Mariinsky Opera and Ballet Theatre: repertoire. Ballet Company of the Mariinsky Theater The embodiment of grace and grace

The tour of the Mariinsky Ballet Company in New York has come to an end. The main impression from these tours is that at best, Valery Gergiev does not understand the art of ballet; at worst, he does not like this art.

Let's turn to the facts.

BAM - Brooklyn Academy of Music - is one of the theater centers in New York. On the stage of BAM, dancers of the modern theater, drama theaters constantly perform, but not large troupes dancing classical ballets.

The stage at BAM is long and narrow. It was impossible to fit the corps de ballet of swans on this "running track", and the number of corps de ballet dancers was reduced. The rest were all the same squeezed in this space so that they almost touched each other in packs, sometimes in tightness forming some kind of "porridge". In such conditions, the best corps de ballet in the world was staged! What kind of “breathing” is there, what magic, when there is nowhere to dance ?! And in general, all the scenes of the performance looked sandwiched between the backdrop and the ramp.

When Uliana Lopatkina in the role of Odile brilliantly spun 32 fouettes in the back of the stage literally on one spot, it became known to me that I was not the only one who was worried: would she hit the Sovereign Princess sitting behind her with her toe in the face?

The theater did not bring its linoleum, and the floor on the BAM stage is slippery. The dancers fell (one of the soloists was seriously injured). I'm not talking about such "little things" as shallow backstage. Or the lack of space behind the backdrop, causing the performers to run under the stage to enter the stage from the other side, if this was necessary in the performance. How could a troupe be brought to the theater without first checking whether the stage was suitable for a ballet performance?!

There is no ballet conductor in the theater, and this has a tragic effect on the performance of the ballet by the dancers. Neither Gergiev nor the other conductors matched their pace with the choreography.

A ballet conductor is a separate profession, and there have always been such conductors at the Mariinsky (Kirov) Theatre. The most brilliant orchestra conductor in the world does not necessarily have this profession. As not necessarily the most brilliant ballerina can become a good tutor.

When the dancer does not have time to fix the pose and let us enjoy its beauty, or when the performer cannot finish the pirouettes cleanly because the conductor has “driven” the tempo, the viewer does not care how the violins are playing at that moment. A conductor can show his art to the fullest by performing with an orchestra at the Philharmonic or Carnegie Hall. Yes, Balanchine adhered to a different principle, but he was both a musician and a choreographer at the same time, and he understood that artists could dance at that pace and what not, and he created a completely different ballet performance.

And, in any case, the ballet of the Mariinsky Theater should not dance like the others, the best ballet troupes in the world, dance. The ballet of the Mariinsky Theater has its own historical features, and they should not be neglected. At the Mariinsky Theatre, the style of classical ballet performance includes the obligatory concept of beauty as an integral part of the performance. This is a distinctive feature of Russian ballet in general. And the ballet conductor must understand this and give the dancers the opportunity to embody this beauty on stage.

Perhaps 100 years ago, the pace was different, but during this time the style of performance and technique have changed so much that these circumstances cannot be ignored.

Moreover, each ballet dancer has his own individual characteristics. Some people need an accelerated tempo to successfully perform a fouette, some a slow one, and the ballet conductor used to always check the tempo with the soloists.

All this is not a whim of the artist, this is the condition under which he can dance in the best possible way. Undoubtedly, music is the basis of ballet, but in a ballet performance, dance dominates. Therefore, the main goal of the theater is to show the performance in its best quality. And this quality depends not only on the skill of the artists, but also on whether the conductor understands the art of ballet.

Gergiev did not think about the performance, which at times affected the quality of the performance.

Program for the play. It would be interesting to know who made it. The program lists Valery Gergiev, director of the Mariinsky Theatre. But Yuri Fadeev is not listed... Yes, his position in Russia is also vaguely indicated: acting. But in fact, Fadeev is the head of the ballet troupe. Fadeev's name is also not in the "who is who" section, where information is given - also not about all the soloists of the theater. But the program included a sheet listing all the solo musicians of the orchestra... Who provided this information for the program with such disregard for the ballet?

And - the final chord. The last program is composed of ballets to music by Chopin. The evening began with Chopiniana. The ballet was staged by Mikhail Fokin to Chopin's piano music orchestrated by A. Glazunov. But on tour in America, the ballet was danced to the piano (as they explained to me, Gergiev and the orchestra went to En Arbor for a two-day tour).

There are no complaints about the dancers in such conditions, but we were present at ... the patron's concert of the theater at the factory. I must say that American critics also noted the same shortcomings that I noted. In such conditions, in which the ballet was staged on tour, I have no right to judge the state and quality of the troupe at the moment. Although some prime ministers successfully coped with difficulties.

