Yuri Smekalov: “I’m like an elephant - big and kind. Yuri Smekalov: “I’m like an elephant - a big and kind artist, who performed leading roles in Boris Eifman’s troupe, and now successfully dances and stages performances at the Mariinsky Theater, is going to compose the ballet “Moidodyr” for B

Choreographer and soloist of the Mariinsky Theater Yuri Smekalov, Vronsky in Ratmansky’s “Anna Karenina” and author of “Premonition of Spring,” is preparing to stage the play at the Bolshoi Theater and, together with his wife Vlada, is performing the main role of this season - the red one.

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The artist, who performed leading roles in Boris Eifman’s troupe, and now successfully dances and stages performances at the Mariinsky Theater, is going to compose the ballet “Moidodyr” for the Bolshoi Theater.

How did it happen that you ended up in the troupe? Mariinsky Theater only ten years after the Vaganova Academy?

Apparently this was supposed to happen. Although, while studying at the Academy of Russian Ballet named after A. Ya. Vaganova, I could not even think that I would work somewhere other than the Mariinsky Theater: it has always been for me the only place with which I wanted to connect my creative destiny. But when it turned out that from our numerous 1998 issue in main theater Petersburg, only three people were invited, it became obvious that the only and most correct way for me to realize myself was in the troupe under the direction of Eifman. At the same time, the dream of dancing at the Mariinsky never left me. It happened as it should have happened, and today I can say with confidence: it’s good that I wasn’t accepted into the Mariinsky Theater then, otherwise I would have lost the invaluable experience that I gained at Boris Yakovlevich’s theater.

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Did your years of work in Eifman's troupe help you start your own career as a choreographer?

If you pay attention, many former and current soloists of the Boris Eifman Theater compose their own choreography. But not only because each of them is creative personality. The production process in a troupe is both physical and mental work. Each artist, during the production of a performance, is forced to turn himself inside out so that vivid and understandable images are born for the viewer. This method works great - watch any Eifman performance and you will see. After such an experience, only the lazy would not bet. Whether it will be good is another question.

When writing, do you try to distance yourself from his choreography?

Undoubtedly, Eifman had a certain influence on me. Having absorbed his aesthetics of ballet performance, I realized how important dramaturgy is on stage. And in this I want to be like him. But Georgiy Aleksidze, a teacher at the Vaganova Academy, also made a significant contribution to my development - I entered it again, already working as an artist, in order to obtain an education as a choreographer. He was a subtle author who knew how to work on nuances and heard music incredibly accurately. He taught me this and became my great friend. But most importantly, he taught to never stop and move on. Learn, watch and work.

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How do you find working at the Mariinsky Theater?

I feel great here. In three years at the Mariinsky Theater I danced thirty-four premieres and staged two performances. I have a special love for Jacobson’s ballets “Spartacus” and “Shurale”, where I performed the main roles, for “Anna Karenina” staged by Ratmansky, where I played the role of Vronsky, for Preljocaj’s “The Park” and, of course, for Grigorovich’s ballet “The Legend of love”, in which I dance the vizier. My ballet “Premonition of Spring” is performed on the theater stage quite often, which I am very happy about, but with the play “Bolero Factory” it is a little more complicated: it is not long, but it takes a lot of time to assemble and dismantle the scenery.

Will you be staging ballet for children in Moscow?

Yes, work is beginning at the Bolshoi Theater on a production of the ballet “Moidodyr”. The remarkable composer Efrem Podgayts composed the music for children's ballet, I wrote a fairy tale based on a poem by Korney Chukovsky. This will be a two-act ballet thriller, which will be performed by wonderful theater artists with the participation of students of the Moscow Choreographic School. Now I am in a pleasant, exciting anticipation of meeting with the main theater of the country.

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You worked with coach Alexei Mishin’s wards Evgeni Plushenko and Artur Gachinsky. What are the specifics of choreography for figure skating?

When you bet for skaters, the most important thing is to understand that you are only part of a team working for the athlete’s success. Every time you approach the ice arena, you need to pacify all your ambitions and creative impulses. Working with Alexei Mishin taught me a lot. What can I say, the results of his students testify to the uniqueness of this coach.

When your wife became Mrs. St. Petersburg, did you root for her at the pageant?

