911, the repertoire of the Mariinsky Theater relied heavily on her, as a number of artistes, for example Anna Pavlova and Vera Trefilova left the theater, and Kshesinskaya andTamara Karsavinaappeared on stage to a limited extent. However, she did not receive the long-deserved title of ballerina and probably submitted her resignation in protest when Karsavina's salary was increased. The resignation was accepted.
Left without work, the artist led a large tour around USA , her travel partner was Mikhail Mordkin . The soloists of the troupe were Lidia Lopukhova, Bronislava Pozhitskaya, Alexander Volinin And Nikolay Solyannikovlike a mimic dancer. The corps de ballet consisted of six to ten people. The scenery was painted by the artistKonstantin Korovin. The tour was a success. The American public, seeing a classical ballet of this level for the first time, received it well. The performance schedule was very intense, performances were given almost every day. The troupe performed in 52 cities. Sedova performed 38 times in "Swan Lake", 27 times in "Coppelia "and 10 times in "Russian Wedding", a small ballet staged by M. Mordkin. The production of “Giselle” had to be canceled due to Mordkin’s illness. The St. Petersburg press followed the tour and reported on the delight of the Americans.
After returning from America, negotiations followed about returning to the Mariinsky Theater, which led nowhere. On March 6, 1912, the actress gave “Farewell Evening” on stageSt. Petersburg Conservatory. In 1912-1914, the actress toured in Western Europe . Only in 1914 was she able to return to the Mariinsky Theater. On November 9, 1916, her farewell benefit performance took place, at which she first performed the role of Aspiccia in “ Pharaoh's daughters " At the age of 36, she left the stage forever.
Agrippina Vaganova
Agrippina Vaganova was born on 14 ( June 26) 1879 in St. Petersburg, in the family of a chaperone Mariinsky Theater. Her father, Akop (Yakov Timofeevich) Vaganov, moved to St. Petersburg from Astrakhan, where there had been a Armenian community; however, he himself was from Persian Armenians and did not make any capital in Astrakhan; served as a non-commissioned officer, and after retirement he moved to St. Petersburg.
In 1888 it was accepted intoImperial Theater School. Among Vaganova's teachers wereEvgenia Sokolova, Alexander Oblakov, Anna Joganson, Pavel Gerdt, Vladimir Stepanov. In elementary school I studied with Lev Ivanov , calling this time “two years of idleness”, then went to class Catherine Vazem . Vaganova's first role was Lisa's mother, main character, in the school play "magical flute", staged by Lev Ivanov for middle school students.
In 1897, after graduating from college, she was accepted into the ballet troupe of the Mariinsky Theater, and a few years later received the status soloists . Vaganova brilliantly succeeded in individual solo variations, for example, in the ballet Delibes "Coppelia" ", for which she was nicknamed the "Queen of Variations".
She made some changes to choreographic techniques, which at first may have seemed inappropriate to strict adherents of academicism, but later occupied a worthy place in the technique of leading dancers.
Vaganova made some changes to choreographic techniques
Leaving the stage in 1916 , took up teaching. At first she taught at various private schools and studios, then, after the revolution, she was invited A. A. Oblakov to work in Petrograd Theater School. Its first issue, which included Nina Stukolkina, Olga Mungalova and Nina Mlodzinska, prepared in 1922. In 1924 she graduated from the class that she began teaching in 1921. Taking pre-graduation women's classes prepared by such teachers as E. P. Snetkova, M. A. Kozhukhova, M. F. Romanova , released every other year, sometimes annually. She developed her own pedagogical system, based on the clarity and meaningfulness of technique, the rigor of body positioning, and the positions of arms and legs. "Vaganova system"played a decisive role in the development of ballet art of the 20th century.
From 1931 to 1937, Vaganova was the artistic director of the ballet troupe.LATOB named after S. M. Kirov.
Agrippina Yakovlevna died in Leningrad November 5, 1951. Buried at Literary BridgesVolkovsky cemetery
The word "ballet" sounds magical. Closing your eyes, you immediately imagine burning lights, chilling music, the rustle of tutus and the light click of pointe shoes on the parquet. This spectacle is inimitably beautiful, it can be safely called a great achievement of man in the pursuit of beauty.
The audience freezes, staring at the stage. The ballet divas amaze with their ease and flexibility, apparently performing complex steps with ease.
The history of this art form is quite deep. The prerequisites for the emergence of ballet appeared in the 16th century. And already from the 19th century, people saw real masterpieces of this art. But what would ballet be without famous ballerinas who made him famous? Our story will be about these most famous dancers.
Marie Ramberg (1888-1982). Future star born in Poland, into a Jewish family. Her real name is Sivia Rambam, but it was later changed for political reasons. The girl fell in love with dancing from an early age, giving herself over to her passion. Marie takes lessons from dancers from the Parisian opera, and soon Diaghilev himself notices her talent. In 1912-1913, the girl danced with the Russian Ballet, taking part in the main productions. Since 1914, Marie moved to England, where she continued to study dance. In 1918, Marie got married. She herself wrote that it was more for fun. However, the marriage turned out to be happy and lasted 41 years. Ramberg was only 22 years old when she opened her own ballet school in London, the first in the city. The success was so stunning that Maria first organized own company(1926), and then the first permanent ballet company in Great Britain (1930). Her performances become a real sensation, because Ramberg attracts the most talented composers, artists, and dancers to her work. The ballerina took an active part in the creation of the national ballet in England. And the name Marie Ramberg forever entered the history of art.
Anna Pavlova (1881-1931). Anna was born in St. Petersburg, her father was a railway contractor, and her mother worked as a simple laundress. However, the girl was able to enter the theater school. After graduating, she entered the Mariinsky Theater in 1899. There she received roles in classical productions - “La Bayadère”, “Giselle”, “The Nutcracker”. Pavlova had excellent natural abilities, and she constantly honed her skills. In 1906, she was already the leading ballerina of the theater, but real fame came to Anna in 1907, when she shines in the miniature “The Dying Swan”. Pavlova was supposed to perform at charity concert, but her partner fell ill. Literally overnight, choreographer Mikhail Fokin choreographed for the ballerina new miniature to the music of San Sans. Since 1910, Pavlova began to tour. The ballerina gains worldwide fame after participating in the Russian seasons in Paris. In 1913 she last time performs within the walls of the Mariinsky Theater. Pavlova gathers her own troupe and moves to London. Together with her charges, Anna tours the world with classical ballets by Glazunov and Tchaikovsky. The dancer became a legend during her lifetime, having died on tour in The Hague.