Of course, Ulyana Lopatkina danced Odette-Odile with the talent and skill expected of her. But I would like to highlight two more acting successes.

Diana Vishneva in Alexei Ratmansky's Cinderella. Why they chose this not the best Ratmansky ballet for the tour - I don’t know (I think the choreographer is also not happy with this choice). But Vishneva took this ballet to another level. She appeared in this performance as a creature from another planet, a different worldview and attitude.

And we should also mention Ekaterina Kondaurova in the second duet in Jerome Robbins' ballet In the Night. It was a bright, talented performance, a kind of masterpiece. And Evgeny Ivanchenko was not only a partner - in their duet the history of relations was “read”.

But back to the general impression of the tour. Why was the opening of the tour of the ballet troupe the performance of ... an opera? ... A small remark, but it fits into the overall picture ...

Over the past few months, three Russian ballet companies have been coming to New York. The ballet of the Bolshoi and Mikhailovsky theaters danced at the Lincoln Center and showed their best side. One ballet of the Mariinsky Theater was put in unfavorable conditions. And if Gergiev is named the sole head of the tour, he should be responsible for them.

But here's the question that worries me. I'm not the only one who sees flaws. Why is everyone silent? Am I the only one who continues to love this troupe so much that I am the only one offended by the disrespectful attitude towards it?

Publications section Theaters

Contemporary Russian ballerinas. Top 5

The proposed top five ballerinas included artists who began their careers in the main musical theaters of our country - the Mariinsky and the Bolshoi - in the 90s, when the situation in politics, and after it in culture, was rapidly changing. The ballet theater became more open due to the expansion of the repertoire, the arrival of new choreographers, the emergence of additional opportunities in the West and, at the same time, more demanding performance skills.

This short list of new generation stars is opened by Uliana Lopatkina, who joined the Mariinsky Theater in 1991 and is now almost ending her career. At the end of the list is Victoria Tereshkina, who also began working in the era of perestroika in ballet art. And right behind her comes the next generation of dancers, for whom the Soviet legacy is just one of many directions. These are Ekaterina Kondaurova, Ekaterina Krysanova, Olesya Novikova, Natalya Osipova, Oksana Kardash, but about them another time.

Uliana Lopatkina

Today's media call Natalia Dudinskaya's student Ulyana Lopatkina (born in 1973) the "style icon" of Russian ballet. There is a grain of truth in this catchy definition. She is the ideal Odette-Odile, a genuine “two-faced” heroine of “Swan Lake” in Konstantin Sergeyev’s coldly refined Soviet version, who also managed to develop and convincingly embody on stage another swan image in Mikhail Fokine’s decadent miniature “The Dying Swan” by Camille Saint-Saens. According to these two works of her, recorded on video, Lopatkina is recognized on the street by thousands of fans around the world, and hundreds of young ballet students are trying to comprehend the craft and unravel the mystery of reincarnation. Refined and sensual Lebed is Uliana, and for a long time to come, even when the new generation of dancers outshine the brilliant galaxy of ballerinas of the 1990s-2000s, Odette-Lopatkina will tell fortunes. She was also unattainable, technically accurate and expressive in "Raymonda" by Alexander Glazunov, "The Legend of Love" by Arif Melikov. She would not have been called an "icon of style" without the contribution to the ballets of George Balanchine, whose American heritage, saturated with the culture of the Russian imperial ballet, the Mariinsky Theater mastered when Lopatkina was at the peak of her career (1999-2010). Her best roles, namely roles, and not parts, since Lopatkina knows how to dramatically fill plotless compositions, were solo works in Diamonds, Piano Concerto No. 2, Theme and Variations to the music of Pyotr Tchaikovsky, Waltz by Maurice Ravel . The ballerina participated in all the avant-garde projects of the theater and, based on the results of cooperation with modern choreographers, will give odds to many.