To be honest, I was not at all ready for this. I didn’t even buy flowers to give after the results were announced. But I was happy like a child! You know, for everyone loving man his woman is the most beautiful, and this does not require any confirmation. However, when your beloved also becomes the winner of the Mrs. competition - which means that she is already the mother of your child - then you are once again convinced of how beautiful she is. Vlada is now completely devoted to her family, although she has two higher education. I think that her choice is absolutely justified: in my opinion, family is the highest human happiness.

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Staging: Ksenia Goshchitskaya
Photo: Sasha Samsonova
Style: Anna Chepenko
Makeup: Make-up Art School by Elena Krygina
Models: Yuri Smekalov, Vlada Smekalova

Boutiques: BOSCOFAMILY: Etro; Opium: L.G.B., Damir Doma, Lost & Found, Steffie Christiaens; Ianis Chamalidy: Ianis Chamalidy; Dior: Dior; Bosco di Ciliegi: Moschino, Corneliani; X-Act: GF Ferre

, THE USSR

Laureate XI International competition ballet dancers and choreographers in the “Choreographer” category (1st prize, Moscow, 2009).

in the category "Best male role"in the ballet "The Seagull" (Trigorin) in the 2007–2008 season.
Winner of the highest theater award of St. Petersburg “Golden Sofit” in the nomination “Best male role in a ballet performance” for main party in Angelin Preljocaj's ballet "The Park" (2011)
Laureate of the VII International Competition of Choreographers and Choreographers under the patronage of the World Dance Council of UNESCO in the “video ballet” category (1st prize, Novosibirsk, 2012)
In 2003 he was awarded the medal “In memory of the 300th anniversary of St. Petersburg”

Yuri Aleksandrovich Smekalov(born June 30, Nizhny Tagil) - Russian ballet dancer, choreographer.

Biography

In February 2009, Yuri Smekalov was invited to the Mariinsky Theater.

Since 2008 he has been working as a choreographer. He staged choreographic miniatures and ballets: “Gold of Autumn” (Verba volant, scripta manent - words fly away, what is written remains), a project in memory of Georgy Aleksidze; Parting (first performers: Evgenia Obraztsova and Vladimir Shklyarov at the gala concert “Malakhov and Friends”, Berlin, 2008); “Requiem for Narcissus”, “History on the Run” (2009); “Premonition of Spring”, “Bolero Factory” (2010).

Repertoire at the Boris Eifman Ballet Theater

• Boy("Pinocchio")
• young man("Requiem"),
• Jew("My Jerusalem")
• Don Quixote(“Don Quixote, or Fantasies of a Madman”),
• Chaikovsky("Chaikovsky"),
• Ivan("Karamazovs")
• Partner("Red Giselle")
• Paul("Russian Hamlet"),
• Don Juan, Moliere("Don Juan and Moliere"),
• Alex("Who is who"),
• Partner("Musaget"),
• Vronsky("Anna Karenina"),
• Trigorin("Gull")

Repertoire on the stage of the Mariinsky Theater

• “Don Quixote” (Espada) – choreography by Alexander Gorsky based on the play by Marius Petipa;
• La Sylphide (Gurn); choreography by August Bournonville, revised version by Elsa-Marianne von Rosen;
• “Giselle” (Hans) – choreography by Jean Coralli, Jules Perrot, Marius Petipa;
• “Swan Lake” (Rothbart) – choreography by Marius Petipa and Lev Ivanov, revised by Konstantin Sergeev;
• “Corsair” (Birbanto) – production by Pyotr Gusev based on the composition and choreography of Marius Petipa;
• “The Sleeping Beauty” (the princess’s suitors); choreography by Marius Petipa, revised by Konstantin Sergeev;
• “Raymonda” (Abderakhman); choreography by Marius Petipa, revised by Konstantin Sergeev;
• ballets by Mikhail Fokine: “The Firebird” (Ivan Tsarevich), “Carnival” (Pierrot), “Petrushka” (Arap);
• “Bakhchisarai Fountain” (Girey) – choreography by Rostislav Zakharov;
• “The Nutcracker” (Drosselmeyer); choreography by Vasily Vainonen;
• ballets by Leonid Yakobson: “Shurale” (Ali-Batyr, Shaitan), “Spartacus” (Spartacus, Harmody);
• ballets by Leonid Lavrovsky: Romeo and Juliet (Tybalt, Paris), Walpurgis Night (Bacchus);
• “The Legend of Love” (Vizir) – choreography by Yuri Grigorovich;
• “Carmen Suite” (Torero, Jose); choreography by Alberto Alonso;
• ballets by George Balanchine: Jewels (Emeralds) and Dream of summer night"(Lysander);
• “In the Night” – choreography by Jerome Robbins;
• “The Nutcracker” (Drosselmeyer) – production by Mikhail Shemyakin, choreography by Kirill Simonov;
• “The Magic Nut” (Drosselmeyer) – production by Mikhail Shemyakin, choreography by Donvena Pandurski;
• ballets by Alexei Ratmansky: “The Little Humpbacked Horse” (Sleeper, Horses, Sea Horses), “Anna Karenina” (Count Vronsky), “Cinderella” (Dance Teachers, Men's Dance);
• “Diana Vishneva: Beauty in Motion” (“Pierrot Lunaire”, “Turns of Love”);
• “Spring Waters” – choreography by Asaf Messerer;
• “Park” (soloist) – choreography by Angelin Preljocaj;
• “The Rite of Spring” – choreography by Sasha Waltz.