Matilda Kshesinskaya (1872-1971). Despite her Polish name, the ballerina was born near St. Petersburg and has always been considered a Russian dancer. About Us early childhood declared her desire to dance, no one in her family even thought of stopping her from this desire. Matilda brilliantly graduated from the Imperial Theater School, joining the ballet troupe of the Mariinsky Theater. There she became famous for her brilliant performances of the parts of “The Nutcracker”, “Mlada”, and other performances. Kshesinskaya was distinguished by her signature Russian plastic art, into which notes of the Italian school were wedged. It was Matilda who became the favorite of the choreographer Fokine, who used her in his works “Butterflies”, “Eros”, “Eunice”. The role of Esmeralda in the ballet of the same name in 1899 sparked new star on the stage. Since 1904, Kshesinskaya has been touring Europe. she is called the first ballerina of Russia and is honored as the “Generalissimo of Russian ballet.” They say that Kshesinskaya was the favorite of Emperor Nicholas II himself. Historians claim that in addition to talent, the ballerina had an iron character and a strong position. It is she who is credited with the dismissal of the director of the Imperial Theaters, Prince Volkonsky. The revolution had a hard impact on the ballerina; in 1920 she left the exhausted country. Kshesinskaya moved to Venice, but continued to do what she loved. At 64, she was still performing in London's Covent Garden. And the legendary ballerina was buried in Paris.
Agrippina Vaganova (1879-1951). Agrippina's father was a theater conductor at the Mariinsky Theater. However, he was only able to enroll the youngest of his three daughters in ballet school. Soon Yakov Vaganov died, the family had only hope for a future dancer. At school, Agrippina showed herself to be mischievous, constantly getting bad marks for behavior. After completing her studies, Vaganova began her career as a ballerina. She was given many third-rate roles in the theater, but they did not satisfy her. The ballerina was spared solo parts, and her appearance was not particularly attractive. Critics wrote that they simply did not see her in the roles of fragile beauties. The makeup didn't help either. The ballerina herself suffered greatly about this. But through hard work, Vaganova achieved supporting roles, and newspapers began to write about her from time to time. Agrippina then took a sharp turn in her fortunes. She got married and gave birth. Returning to ballet, she seemed to rise in the eyes of her superiors. Although Vaganova continued to perform second roles, she achieved mastery in these variations. The ballerina managed to rediscover images that seemed to have been erased by generations of previous dancers. Only in 1911 did Vaganova receive her first solo part. At the age of 36, the ballerina was sent into retirement. She never became famous, but she achieved a lot given her data. In 1921, a choreography school was opened in Leningrad, where Vaganova was invited as one of the teachers. The profession of a choreographer became her main one until the end of her life. In 1934, Vaganova published the book “Fundamentals of Classical Dance.” The ballerina devoted the second half of her life to the choreographic school. Nowadays it is the Dance Academy, named in her honor. Agrippina Vaganova did not become a great ballerina, but her name will forever go down in the history of this art.
Yvette Chauvire (born 1917). This ballerina is a truly sophisticated Parisian. At the age of 10 she began to seriously study dancing at the Grand Opera. Yvette's talent and performance were noted by directors. In 1941, she already became prima of the Opera Garnier. Her debut performances brought her truly worldwide fame. After this, Chauvire began to receive invitations to perform in various theaters, including the Italian La Scala. The ballerina became famous for her role as the Shadow in Henri Sauguet's allegory; she performed many roles choreographed by Serge Lifar. Among the classical performances, the role in “Giselle” stands out, which is considered the main one for Chauvire. Yvette demonstrated true drama on stage, without losing all her girlish tenderness. The ballerina literally lived the life of each of her characters, expressing all emotions on stage. At the same time, Shovira was very attentive to every little detail, rehearsing and rehearsing again. In the 1960s, the ballerina headed the school where she once studied. And Yvette’s last appearance on stage took place in 1972. At the same time, a prize named after her was established. The ballerina repeatedly went on tour to the USSR, where she was loved by the audience. her partner was repeatedly Rudolf Nureyev himself after his flight from our country. The ballerina's services to the country were rewarded with the Order of the Legion of Honor.
Galina Ulanova (1910-1998). This ballerina was also born in St. Petersburg. At the age of 9 she became a student at the choreographic school, from which she graduated in 1928. Immediately after the graduation performance, Ulanova joined the troupe of the Opera and Ballet Theater in Leningrad. The young ballerina’s very first performances attracted the attention of connoisseurs of this art. Already at the age of 19, Ulanova danced the leading role in Swan Lake. Until 1944, the ballerina danced at the Kirov Theater. Here she became famous for her roles in “Giselle”, “The Nutcracker”, “The Fountain of Bakhchisarai”. But her role in Romeo and Juliet became the most famous. From 1944 to 1960, Ulanova was a leading ballerina Bolshoi Theater. It is believed that the peak of her creativity was the scene of madness in Giselle. Ulanova visited London in 1956 on a tour of the Bolshoi. They said that such success had not happened since the days of Anna Pavlova. Ulanova's stage activity officially ended in 1962. But for the rest of her life, Galina worked as a choreographer at the Bolshoi Theater. She received many awards for her work - she became the People's Artist of the USSR, received the Lenin and Stalin Prize, became a twice hero of Socialist Labor and a laureate of numerous awards. The great ballerina died in Moscow, she was buried on Novodevichy Cemetery. her apartment became a museum, and a monument was erected in Ulanova’s native St. Petersburg.
Alicia Alonso (born 1920). This ballerina was born in Havana, Cuba. She began studying the art of dance at the age of 10. At that time there was only one on the island private school ballet, directed by Russian specialist Nikolai Yavorsky. Alicia then continued her studies in the USA. Debut on big stage took place on Broadway in 1938 in musical comedies. Alonso then works at the Ballet Theater in New York. There she gets acquainted with the choreography of the world's leading directors. Alicia and her partner Igor Yushkevich decided to develop ballet in Cuba. In 1947 she danced there in Swan Lake and Apollo Musagete. However, at that time in Cuba there were no traditions of ballet or stage. And the people did not understand such art. Therefore, the task of creating the National Ballet in the country was very difficult. In 1948, the first performance of "Ballet of Alicia Alonso" took place. It was ruled by enthusiasts who staged their own numbers. Two years later, the ballerina opened her own ballet school. After the 1959 revolution, the authorities turned their attention to ballet. Alicia's company evolved into the coveted National Ballet of Cuba. The ballerina performed a lot in theaters and even squares, went on tour, and was shown on television. One of Alonso’s most striking images is the role of Carmen in the ballet of the same name in 1967. The ballerina was so jealous of this role that she even forbade staging this ballet with other performers. Alonso has traveled all over the world, receiving many awards. And in 1999 she received the Pablo Picasso Medal from UNESCO for outstanding contribution into the art of dance.