Uliana Lopatkina in the choreographic miniature "The Dying Swan"

Documentary "Ulyana Lopatkina, or Dances on Weekdays and Holidays"

Diana Vishneva

Second by birth, only three years younger than Lopatkina, a student of the legendary Lyudmila Kovaleva Diana Vishneva (born in 1976) in reality never “came” second, but only first. It so happened that Lopatkina, Vishneva and Zakharova, separated from each other for three years, walked side by side at the Mariinsky Theater, full of healthy rivalry and at the same time admiring each other's huge, but completely different possibilities. Where Lopatkina reigned as a languid graceful Swan, and Zakharova formed a new - urban - image of the romantic Giselle, Vishneva performed the function of the goddess of the wind. Before graduating from the Academy of Russian Ballet, she already danced on the stage of the Mariinsky Theater Kitri - the main character in Don Quixote, a few months later she showed her achievements in Moscow on the stage of the Bolshoi Theater. And at the age of 20 she became the prima ballerina of the Mariinsky Theatre, although many have to wait for promotion to this status up to 30 years or more. At 18 (!) Vishneva tried on the role of Carmen in a number composed especially for her by Igor Belsky. In the late 90s, Vishneva was rightfully considered the best Juliet in the canonical version of Leonid Lavrovsky, she also became the most graceful Manon Lesko in the ballet of the same name by Kenneth MacMillan. Since the early 2000s, in parallel with St. Petersburg, where she participated in many productions by such choreographers as George Balanchine, Jerome Robbins, William Forsyth, Alexei Ratmansky, Angelin Preljocaj, she began performing abroad as a guest étoile (“ballet star”). Now Vishneva often works in her own projects, commissioning ballets for herself from well-known choreographers (John Neumeier, Alexei Ratmansky, Caroline Carlson, Moses Pendleton, Dwight Rodin, Jean-Christophe Maillot). The ballerina regularly dances in the premieres of Moscow theaters. Huge success accompanied Vishneva in the ballet of the Bolshoi Theater in the choreography of Mats Ek's "Apartment" (2013) and John Neumeier's play "Tatyana" based on "Eugene Onegin" by Alexander Pushkin at the Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater in 2014. In 2013, she became one of the organizers of the November festival of contemporary dance Context, which since 2016 has been held not only in Moscow, but also in St. Petersburg.

Documentary "Always on the move. Diana Vishneva»

Svetlana Zakharova

The youngest in the top three of the famous chicks of the A. Vaganova Academy from the 90s, Svetlana Zakharova (born in 1979) instantly overtook her rivals and somewhat overtook them, acting like the once great Leningrad ballerinas Marina Semyonova and Galina Ulanova, "to serve" in the Moscow Bolshoi Theater in 2003. Behind her was studying with the excellent teacher of the ARB Elena Evteeva, experience working with Olga Moiseeva, the star of the Kirov Ballet of the 70s, and a gigantic track record. In any of the performances of the St. Petersburg period, Zakharova stood out clearly. Her strong point, on the one hand, was the interpretation of heroines in the old ballets by Marius Petipa, restored by Sergei Vikharev, and soloists in avant-garde productions by leading choreographers, on the other. In terms of natural data and “technical characteristics”, Zakharova not only surpassed her colleagues at the Mariinsky Theater and after at the Bolshoi, she entered the cohort of the most sought-after ballerinas in the world who dance everywhere in guest status. And the most important ballet company in Italy - the ballet La Scala - offered her a permanent contract in 2008. Zakharova at some point admitted that she danced Swan Lake, La Bayadère and Sleeping Beauty in all possible stage versions from Hamburg to Paris and Milan. At the Bolshoi, shortly after Zakharova moved to Moscow, John Neumeier staged his program ballet A Midsummer Night's Dream, and the ballerina flashed in it in the double role of Hippolyta-Titania paired with Nikolai Tsiskaridze's Oberon. She also took part in the production of Neumeier's Lady of the Camellias at the Bolshoi. Zakharova successfully collaborates with Yuri Possokhov - she danced the premiere of his Cinderella at the Bolshoi Theater in 2006 and in 2015 she performed the role of Princess Mary in A Hero of Our Time.

Documentary film “Prima ballerina of the Bolshoi Theater Svetlana Zakharova. Revelation"

Maria Alexandrova

At the same time, when the triad of St. Petersburg dancers conquered Northern Palmyra, the star of Maria Alexandrova (born in 1978) rose in Moscow. Her career developed with a slight delay: when she came to the theater, ballerinas of the previous generation - Nina Ananiashvili, Nadezhda Gracheva, Galina Stepanenko - danced their century. In ballets with their participation, Alexandrova - bright, temperamental, even exotic - was on the sidelines, but it was she who got all the experimental premieres of the theater. Critics saw the still young ballerina in Alexei Ratmansky's Dreams of Japan, and soon she was already interpreting Catherine II in Boris Eifman's Russian Hamlet and others. ”, “Raymonda”, “Legend of Love”, she patiently waited for years.