Titles and awards

• Laureate of the XI International Competition of Ballet Dancers and Choreographers in the “choreographer” category (Moscow, 2009, 1st prize)
• Winner of Russia's highest theater award "Golden Mask" in the category "Best Actor" in the ballet "The Seagull" (Trigorin), season 2007/2008
• Diploma winner of the Benois de la danse festival, 2008
• Diploma winner of the highest theater award of St. Petersburg “Golden Sofit”, 2008, 2009.

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Excerpt characterizing Smekalov, Yuri Alexandrovich

An hour after this, Dunyasha came to the princess with the news that Dron had arrived and all the men, by order of the princess, gathered at the barn, wanting to talk with the mistress.
“Yes, I never called them,” said Princess Marya, “I only told Dronushka to give them bread.”
“Only for God’s sake, Princess Mother, order them away and don’t go to them.” It’s all just a lie,” Dunyasha said, “and Yakov Alpatych will come and we’ll go... and if you please...
- What kind of deception? – the princess asked in surprise
- Yes, I know, just listen to me, for God’s sake. Just ask the nanny. They say they do not agree to leave on your orders.
- You're saying something wrong. Yes, I never ordered to leave... - said Princess Marya. - Call Dronushka.
The arriving Dron confirmed Dunyasha’s words: the men came on the orders of the princess.
“Yes, I never called them,” said the princess. “You probably didn’t convey it to them correctly.” I just told you to give them the bread.
The drone sighed without answering.
“If you order, they will leave,” he said.
“No, no, I’ll go to them,” said Princess Marya
Despite the dissuading of Dunyasha and the nanny, Princess Marya went out onto the porch. Dron, Dunyasha, the nanny and Mikhail Ivanovich followed her. “They probably think that I am offering them bread so that they will remain in their places, and I will leave myself, abandoning them to the mercy of the French,” thought Princess Marya. – I will promise them a month in an apartment near Moscow; I’m sure Andre would have done even more in my place,” she thought, approaching the crowd standing in the pasture near the barn in the twilight.
The crowd, crowded, began to stir, and their hats quickly came off. Princess Marya, with her eyes downcast and her feet tangling in her dress, came close to them. So many different old and young eyes were fixed on her and there were so many different faces that Princess Marya did not see a single face and, feeling the need to suddenly talk to everyone, did not know what to do. But again the consciousness that she was the representative of her father and brother gave her strength, and she boldly began her speech.
“I’m very glad that you came,” Princess Marya began, without raising her eyes and feeling how quickly and strongly her heart was beating. “Dronushka told me that you were ruined by the war.” This is our common grief, and I will not spare anything to help you. I’m going myself, because it’s already dangerous here and the enemy is close... because... I give you everything, my friends, and I ask you to take everything, all our bread, so that you don’t have any need. And if they told you that I am giving you bread so that you can stay here, then this is not true. On the contrary, I ask you to leave with all your property to our Moscow region, and there I take it upon myself and promise you that you will not be in need. They will give you houses and bread. - The princess stopped. Only sighs were heard in the crowd.
“I’m not doing this on my own,” the princess continued, “I’m doing this in the name of my late father, who was a good master to you, and for my brother and his son.”
She stopped again. No one interrupted her silence.
- Our grief is common, and we will divide everything in half. “Everything that is mine is yours,” she said, looking around at the faces standing in front of her.
All eyes looked at her with the same expression, the meaning of which she could not understand. Whether it was curiosity, devotion, gratitude, or fear and distrust, the expression on all faces was the same.
“Many people are pleased with your mercy, but we don’t have to take the master’s bread,” said a voice from behind.
- Why not? - said the princess.
No one answered, and Princess Marya, looking around the crowd, noticed that now all the eyes she met immediately dropped.
- Why don’t you want to? – she asked again.
Nobody answered.
Princess Marya felt heavy from this silence; she tried to catch someone's gaze.
- Why don’t you talk? - the princess turned to the old man, who, leaning on a stick, stood in front of her. - Tell me if you think anything else is needed. “I’ll do everything,” she said, catching his gaze. But he, as if angry at this, lowered his head completely and said:
- Why agree, we don’t need bread.
- Well, should we give it all up? Do not agree. We don’t agree... We don’t agree. We feel sorry for you, but we do not agree. Go on your own, alone...” was heard in the crowd with different sides. And again the same expression appeared on all the faces of this crowd, and now it was probably no longer an expression of curiosity and gratitude, but an expression of embittered determination.