Maya Plisetskaya (born 1925). It is difficult to dispute the fact that she is the most famous Russian ballerina. And her career turned out to be record long. Maya absorbed her love for ballet as a child, because her uncle and aunt were also famous dancers. At the age of 9, the talented girl entered the Moscow Choreographic School, and in 1943, the young graduate entered the Bolshoi Theater. There the famous Agrippina Vaganova became her teacher. In just a couple of years, Plisetskaya went from corps de ballet to soloist. A landmark for her was the production of “Cinderella” and the role of the Autumn Fairy in 1945. Then there were the classic productions of “Raymonda”, “The Sleeping Beauty”, “Don Quixote”, “Giselle”, “The Little Humpbacked Horse”. Plisetskaya shone in “The Fountain of Bakhchisaray”, where she was able to demonstrate her rare gift - literally hanging in a jump for some moments. The ballerina took part in three productions of Khachaturian's Spartacus, performing the roles of Aegina and Phrygia. In 1959, Plisetskaya became People's Artist of the USSR. In the 60s, it was believed that Maya was the first dancer of the Bolshoi Theater. The ballerina had enough roles, but creative dissatisfaction accumulated. The solution was “Carmen Suite”, one of the main milestones in the dancer’s biography. In 1971, Plisetskaya also established herself as a dramatic actress, playing in Anna Karenina. A ballet was written based on this novel, which premiered in 1972. Here Maya tries herself in a new role - a choreographer, which becomes her new profession. Since 1983, Plisetskaya has worked at the Rome Opera, and since 1987 in Spain. There she leads troupes and stages her ballets. Plisetskaya's last performance took place in 1990. The great ballerina was showered with many awards not only in her homeland, but also in Spain, France, and Lithuania. In 1994 she organized international competition, giving him his name. Now “Maya” gives young talents the opportunity to break through.
Ulyana Lopatkina (born 1973). The world-famous ballerina was born in Kerch. As a child, she did a lot of not only dancing, but also gymnastics. At the age of 10, on the advice of her mother, Ulyana entered the Vaganova Academy of Russian Ballet in Leningrad. There Natalia Dudinskaya became her teacher. At the age of 17, Lopatkina won the All-Russian Vaganova Competition. In 1991, the ballerina graduated from the academy and was accepted into the Mariinsky Theater. Ulyana quickly achieved solo parts for herself. She danced in Don Quixote, The Sleeping Beauty, The Bakhchisarai Fountain, and Swan Lake. The talent was so obvious that in 1995 Lopatkina became the prima of her theater. Each of her new role delights both viewers and critics. At the same time, the ballerina herself is interested not only in classical roles, but also in the modern repertoire. Thus, one of Ulyana’s favorite roles is the part of Banu in “The Legend of Love” directed by Yuri Grigorovich. The ballerina works best in the roles of mysterious heroines. Its distinctive feature is its refined movements, its inherent drama and high jump. The audience believes the dancer, because she is absolutely sincere on stage. Lopatkina is the winner of numerous domestic and international awards. She is a People's Artist of Russia.
Anastasia Volochkova (born 1976). The ballerina remembers that her future profession she identified it already at the age of 5, which she told her mother about. Volochkova also graduated from the Vaganova Academy. Natalia Dudinskaya also became her teacher. Already in her last year of study, Volochkova made her debut at the Mariinsky and Bolshoi theaters. From 1994 to 1998, the ballerina's repertoire included leading roles in "Giselle", "Firebird", "Sleeping Beauty", "The Nutcracker", "Don Quixote", "La Bayadère" and other performances. Volochkova traveled halfway around the world with the Mariinsky troupe. At the same time, the ballerina is not afraid to perform solo, building a career parallel to the theater. In 1998, the ballerina received an invitation to the Bolshoi Theater. There she brilliantly performs the role of the Swan Princess in Vladimir Vasiliev's new production of Swan Lake. In the main theater of the country, Anastasia receives the main roles in “La Bayadère”, “Don Quixote”, “Raymonda”, “Giselle”. Especially for her, choreographer Dean creates a new role as the fairy Carabosse in “Sleeping Beauty.” At the same time, Volochkova is not afraid to perform modern repertoire. It is worth noting her role as the Tsar-Maiden in The Little Humpbacked Horse. Since 1998, Volochkova has been actively touring the world. She receives the Golden Lion prize as the most talented ballerina in Europe. Since 2000, Volochkova has left the Bolshoi Theater. She begins performing in London, where she conquered the British. Volochkova returned to the Bolshoi for a short time. Despite the success and popularity, the theater administration refused to renew the contract for the usual year. Since 2005, Volochkova has been performing in her own dance projects. her name is constantly heard, she is the heroine of gossip columns. The talented ballerina recently began to sing, and her popularity grew even more after Volochkova published her nude photos.
Irina Babkina
When planning material about ballerinas for the May holidays, we did not know that such sad news would come from Germany... Today, when the whole world mourns the legend of Russian ballet Maya Plisetskaya, we honor her memory and remember modern soloists who will never replace the prima of the Bolshoi Theater, but they will worthily continue the history of Russian ballet.
The Bolshoi Theater showered ballerina Maria Alexandrova with attention from the first meeting. The first prize won in 1997 at the International Ballet Competition in Moscow became a ticket for the then student of the Moscow State Academy of Arts to the main troupe of the country. In the very first season of work at the Bolshoi, without long languor, the ballerina, still with the rank of corps de ballet dancer, received her first solo role. And the repertoire grew and expanded. Interesting fact: in 2010, the ballerina became the first woman in the history of ballet to perform main party in “Petrushka” by I. Stravinsky. Today Maria Alexandrova is a prima ballerina of the Bolshoi.