The year 2003 became fateful, when Alexandrova was chosen as Juliet by the choreographer of the new wave, Radu Poklitaru. It was an important performance that opened the way for a new choreography (without pointe shoes, without classical positions) at the Bolshoi Theater, and Aleksandrova held the revolutionary banner. In 2014, she repeated her success in another Shakespearean ballet - "The Taming of the Shrew" choreographed by Mayo. In 2015, Alexandrova began working with choreographer Vyacheslav Samodurov. He staged a ballet about the theatrical backstage - "Curtain" in Yekaterinburg, and in the summer of 2016 chose the role of Ondine in the ballet of the same name at the Bolshoi Theater. The ballerina managed to use the forced waiting time to hone the dramatic side of the role. The secret source of her creative energy, aimed at acting, does not dry out, and Alexandrova is always on alert.

Documentary film “Monologues about myself. Maria Alexandrova"

Victoria Tereshkina

Like Alexandrova at the Bolshoi, Victoria Tereshkina (born in 1983) was in the shadow of the aforementioned trio of ballerinas. But she did not wait for someone to retire, she began to energetically capture parallel spaces: she experimented with novice choreographers, did not get lost in the difficult ballets of William Forsythe (Approximate Sonata, for example). Often she did what others did not undertake, or undertook, but could not cope, but Tereshkina succeeded and still does absolutely everything. Her main forte was her impeccable possession of technique, endurance and the presence of a reliable teacher nearby, Lyubov Kunakova, helped. It is curious that, unlike Alexandrova, who went into genuine drama, which is only possible on the ballet stage, Tereshkina "set" on the improvement of technique and elevated the triumphant plotlessness into a cult. Her favorite subject, which she always acts out on stage, grows out of her sense of form.

Documentary film “Royal box. Victoria Tereshkina"

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Mariinsky Theatrical Ballet, Mariinsky Theater Ballet
The history of the ballet troupe of the Mariinsky Theater began with court performances, where many professional dancers and dancers took part, who appeared after the establishment of the Dance School by Empress Anna Ioannovna in 1738 under the guidance of the French teacher Jean Baptiste Lande.

The ballet troupe was part of the theaters:

• Petersburg Bolshoi Theater (Stone; from 1783),
• Mariinsky Theater since 1860,
• The State Mariinsky Theater (since 1917), which in 1920 was renamed the State Academic Opera and Ballet Theater (since 1935 named after S. M. Kirov), and in 1992 returned its former name - the Mariinsky Theater.

• 1 19th century
• 2 XX century
• 3 21st century
  • 3.1 Ballet dancers
    • 3.1.1 Ballerinas and premieres
    • 3.1.2 First soloists
    • 3.1.3 Second soloists
    • 3.1.4 Character dance soloists
    • 3.1.5 Luminaries
• 4 See also
• 5 Notes
• 6 Links

19th century

Sh. L. Didlo had a noticeable influence on the development of the St. Petersburg ballet. Didelot's dance poems "Zephyr and Flora" (1804), "Cupid and Psyche" (1809), "Acis and Galatea" (1816) by Kavos foreshadowed the onset of romanticism. 1823 the theater staged the ballet "The Prisoner of the Caucasus, or the Shadow of the Bride" to the music. Kavos (1823). The repertoire created by Didelot revealed the talents of M. I. Danilova, E. I. Istomina, E. A. Teleshova, A. S. Novitskaya, Auguste (O. Poirot), N. O. Goltz. In 1837, the Italian choreographer F. Taglioni and his daughter M. Taglioni showed the ballet La Sylphide in St. Petersburg. 1842 in the ballet "Giselle", staged by J. Coralli and J. Perrot, E. I. Andreyanova performed with success. In 1848-1859, the St. Petersburg ballet was headed by J. Perrot, who staged the ballets Esmeralda, Catarina and Faust by Pugni. In 1859, the ballet was headed by choreographer A. Saint-Leon, who staged the ballets The Little Humpbacked Horse (1864) and The Golden Fish (1867). Marius Petipa (since 1847 a ballet soloist, then a ballet master, in 1869-1903 - the main choreographer of the theater) became the successor of Perro and Saint-Leon.

During his stay in Russia, Marius Petipa staged ballets on the imperial stage: "The Pharaoh's Daughter" to the music of Caesar Pugni, in 1862; "King Candavl" by Caesar Pugni, in 1868; "Don Quixote" by L. F. Minkus, 1869; "Two Stars" by Caesar Pugni, 1871; "La Bayadère" by L. F. Minkus, 1877; "The Sleeping Beauty of P. I. Tchaikovsky, edited by Drigo, (1890-1895), I and III acts, in collaboration with Lev Ivanov (Ivanov's text - 2nd scene of the first act, Venetian and Hungarian dances in the second act, third act, except for the apotheosis); "Swan Lake" (together with L. I. Ivanov, 1895); "Raymonda" to the music of A. K. Glazunov, 1898; "Le Corsaire" to the music of Adam, Pugni, Drigo, Delibes, Peter Oldenburgsky, Minkus and Trubetskoy, 1898; "Paquita" by Deldevez, 1899; "Tests of Damis" by A. K. Glazunov, 1900; "The Four Seasons" (Four Seasons) by A. K. Glazunov, 1900; ) Drigo, 1900; "Mr. Dupre's Disciples", 1900; "Magic Mirror" Koreshchenko, 1904; "Rosebud Romance", Drigo (the premiere did not take place).