The Mariinsky Theater ballet dancer recently made her debut today in an evening performance in the role of the Princess-Beloved Beauty in Mikhail Fokin's play “The Firebird” to the music of Igor Stravinsky. Her partner was Yuri Smekalov, who danced the part of Ivan Tsarevich.

Congratulations to the brown-eyed beauty Alina on her confident debut! With Yuri Smekalov they looked like a wonderful couple on stage, the scenes of their meeting and love were played and danced wonderfully!

Alina Krasovskaya’s husband, Alexander Romanchikov, danced Ivan Tsarevich today in the matinee performance of the ballet “Firebirds”. It would be interesting to see them in a duet.

Preparing for the premiere at Historical scene Mariinsky Theater - in exactly a month the audience XVII International Mariinsky Ballet Festival will be seen new version“Paquitas” directed by Yuri Smekalov.

The ballet is not a reconstruction of the 19th-century performance, composed in Paris by J. Mazilier and staged in St. Petersburg since 1847, staged by M. Petipa. Choreographer Yuri Smekalov will present a new three-act ballet with his own libretto based on the plot of Cervantes’s novella “Gypsy Girl”.
The premiere shows will take place on March 30 and 31, and April 6. It is worth purchasing tickets in advance at www.mariinsky.ru. We have already purchased :)

On February 5, the annual tour ended with great success in Washington (USA) ballet troupe Mariinsky Theater. This year's program included seven performances of Rodion Shchedrin's ballet The Little Humpbacked Horse, choreographed by Alexei Ratmansky, which delighted critics with its mood, colors and freshness.

“Usually the Mariinsky Theater troupe is the most beautiful ballet ensemble in the world, distinguished by its strict beauty and elegance; V in this case everything was seething and breathing the charm of playfulness and mischief - as if Mr. Ratmansky had radically renewed the Mariinsky Theater,” comments the critic The New York Times Alastair Macaulay. Caroline Kelman, a columnist for the portal, echoes him. DC Metro Theater Arts: “As this bizarre plot unfolded before us, auditorium Every now and then a light laugh could be heard. Alexei Ratmansky, the most colorful of the current choreographers, and Rodion Shchedrin, who wrote dance-friendly music, managed to create a magical symbiosis. The memory of this performance will make you smile for a long time.”

In addition to the production itself, positive reviews The performers also received: “Each artist brought to his dance not only great skill, but also an unobtrusive comic sense” - portal Broadway World. “The dancers, one after another, shone with their skill in front of the audience that filled the hall Opera House, showcasing its young talent, which is in its prime, the equal of which is unlikely to be found in any other troupe. What a pleasure it was to watch this fairy tale come to life before our eyes in a whirlwind of movement and fun!” – Carolyn Kelman ( DC Metro Theater Arts).

Publication critic The Washington Post Sarah Kaufman noted the work of the cast that opened the tour: “The sleeping bag (Yuri Smekalov) appears without any fanfare, but just by the way he greedily moves his fingers, as if passing imaginary riches through them, you understand that in front of you is an intriguer and adventurer. Yaroslav Baybordin in the role of the title character has such an energetic jump that it seems he could run a steeplechase. Vladimir Shklyarova’s Ivan was delightful in his sweet spontaneity, and Anastasia Matvienko, who performed the role of the Tsar Maiden, portrayed her heroine quite convincingly: deep down, she remains a child who has met a kindred spirit.”