The turning point in the fate of the aspiring ballerina Svetlana Zakharova was the receipt of second prize in the Vaganova-Prix competition for young dancers and the subsequent offer to become a graduate student at the Academy of Russian Ballet. Vaganova. And the Mariinsky Theater became a reality in the ballerina’s life. After graduating from the academy, the ballerina joined the Mariinsky Theater troupe, after working for a season, she received an offer to become a soloist. The history of Zakharova’s relationship with the Bolshoi began in 2003 with the solo part in “Giselle” (edited by V. Vasiliev). In 2009, Zakharova surprised viewers with the premiere unusual ballet E. Palmieri “Zakharova. Super game". The Bolshoi did not plan it, but Zakharova organized it, and the theater supported the experiment. By the way, there has already been a similar experience of staging a ballet at the Bolshoi for a single ballerina, but only once: in 1967, Maya Plisetskaya shone in Carmen Suite.
What can I say, those who are taking their first steps in ballet from Zakharova’s repertoire are dizzy and envy appears. To date, her track record includes all solo parts of the main ballets - “Giselle”, “Swan Lake”, “La Bayadère”, “Carmen Suite”, “Diamonds”...
The beginning of Ulyana Lopatkina's ballet career was the role of Odette in Swan Lake, of course, at the Mariinsky Theater. The performance was so skillful that the ballerina soon received the Golden Sofit award for the best debut on the St. Petersburg stage. Since 1995, Lopatkina has been a prima ballerina of the Mariinsky Theater. The repertoire again includes familiar titles - “Giselle”, “Corsair”, “La Bayadère”, “Sleeping Beauty”, “Raymonda”, “Diamonds”, etc. But geography is not limited to work on one stage. Lopatkina conquered the main stages of the world: from the Bolshoi Theater to NHK in Tokyo. At the end of May on stage Musical theater them. Stanislavsky and Nemirovich-Danchenko Lopatkina will perform in collaboration with “Stars of Russian Ballet” in honor of Tchaikovsky’s anniversary.
At the end of March, the name of Diana Vishneva, prima ballerina of the Mariinsky Theater since 1996, was on everyone’s lips. The Bolshoi hosted the premiere of the play “Grani,” nominated for the Golden Mask award. The event is vibrant and discussed. The ballerina gave interviews, joked in response to questions about her close acquaintance with Abramovich and pointed to her husband accompanying her everywhere. But the performance ended, and a course was set for London, where on April 10, Vishneva and Vodianova held a charity evening for the Naked Heart Foundation. Vishneva actively performs at best scenes Europe, does not refuse experimental, unexpected proposals.
Balanchine’s “Diamonds” was mentioned above. Ekaterina Shipulina, a graduate of the Moscow State Academy of Arts, shines in “Emeralds” and “Rubies.” And not only, of course. The ballerina's repertoire includes leading roles in such ballets as Swan Lake, Notre Dame de Paris, Lost Illusions, Cinderella, Giselle, and collaborations with the best choreographers - Grigorovich, Eifman, Ratmansky, Neumeier, Roland Petit ...
Evgenia Obraztsova, graduate of the Academy of Russian Ballet named after. Vaganova, first became a prima ballerina at the Mariinsky Theater, where she performed La Sylphide, Giselle, La Bayadère, Princess Aurora, Flora, Cinderella, Ondine... In 2005, the ballerina gained cinematic experience by playing in Cedric Klapisch’s film “Beauties”. In 2012, she joined the Bolshoi troupe, where, as a prima ballerina, she performed solo roles in the productions “Don Quixote,” “The Sleeping Beauty,” “La Sylphide,” “Giselle,” “Eugene Onegin,” and “Emeralds.”
Alonso Alicia(b. 1921), Cuban prima ballerina. A dancer of a romantic nature, she was especially magnificent in “Giselle.” In 1948 she founded the Alicia Alonso Ballet in Cuba, which later became known as the National Ballet of Cuba. Alonso's stage life was very long; she stopped performing at the age of over sixty.
Andreyanova Elena Ivanovna(1819-1857), Russian ballerina, the largest representative of romantic ballet. The first performer of the title roles in the ballets "Giselle" and "Paquita". Many choreographers created roles in their ballets especially for Andreyanova.
Ashton Frederick(1904-1988), English choreographer and director of the Royal Ballet of Great Britain in 1963-1970. Several generations of English ballet dancers grew up on the performances he staged. Ashton's style determined the characteristics of the English ballet school.
Balanchine George(Georgy Melitonovich Balanchivadze, 1904-1983), outstanding Russian-American choreographer of the 20th century, innovator. He was convinced that dance needed no help literary plot, scenery and costumes, and most importantly - the interaction of music and dance. Balanchine's influence on world ballet is difficult to overestimate. His legacy includes more than 400 works.
Baryshnikov Mikhail Nikolaevich(b. 1948), dancer of the Russian school. Virtuoso classical technique and the purity of style made Baryshnikov one of the most famous representatives of male dance in the 20th century. After graduating from the Leningrad Choreographic School, Baryshnikov was accepted into the ballet troupe of the S.M. Kirov Opera and Ballet Theater and soon performed leading classical roles. In June 1974, while on tour with the Bolshoi Theater troupe in Toronto, Baryshnikov refused to return to the USSR. In 1978, he joined J. Balanchine's New York City Ballet troupe, and in 1980 he became artistic director American Ballet Theater and remained in this position until 1989. In 1990, Baryshnikov and choreographer Mark Morris founded the White Oak Dance Project, which over time grew into a large traveling troupe with a modern repertoire. Among Baryshnikov's awards are gold medals at international ballet competitions.
Bejar Maurice(b. 1927), French choreographer, born in Marseille. He founded the troupe "Ballet of the 20th Century" and became one of the most popular and influential choreographers in Europe. In 1987, he moved his troupe to Lausanne (Switzerland) and changed its name to “Béjart Ballet in Lausanne”.
Blasis Karlo(1797-1878), Italian dancer, choreographer and teacher. He directed the dance school at the La Scala theater in Milan. Author of two famous works on classical dance: “Treatise on Dance” and “Code Terpsichore”. In the 1860s he worked in Moscow, at the Bolshoi Theater and ballet school.
Bournonville August(1805-1879), Danish teacher and choreographer, was born in Copenhagen, where his father worked as a choreographer. In 1830 he headed the ballet of the Royal Theater and staged many performances. They are carefully preserved by many generations of Danish artists.