“In none of his roles has Vladimir Shklyarov been so fresh and full inexhaustible energy. The Tsar Maiden on Tuesday was Anastasia Matvienko, who played her role in an eccentric way, combining beauty and impish impulsiveness. The role of the title character went to the young Yaroslav Baybordin, who was delightfully playful" - Alastair Macaulay ( The New York Times).

The portal’s observer also praised the performance Bachtrack Hilary Straw, giving it five stars: “The duet of Ivan (Vladimir Shklyarov) and the Little Humpbacked Horse (Yaroslav Baybordin) turned out to be brilliant; the way they danced, mirroring each other's steps, was one of the most flawlessly coordinated performances I've ever seen. From the first notes of lively fairground music to the final apotheosis, Alexei Ratmansky's The Little Humpbacked Horse was stunning fun - extremely perky and endlessly charming."

Let us remind you that the Mariinsky Theater ballet troupe toured on the stage of the Kennedy Center from January 31 to February 5. The roles of Ivan the Fool and the Tsar Maiden were performed by Vladimir Shklyarov and Anastasia Matvienko (January 31 and February 3), Ernest Latypov and Renata Shakirova (February 1, 4 and 5), Maxim Zyuzin and Anastasia Kolegova (February 2 and 4). The role of the Little Humpbacked Horse was played by Yaroslav Baybordin, Grigory Popov, Vladislav Shumakov, Spalnika - Konstantin Zverev and Yuri Smekalov, Mares - Tatyana Tkachenko and Zlata Yalinich.

From today, the annual tour of the Mariinsky Theater ballet troupe begins in Washington. They will last until February 5th.

The program of the fifteenth visit of St. Petersburg artists to the prestigious stage of the John F. Kennedy Center for the Arts includes Rodion Shchedrin’s ballet “The Little Humpbacked Horse” choreographed by Alexei Ratmansky.

On the tour bill bright names Mariinsky Theater: Vladimir Shklyarov, Anastasia Matvienko, Ernest Latypov, Renata Shakirova, Maxim Zyuzin, Anastasia Kolegova, Yaroslav Baybordin, Grigory Popov, Vladislav Shumakov, Konstantin Zverev, Yuri Smekalov, Tatyana Tkachenko and Zlata Yalinich.

On January 31 and February 3, the part of the Tsar Maiden and Ivan the Fool will be danced by Anastasia Matvienko and Vladimir Shklyarov, on February 1, 4 and 5 - Renata Shakirova and Ernest Latypov, on February 2 and 4 - Anastasia Kolegova and Maxim Zyuzin. The performances will be accompanied by the orchestra of the Kennedy Center Opera House conducted by Alexei Repnikov.

I have long dreamed of watching the classic “Nutcracker”, or more precisely “The Nutcracker” choreographed by Vainonen. The first “Nutcracker” that I saw at the Mariinsky Theater turned out to be Shemyakin’s version. At first I was horrified how this could be shown to children (I mean the souls of dead children wandering around the cemetery), but then I even liked the ballet, I liked it precisely for its gothic nature, its wonderful dolls and costumes.

When the opportunity arose to get to see Vainonen’s “The Nutcracker,” even for a matinee performance, I didn’t think twice about it. Moreover, Anastasia Lukina, a young artist, a young star of the Mariinsky Theater, will perform as Masha.

And here I am in one of the boxes historical building Mariinsky Theater. As I expected, a significant part of the audience were children. But miraculously, as soon as the music started, they fell silent and practically never looked away from what was happening on stage. I was shocked! In our box, two girls were in the second row; naturally, they could not see anything because of the adults in front. I gave up my place in the front row to one of them, and the second girl stood on a chair for all three acts! Without any whims and crying!

Magic really happened on stage - mice tried to take over the whole house, tin soldiers came to life and fought back, the Nutcracker doll turned out to be the Prince, who took Masha to a magical island!

Masha the Child and Masha the Princess were danced by, as I already said, Anastasia Lukina, the part of the Prince was also performed by a young artist, David Zaleev.

Nikolai Naumov performed the role of Stahlbaum, as well as the role of the King of Mice, Alexander Beloborodov danced both the Elegant Cavalier in the first act and the Pink Waltz, Nikita Vronskikh combined the same roles. Alisa Rusina in the first act was one of the mothers who brought their children to the holiday at Stahlbaum's house and also danced the Spanish dance. Experienced Yana Selina performed as a soloist in Waltz of the Snowflakes and in the Classical Trio.

But it seems that the young artist, the beautiful Anastasia Asaben, beat everyone to the punch - she performed the part of the mischievous Franz, one of Stahlbaum’s children, the part of the Nutcracker, and danced the Chinese dance in the third act with Maxim Izmestiev!

He performed his very well important role Drosselmeyer in this ballet by Yuri Smekalov. He was a real magical godfather who made Masha believe in a miracle. Having perfectly performed his role, Yuri Smekalov stood modestly on the sidelines at the end, making no claims to the glory of the soloists.

In general, there was a lot of unusual things in this performance. So, through my seven-power binoculars, I saw that the tin soldiers who bravely fought with the mouse army were actually girls! It was fun to watch them march and attack with bayonets at the ready!

The snowflakes do not try to freeze Masha, like the evil black snowflakes from Shemyakinsky’s “The Nutcracker,” but dance along with her.

The Negro (I wonder what he is called in the program during the theater’s tours abroad?) gave Stahlbaum’s children a good scare. The part of the Negro was performed well by Evgeny Konovalov, a progressive young ballet dancer.

The Spanish dance was wonderfully performed by Alisa Rusina and Boris Zhurilov - in addition to the wonderful texture of the dance, they demonstrated excellent dancing skills - they danced absolutely synchronously (when it was necessary :)). Which added to the beauty of their dance.

Alisa Petrenko, Alisa Boyarko, Maxim Lynda performed the Russian dance Trepak wonderfully:

All the artists danced well and created a real holiday for the children, so much so that they forgot about everything, even their gadgets.

Alas, there are spots in the sun, and there are them in the daytime “Nutcracker” of January 15. There is a saying that pairs of soloists are tested at matinee performances; this seems to be just such a case. Something is wrong with Anastasia Lukina and her partners. Either Ernest Latypov almost dropped it, or now David Zaleev almost dropped it twice. But it seems that this time the fault is not only on the partner, but also on the partner….

Nevertheless, the celebration took place, and the audience warmly welcomed all the actors. The little girl standing on the chair in my box was the first to shout “Bravo!” Several bouquets were given, of course, to the beautiful Anastasia Lukina, one bouquet was given to David Zaleev, but he gallantly gave it to Anastasia.

The curtain fell and then rose only once - Masha and the Prince once again appeared before the audience...

I have long dreamed of seeing the ballet “The Legend of Love” by the brilliant choreographer Yuri Grigorovich to the music of Arif Melikov. I read about him in Soviet times(alas, at that time I was still far from ballet). I heard that many consider this ballet to be the best that Grigorovich created. The desire to go to “The Legend of Love” intensified after I saw Yuri Grigorovich’s previous ballet to the music of Sergei Prokofiev, “The Stone Flower,” last year.

Daily “sitting in ambush” on the Mariinsky website brought unexpected luck - and now I am the happy owner of 3 tickets to the ballet “The Legend of Love” on January 12 for seats in the gallery in the second row. On January 11, the same ballet was already performed with Victoria Tereshkina as Mekhmene Banu and Ekaterina Osmolkina as Shirin. And according to reviews it was very successful. I have enormous respect for these magnificent ballerinas, but I think a couple of soloists performing on December 12 are no less brilliant - Ekaterina Kondaurova and Elena Evseeva.

And here I am in the hall of the Mariinsky Theater (on the third tier). My companions asked the girls who were sitting in the front row in advance to sit as straight as possible. The lights went out, the music started, and a heavy curtain rose. Alas, the first impression was a feeling of regret... Again this recognizable “laconic” style of Virsaladze’s decorations. I didn’t like him back in “ Stone flower" Where the huge crystals in the background look more like something obscene than crystals. In “Legend...”, too, both the queen’s palace and the “rock” are indicated by general strokes. Apparently so that nothing distracts the viewer from the dance itself. But the choreography is something absolutely brilliant! I know that some people can’t stand it, while others fall in love with this ballet from the first bars of music! The latter just happened to me.