Vasiliev Vladimir Viktorovich(b. 1940), Russian dancer and choreographer. After graduating from the Moscow Choreographic School, he worked in the Bolshoi Theater troupe. Possessing a rare gift of plastic transformation, he had an unusually wide range of creativity. His performing style is noble and courageous. Possessor of many international awards and prizes. He was repeatedly named the best dancer of the era. The highest achievements in the field of male dance are associated with his name. Permanent partner of E. Maksimova.
Vestris Auguste(1760-1842), French dancer. His creative life proceeded extremely successfully at the Paris Opera until the revolution of 1789. He then emigrated to London. He is also famous as a teacher: among his students are J. Perrault, A. Bournonville, Maria Taglioni. Vestris, the greatest dancer of his era, possessed a virtuoso technique and a large jump, had the title "god of dance."
Geltser Ekaterina Vasilievna(1876-1962), Russian dancer. The first ballet dancer to be awarded the title " People's Artist RSFSR". A bright representative of the Russian school of classical dance. In her performance she combined lightness and swiftness with breadth and softness of movements.
Goleizovsky Kasyan Yaroslavovich(1892-1970), Russian choreographer. Participant in the innovative experiments of Fokin and Gorsky. Musicality and rich imagination determined the originality of his art. In his work he sought a modern sound of classical dance.
Gorsky Alexander Alekseevich(1871-1924), Russian choreographer and teacher, ballet reformer. He strove to overcome the conventions of academic ballet, replaced pantomime with dance, and achieved historical accuracy in the design of the performance. A significant phenomenon was the ballet “Don Quixote” in its production, which to this day is in the repertoire of ballet theaters around the world.
Grigorovich Yuri Nikolaevich(b. 1927), Russian choreographer. For many years he was the chief choreographer of the Bolshoi Theater, where he staged the ballets “Spartacus”, “Ivan the Terrible” and “The Golden Age”, as well as his own editions of ballets from the classical heritage. His wife, Natalia Bessmertnova, performed in many of them. He made a great contribution to the development of Russian ballet.
Grisi Carlotta(1819-1899), Italian ballerina, first performer of the role of Giselle. She performed in all European capitals and at the St. Petersburg Mariinsky Theater. Distinguished by her extraordinary beauty, she possessed in equal measure the passion of Fanny Elsler and the lightness of Maria Taglioni.
Danilova Alexandra Dionisevna(1904-1997), Russian-American ballerina. In 1924 she left Russia with J. Balanchine. She was a ballerina in Diaghilev's troupe until his death, then danced in the Russian Ballet of Monte Carlo troupe. She did a lot for the development of classical ballet in the West.
De Valois Ninet(b. 1898), English dancer, choreographer. In 1931 she founded the Vic Wells Ballet troupe, which later became known as the Royal Ballet.
Didelot Charles Louis(1767-1837), French choreographer and teacher. For a long time worked in St. Petersburg, where he staged more than 40 ballets. His activities in Russia helped propel Russian ballet to one of the first places in Europe.
Geoffrey Robert(1930-1988), American dancer, choreographer. In 1956 he founded the Joffrey Ballet troupe.
Duncan Isadora(1877-1927), American dancer. One of the founders of modern dance. Duncan put forward the slogan: “Freedom of body and spirit gives rise to creative thought.” She sharply opposed the school of classical dance and advocated the development of mass schools where children would learn through dance the beauty of the natural movements of the human body. Duncan's ideal was ancient Greek frescoes and sculpture. She replaced the traditional ballet costume with a light Greek tunic and danced without shoes. This is where the name "barefoot dance" comes from. Duncan improvised talentedly; her movements consisted of walking, running on half-toes, light jumps and expressive gestures. At the beginning of the 20th century, the dancer was very popular. In 1922 she married poet S. Yesenin and accepted Soviet citizenship. However, in 1924 she left the USSR. Duncan's art has undoubtedly influenced modern choreography.
Diaghilev Sergei Pavlovich(1872-1929), Russian theater figure, ballet impresario, director of the famous Russian Ballet. In an effort to introduce Russian art Western Europe, Diaghilev organized an exhibition of Russian painting and a series of concerts in Paris in 1907, and in next season- staging a number of Russian operas. In 1909, he assembled a troupe consisting of dancers from the Imperial Theaters, and during the summer vacation he took it to Paris, where he held the first “Russian Season”, in which such dancers as A.P. participated. Pavlova, T.P. Karsavina, M.M. Fokin, V.F. Nijinsky. "The Season", which was a huge success and stunned the public with its novelty, became a real triumph of Russian ballet and, of course, had a huge influence on the subsequent development of world choreography. In 1911, Diaghilev created a permanent troupe, Diaghilev's Russian Ballet, which existed until 1929. He chose ballet as a vehicle for new ideas in art and saw in it a synthesis modern music, painting and choreography. Diaghilev was an inspiration for the creation of new masterpieces and a skillful discoverer of talent.
Ermolaev Alexey Nikolaevich(1910-1975), dancer, choreographer, teacher. One of the most prominent representatives of the Russian ballet school of the 20-40s of the twentieth century. Ermolaev destroyed the stereotype of a courteous and gallant gentleman dancer, changed the idea of the possibilities of male dance and brought it to a new level of virtuosity. His performance of parts classical repertoire was unexpected and deep, and the manner of dancing itself was unusually expressive. As a teacher, he trained many outstanding dancers.
Ivanov Lev Ivanovich(1834-1901), Russian choreographer, choreographer of the Mariinsky Theater. Together with M. Petipa he staged the ballet "Swan Lake", the author of the "swan" acts - the second and fourth. The genius of his production has stood the test of time: almost all choreographers who turn to " Swan Lake", leave the "swan acts" intact.
Istomina Avdotya Ilyinichna(1799-1848), leading dancer of the St. Petersburg Ballet. She had rare stage charm, grace, and virtuoso dance technique. In 1830, due to a leg illness, she switched to mime roles, and in 1836 she left the stage. Pushkin in “Eugene Onegin” has lines dedicated to her:
Brilliant, half-airy,
I obey the magic bow,
Surrounded by a crowd of nymphs,
Worth Istomin; she,
One foot touching the floor,
The other slowly circles,
And suddenly he jumps, and suddenly he flies,
Flies like feathers from the lips of Aeolus;
Either the camp will sow, then it will develop
And with a quick foot he hits the leg.
Camargo Marie(1710-1770), French ballerina. She became famous for her virtuoso dance while performing at the Paris Opera. The first of the women began to perform cabriole and entrechat, which were previously considered a part of the technique of exclusively male dance. She also shortened her skirts to allow her to move more freely.
Karsavina Tamara Platonovna(1885-1978), leading ballerina of the St. Petersburg Imperial Ballet. She performed in Diaghilev's troupe from the first performances and was often Vaslav Nijinsky's partner. The first performer in many of Fokine's ballets.
Kirkland Gelsey(b. 1952), American ballerina. Extremely gifted, as a teenager she received leading roles from J. Balanchine. In 1975, at the invitation of Mikhail Baryshnikov, she joined the American Ballet Theater troupe. She was considered the best performer of the role of Giselle in the United States.
Kilian Jiri(b. 1947), Czech dancer and choreographer. Since 1970 he danced in the troupe of the Stuttgart Ballet, where he performed his first productions, and since 1978 he has been the director of the Dutch Ballet dance theater", which thanks to him gained worldwide fame. His ballets are staged in all countries of the world; they are distinguished by a special style based mainly on adagio and emotionally rich sculptural structures. The influence of his work on modern ballet is very great.
Kolpakova Irina Aleksandrovna(b. 1933), Russian ballerina. She danced at the Opera and Ballet Theater. CM. Kirov. Ballerina classic style, one of the best performers of the role of Aurora in Sleeping Beauty. In 1989, at the invitation of Baryshnikov, she became a teacher at the American Ball Theater.
Cranko John(1927-1973), English choreographer of South African origin. His productions of multi-act narrative ballets became very famous. From 1961 until the end of his life he directed the Stuttgart Ballet.
Kshesinskaya Matilda Feliksovna(1872-1971), Russian artist, teacher. She had a bright artistic personality. Her dance was distinguished by bravura, cheerfulness, flirtatiousness and at the same time classical completeness. In 1929 she opened her studio in Paris. Prominent foreign dancers, including I. Shovir and M. Fontaine, took lessons from Kshesinskaya.
Lepeshinskaya Olga Vasilievna(b. 1916), Russian dancer. In 1933-1963 she worked at the Bolshoi Theater. She had sparkling technique. Her performance was distinguished by its temperament, emotional richness, and precision of movements.
Liepa Maris Eduardovich(1936-1989), Russian dancer. Liepa's dance stood out for its courageous, confident manner, breadth and strength of movements, clarity, and sculptural design. The thoughtfulness of all the details of the role and the bright theatricality made him one of the most interesting “dancing actors” of the ballet theater. Liepa's best role was the role of Crassus in the ballet "Spartacus" by A. Khachaturian, for which he received the Lenin Prize.
Makarova Natalia Romanovna(b. 1940), dancer. In 1959-1970 - artist of the Opera and Ballet Theater. CM. Kirov. Unique plastic abilities, perfect skill, external grace and internal passion - all this is characteristic of her dance. Since 1970, the ballerina has lived and worked abroad. Makarova’s work increased the glory of the Russian school and influenced the development of foreign choreography.
McMillan Kenneth(1929-1992), English dancer and choreographer. After the death of F. Ashton, he was recognized as the most influential choreographer in England. MacMillan style - combination classical school with a more free-spirited, flexible and acrobatic one, which was developed in Europe.
Maksimova Ekaterina Sergeevna(b. 1939), Russian ballerina. She joined the Bolshoi Theater troupe in 1958, where Galina Ulanova rehearsed with her, and soon began playing leading roles. He has great stage charm, filigree precision and purity of dance, grace, elegance of plasticity. She has equal access to comedic colors, subtle lyricism and drama.
Markova Alicia(b. 1910), English ballerina. As a teenager she danced in Diaghilev's troupe. One of the most famous performers of the role of Giselle, she was distinguished by her exceptional ease of dance.
Messerer Asaf Mikhailovich(1903-1992), Russian dancer, choreographer, teacher. He started studying at ballet school at the age of sixteen. Very soon he became a classical virtuoso dancer of an unusual style. Constantly increasing the complexity of the movements, he introduced energy, athletic strength and passion into them. On stage he seemed like a flying athlete. At the same time, he had a bright comedic gift and a unique artistic humor. He became especially famous as a teacher, since 1946 he taught a class for leading dancers and ballerinas at the Bolshoi Theater.
Messerer Sulamif Mikhailovna(b. 1908), Russian dancer, teacher. Sister of A. M. Messerer. In 1926-1950 - artist of the Bolshoi Theater. A dancer of an unusually wide repertoire, she performed roles from lyrical to dramatic and tragic. Since 1980 he has lived abroad and taught in different countries.
Moiseev Igor Alexandrovich(b. 1906), Russian choreographer. In 1937 he created the Ensemble folk dance USSR, which became an outstanding phenomenon in the history of world dance culture. The choreographic suites he staged are real examples of folk dance. Moiseev is an honorary member of the Academy of Dance in Paris.
Myasin Leonid Fedorovich(1895-1979), Russian choreographer and dancer. He studied at the Moscow Imperial Ballet School. In 1914 he entered the ballet troupe of S.P. Diaghilev and made his debut in “Russian Seasons”. Massine's talent as a choreographer and character dancer developed rapidly, and the dancer soon gained worldwide fame. After Diaghilev's death, Massine became head of the Russian Ballet of Monte Carlo.
Nijinsky Vaslav Fomich(1889-1950), outstanding Russian dancer and choreographer. At the age of 18 he performed leading roles at the Mariinsky Theater. In 1908, Nijinsky met S. P. Diaghilev, who invited him as a leading dancer to participate in the “Russian Ballet Season” of 1909. The Parisian public enthusiastically greeted the brilliant dancer with his exotic appearance and amazing technology. Nijinsky then returned to the Mariinsky Theater, but was soon fired (he appeared in a too revealing costume in the play "Giselle", which was attended by the Dowager Empress) and became a permanent member of Diaghilev's troupe. Soon he tried his hand as a choreographer and replaced Fokine in this post. Nijinsky was an idol throughout Europe. His dance combined strength and lightness, and he amazed the audience with his breathtaking leaps. It seemed to many that the dancer was freezing in the air. He had a wonderful gift of transformation and extraordinary facial abilities. On stage, Nijinsky emanated powerful magnetism, although Everyday life he was timid and silent. Mental illness prevented the full development of his talent (since 1917 he was under medical supervision).