The main part of the ballet is undoubtedly that of Queen Mekhmene Banu. It is performed, as I already said, by Ekaterina Kondaurova. In the first “picture” we see her heartbroken - her younger sister dies. To save her, the queen agrees to give up her beauty. In the second “picture” Mekhmene Banu already appears before us as a real majestic queen. Yes, her beauty is lost to her forever, but the ruler’s pride and responsibility for her people remains. The majesty of Mekhmene Banu as a queen is emphasized by her retinue and warriors who accompany her when visiting the palace, which is being painted by the young handsome artist Ferkhad (Andrey Ermakov). The dance of the retinue and warriors is truly mesmerizing and emphasizes the power of the queen. The retinue is commanded by the Vizier (Yuri Smekalov). It is clear that the Vizier is infinitely devoted to his queen. Smekalov superbly managed to convey the Vizier’s masculinity and devotion. The game was undoubtedly a success for Yuri Smekalov; he was, as always, charismatic. And, importantly, with his tall partner Ekaterina Kondaurova, he is reliable in support.

The dance of the retinue is mesmerizing and hypnotizing, it is much more dynamic than the dance of the “gold” (which I forgot to mention) in the first “scene” of the ballet. But the dance of “gold” is very bright and colorful. It dilutes the melancholy scene of Shirin's illness. Valeria Martynyuk was the soloist and “focused” the action.

And even earlier before that, if I’m not mistaken, there was a dance of court dancers. The soloists in it were Anastasia Petushkova and Yuliana Chereshkevich. The experienced Svetlana Ivanova, Yana Selina, and Ksenia Ostreykovskaya performed solos in the dance of Shirin’s friends. I also identified among dancing girls beautiful Yulia Kobzar. It's hard not to notice her.

In the garden, where Mehmene Banu and Shirin come, accompanied by their retinue, artists and builders, Ferkhad’s friends, are working. Their parts are performed by Vasily Tkachenko, Fuad Mamedov, Andrey Solovyov and Evgeny Konovalov. I especially liked the last dancer.

Both Shirin and Mehmene Banu fall in love with the handsome artist. The queen, without her beauty, understands that she has no hope for Ferkhad's love. The female corps de ballet in red dances the dance of the vision of passion of Mekhmene Banu. This is the most emotional moment in ballet! The girls dance with passion, then line up behind Mekhmene - the passion is transferred into resentment, into anger! My chest felt cold, tears welled up - here she is, Magic power art! This cannot be expressed in words, you have to see the dance – it’s some kind of magic!

The opposite of Queen Mekhmene is Princess Shirin (Elena Evseeva) - in a white airy dress, unlike the queen’s black, with an airy light dance - in contrast to the broken, strong movements dictated by the torments of love in Mekhmene. Evseeva is good in this role, she conveys the image of the young princess perfectly, you believe in her unconditionally.

Andrey Ermakov is also superb, playing a young man in love. But still, the most powerful image that he created is the dream scene of Mehmene Banu, when he appears to her in the form of her equal, the veil falls from Mehmene’s face, love makes her beautiful again, she dances without a crown with feathers, in a dream she is a simple lover a woman, not a formidable queen... Alas, this is just a dream... Andrei Ermakov in this dance was especially prudent with supports, like a student on an exam. It was obvious.

Great performance! At the bows, flowers were brought to Ekaterina Kondaurova, Elena Evseeva, and Andrei Ermakov. The audience clapped for a long time and shouted “Bravo!” I screamed too, almost losing my voice. Fans of these wonderful artists did not leave for a long time, giving them standing ovations again and again!

P.S. According to the script, Ferkhad remains with the people, refuses to leave with his beloved Shirin, breaks through a rock to give the people water. On this note the performance ends. How else could “The Legend of Love”, staged under socialism, end? But if you look at the original source - Nizami’s poem “Khosrow and Shirin”, Ferkhad is told, when he has almost broken through the rock, that his beloved has died... And Ferkhad kills himself... And Shirin goes to someone else. This is actually the sad end of the legend.

By the way, Arabic writing is easily recognizable on the walls of the palace of Queen Mekhmene Banu, the scenery of which was depicted by Virsaladze, and the Arabs were already Muslims at that time, so how then does a queen exist in a Muslim state? The libretto of the ballet “The Legend of Love” was created by the Turkish poet Nazim Hikmet based on his own drama “Ferhad and Shirin”, which in turn is based on the poem “Khosrov and Shirin” by Nizami Ganjavi. In this poem, Shirin was an Armenian princess - the niece of the powerful ruler of a Christian state in Transcaucasia...... So Versaladze confused us with Arabic script on his decorations.