Nijinska Bronislava Fominichna(1891-1972), Russian dancer and choreographer, sister of Vaslav Nijinsky. She was an artist of Diaghilev's troupe, and from 1921 she was a choreographer. Her productions, modern in theme and choreography, are currently considered classics of ballet art.
Nover Jean Georges(1727-1810), French choreographer and dance theorist. In the famous “Letters on Dance and Ballets” he outlined his views on ballet as an independent performance with a plot and developed action. Nover introduced serious dramatic content into the ballet and established new laws of stage action. Unofficially considered the “father” of modern ballet.
Nureyev Rudolf Khametovich(also Nuriev, 1938-1993), dancer. After graduating from the Leningrad Choreographic School, he became the leading soloist of the ballet troupe of the Opera and Ballet Theater. CM. Kirov. In 1961, while on tour with the theater in Paris, Nureyev asked to be granted political asylum. In 1962, he performed in the London Royal Ballet's "Giselle" in a duet with Margot Fonteyn. Nureyev and Fontaine - the most famous ballet couple 1960s. In the late 1970s, Nureyev turned to modern dance and acted in films. From 1983 to 1989 he was the director of the Paris Opera ballet troupe.
Pavlova Anna Pavlovna(Matveevna, 1881-1931), one of greatest ballerinas XX century. Immediately after graduating from the St. Petersburg Theater School, she made her debut on the stage of the Mariinsky Theater, where her talent quickly received recognition. She became a soloist, and in 1906 she was promoted to the highest rank - the rank of prima ballerina. In the same year, Pavlova connected her life with Baron V.E. Dandre. She participated in performances of Diaghilev's Russian Ballet in Paris and London. Last performance Pavlova's performance in Russia took place in 1913, then she settled in England and toured with her own troupe around the world. An outstanding actress, Pavlova was lyrical ballerina, she was distinguished by musicality and psychological content. Her image is usually associated with the image of the dying swan in the ballet number, which was created especially for Pavlova by Mikhail Fokin, one of her first partners. Pavlova's fame is legendary. Her ascetic service to dance aroused worldwide interest in choreography and gave impetus to the revival of foreign ballet theater.
Perrot Jules(1810-1892), French dancer and choreographer of the Romantic era. He was Maria Taglioni's partner at the Paris Opera. In the mid-1830s, he met Carlotta Grisi, for whom he staged (together with Jean Coralli) the ballet Giselle, the most famous of the romantic ballets.
Petit Roland(b. 1924), French choreographer. He headed several companies, including the Ballet of Paris, the Roland Petit Ballet and the National Ballet of Marseille. His performances - both romantic and comedic - always bear the imprint of the author’s bright personality.
Petipa Marius(1818-1910), French artist and choreographer, worked in Russia. Greatest Choreographer 2nd half of the 19th century century, he headed the St. Petersburg Imperial Ballet Troupe, where he staged over 50 performances that became examples of the style " Bolshoi ballet", formed in this era in Russia. It was he who proved that composing ballet music does not in the least degrade the dignity of a serious musician. Collaboration with Tchaikovsky became a source of inspiration for Petipa, from which brilliant works were born, and above all "The Sleeping Beauty", where he achieved pinnacles of perfection.
Plisetskaya Maya Mikhailovna(b. 1925), an outstanding dancer of the second half of the twentieth century, who went down in the history of ballet with her phenomenal creative longevity. Even before graduating from college, Plisetskaya danced solo roles at the Bolshoi Theater. Very quickly becoming famous, she created a unique style - graphic, distinguished by grace, sharpness and completeness of every gesture and pose, every individual movement and choreographic pattern as a whole. The ballerina has the rare talent of a tragic ballet actress, a phenomenal jump, expressive plasticity and acute sensation rhythm. Her performing style is characterized by technical virtuosity, expressiveness of her hands and a strong acting temperament. Plisetskaya is the first performer of many roles in the Bolshoi Theater ballets. Since 1942 she has been dancing M. Fokine's miniature "The Dying Swan", which has become a symbol of her unique art.
As a choreographer, Plisetskaya staged ballets by R.K. Shchedrin "Anna Karenina", "The Seagull" and "The Lady with the Dog", playing the main roles in them. She starred in many ballet films, as well as feature films as a dramatic actress. She has been awarded many international prizes, including the Anna Pavlova Prize, the French orders of Commander and Legion of Honor. She was awarded the title of Doctor of the Sorbonne. Since 1990, he has performed concert programs abroad and conducted master classes. Since 1994, the international competition "Maya" has been held in St. Petersburg, dedicated to creativity Plisetskaya.
Rubinstein Ida Lvovna(1885-1960), Russian dancer. She took part in “Russian Seasons” abroad, then organized her own troupe. She had expressive appearance and plasticity of gesture. Several ballets were specially written for her, including “Bolero” by M. Ravel.
Salle Marie(1707-1756), French ballerina, performed at the Paris Opera. Rival Marie Camargo. Her dancing style, graceful and full of feeling, differed from Camargo's technical, virtuoso performance.
Semenova Marina Timofeevna(1908-1998), dancer, teacher. Semyonova's contribution to the history of Russian ballet theater is extremely great: it was she who made a breakthrough into the unexplored areas of classical ballet. The almost superhuman energy of her movements gave her dance a new dimension and pushed the limits of virtuosic technique. At the same time, she was feminine in every movement, every gesture. Her roles amazed with artistic brilliance, drama and depth.
Spesivtseva Olga Aleksandrovna(1895-1991), Russian dancer. She worked at the Mariinsky Theater and Diaghilev's Russian Ballet. Spesivtseva’s dance was distinguished by its sharp graphic poses, perfect lines, and airy lightness. Her heroines, far from real world, were marked by exquisite, fragile beauty and spirituality. Her gift was most fully demonstrated in the role of Giselle. The part was built on contrasts and was fundamentally different from the performance of this image by the largest ballerinas of that time. Spesivtseva was the last ballerina of the traditional romantic style. In 1937, she left the stage due to illness.
Taglioni Maria(1804-1884), representative of the Italian ballet dynasty of the 19th century. Under the guidance of her father, Filippo, she studied dance, although her physical characteristics did not quite suit her chosen profession: her arms seemed too long, and some argued that she was stooped. Maria first performed at the Paris Opera in 1827, but achieved success in 1832, when she performed the main role in the ballet La Sylphide staged by her father, which later became a symbol of Taglioni and all romantic ballet. Before Maria Taglioni, pretty ballerinas captivated audiences with their virtuosic dance technique and feminine charm. Taglioni, by no means a beauty, created new type ballerinas - spiritual and mysterious. In "La Sylphide" she embodied the image of an unearthly creature personifying an ideal, an unattainable dream of beauty. In a flowing white dress, soaring in light leaps and freezing on her fingertips, Taglioni became the first ballerina to use pointe shoes and make them an integral part of classical ballet. All the capitals of Europe admired her. In her old age, Maria Taglioni, lonely and impoverished, taught dance and good manners to the children of London nobles.
Tallchief Maria(b. 1925), outstanding American ballerina. She performed mainly in troupes headed by J. Balanchine. In 1980 she founded the Chicago City Ballet troupe, which she led throughout the years of its existence - until 1987.
Ulanova Galina Sergeevna(1910-1998), Russian ballerina. Her work was characterized by a rare harmony of all expressive means. She imparted spirituality to even a simple, everyday movement. Back at the very beginning creative path Ulanova's critics wrote about the complete unity in her performance of dance technique, dramatic acting and plasticity. Galina Sergeevna performed the main roles in ballets of the traditional repertoire. Her highest achievements became the roles of Mary in “The Fountain of Bakhchisarai” and Juliet in “Romeo and Juliet”.
Fokin Mikhail Mikhailovich(1880-1942), Russian choreographer and dancer. Overcoming ballet traditions, Fokine sought to get away from the generally accepted ballet costume, stereotypical gestures and routine construction of ballet numbers. He saw ballet technique not as a goal, but as a means of expression. In 1909, Diaghilev invited Fokine to become the choreographer of the Russian Season in Paris. The result of this union was world fame, which accompanied Fokin until the end of his days. He staged more than 70 ballets in the best theaters in Europe and America. Fokine's productions are still being revived by leading ballet companies peace.
Fontaine Margot(1919-1991), English prima ballerina, one of the most famous dancers of the twentieth century. She started studying ballet at the age of five. She made her debut in 1934 and quickly attracted attention. Fontaine's performance as Aurora in The Sleeping Beauty made her famous throughout the world. In 1962, Fontaine began a successful partnership with R.H. Nureyev. The performances of this couple became a real triumph of ballet art. Since 1954, Fontaine has been president of the Royal Academy of Dance. Awarded the Order of the British Empire.
Cecchetti Enrico(1850-1928), Italian dancer and outstanding teacher. He developed his own pedagogical method, in which he sought the maximum development of dance technique. He taught at the St. Petersburg Theater School. Among his students were Anna Pavlova, Tamara Karsavina, Mikhail Fokin, Vaslav Nijinsky. His teaching method is outlined in the work “Textbook on the Theory and Practice of Classical Theater Dance.”
Elsler Fanny(1810-1884), Austrian ballerina of the Romantic era. A rival of Taglioni, she had a dramatic, passionate temperament and was a superb actress.
Finally, I would like to quote the words of our outstanding ballerina Maya Plisetskaya, which she said in one of her interviews: “I think that ballet is an art with a great and exciting future. It will certainly live, seek, develop. It will certainly change. But how exactly, in what way?” which direction he will go, it is difficult to predict with complete accuracy. I know one thing: all of us - both performers and choreographers - need to work very hard, seriously, not sparing ourselves. People, their faith in art, their devotion to the theater can do miracles. And what these “miracles” of the ballet of the future will turn out to be will be decided by life itself.”
Usually ballerinas are rather “fluffy”, but Ulyana is a large ballerina. Her height is 178 centimeters, her foot size is 41. But she turned all her shortcomings into advantages with her talent - when you see her work on stage, she seems completely weightless. Thin, incredibly elegant and graceful, she usually embodies gentle and lyrical images, such as Giselle.
Prima ballerina of the Bolshoi Theater, winner of the Benois de la Danse award, known in the world as the “Ballet Oscar”. In 2008, she received the title “etoile” (star) from Milan’s La Scala. She performs at the best ballet venues in the world and is distinguished by a wide range of roles - she succeeds in both lyrical and characterful heroines.
Prima ballerina of the Mariinsky Theater, a very characteristic ballerina with a bright appearance and very beautiful hair. She gained fame thanks to the solo number “Carmen”; she brilliantly coped with both the role of Giselle and the most difficult part of Odette-Odile in the production of the American Ballet Theater. She performed the main roles on the stage of La Scala, the Berlin State Ballet and other theaters. Has several solo projects.
Another ballerina with rather atypical physical characteristics - Polina has a fourth breast size, so the costumes for her performances are made taking into account her curvaceous. Costume designers have to struggle to figure out how to make sure breasts don't interfere with dancing. But the audience is delighted with Polina Simeonova. Now she mainly dances in the USA and, by agreement, at the Mikhailovsky Theater.
The legendary French ballerina was “retired” in May, but we couldn’t help but mention her in our selection. The ballerina is 42 years old, but she is still very good. Aurelie joined the Grand Opera troupe under Rudolf Nureyev, at the age of 16, and stayed there longer than any ballerina of her generation. A turning point in her career was working with the legendary German choreographer Pinou Bausch, who told her: “I chose you for your weakness, not for your strength. It is your beauty." Subsequently, it was precisely this beautiful weakness that Aurélie emphasized.
Ekaterina Kondaurova
Prima of the Mariinsky Theater. A ballerina with character, for which she was even compared to Maya Plisetskaya. It’s as if Ekaterina was created for a bright, passionate, dramatic dance. Incredibly flexible and graceful ballerina. Often performs works by contemporary choreographers. Just like Svetlana Zakharova, she is the owner of the ballet Oscar.
Prima ballerina of the Royal Ballet of Great Britain. Born in Bucharest, she studied ballet in Kyiv. After winning an international ballet competition, she received a scholarship to study at the Royal Ballet School, and later became its soloist. He loves to perform the part from Giselle. One of interesting roles- in the ballet “Eugene Onegin”, where she plays the roles of both Tatyana and Olga.
Young prima of the Mariinsky Theater. At the age of 18 she danced the part of Odette-Odile on stage Vienna Opera. 6 years later she danced in the same role on the stage of La Scala. A very technical, fast, flexible ballerina, she mainly devotes herself to classical ballet.