The ballets of Marius Petipa demanded the high professionalism of the troupe, which was achieved thanks to the pedagogical talents of Christian Ioganson and Enrico Cecchetti. the ballets of Petipa and Ivanov were performed by: M. Surovshchikova-Petipa, Ekaterina Vazem, E. P. Sokolova, V. A. Nikitina, Maria Petipa, P. A. Gerdt, P. K. Karsavin, N. G. Legat, I. F. Kshesinsky, K. M. Kulichevskaya, A. V. Shiryaev.

20th century

At the beginning of the 20th century, the keepers of academic traditions were artists: Olga Preobrazhenskaya (1871-1962), Matilda Kshesinskaya, Vera Trefilova, Yu. N. Sedova, Agrippina Vaganova, L. N. Egorova, N. G. Legat, S. K. Andrianov , Maria Kozhukhova (1897-1959), Olga Spesivtseva (1895-1991) (July 5 (18), 1895 - September 16, 1991)

In search of new forms, Mikhail Fokin relied on contemporary fine art. The favorite stage form of the choreographer was a one-act ballet with laconic continuous action, with a clearly expressed stylistic coloring.

Mikhail Fokin owns the ballets: The Pavilion of Armida, 1907; "Chopiniana", 1908; Egyptian Nights, 1908; "Carnival", 1910; "Petrushka", 1911; "Polovtsian Dances" in the opera "Prince Igor", 1909. Tamara Karsavina, Vaslav Nijinsky and Anna Pavlova became famous in Fokine's ballets.

The first act of the ballet "Don Quixote", to the music of Ludwig Minkus (based on the ballet by M. Petipa) reached his contemporaries in the version of Alexander Gorsky in 1900.

Later, in 1963, The Little Humpbacked Horse was staged (by Alexander Gorsky, revived by Mikhailov, Baltacheev and Bruskin.

Since 1924, Fyodor Lopukhov staged performances at the theater, the first production of which was the play "Night on Bald Mountain" (music - Modest Mussorgsky); then in 1927 - "The Ice Maiden"; 1929 - "Red Poppy", together with Ponomarev and Leontiev; 1931 - "Bolt", music - Dmitry Shostakovich, 1944 - "Vain Precaution" to the music of G. Gertel (Leningrad Maly Opera Theater in evacuation in Orenburg and Leningrad Opera and Ballet Theater named after S. M. Kirov); 1947 - "Spring Tale" music. B. Asafyeva (based on musical materials by Tchaikovsky) (Leningrad Opera and Ballet Theater named after S. M. Kirov)

In the first years after the October Revolution of 1917, the theater was faced with the task of preserving the heritage. leading artists worked in the theater: E. Vill, E. P. Gerdt, Pyotr Gusev, A. V. Lopukhov, E. M. Lukom, O. P. Mungalova, V. I. Ponomarev, V. A. Semenov, B. V. Shavrov.

• In 1930, choreographers Vasily Vainonen, Leonid Yakobson and V.P. Chesnokov staged the Golden Age Ballet to music by Dmitri Shostakovich.

• From 1932 to 1942, ballets were staged: The Flames of Paris, choreographer Vasily Vainonen, 1932; The Fountain of Bakhchisarai, choreographer Rostislav Zakharov, 1934; in 1939 - "Laurencia", choreographer Vakhtang Chabukiani.

In 1940 choreographer Leonid Lavrovsky staged the ballet Romeo and Juliet. Later, this performance was resumed by Semyon Kaplan, in 1975.

During the Great Patriotic War, the artists who remained in besieged Leningrad, under the leadership of O. G. Jordan, went to the front, performed at factories and in hospitals. The main team was evacuated to Perm, where in 1942 the performance "Gayane" was staged by choreographer Nina Anisimova

The ballet soloists of the theater of the period 1920-1940 were students of A. Ya. Vaganova, M. F. Romanova, E. P. Snetkova-Vecheslova and A. V. Shiryaeva: Nina Anisimova, Feya Balabina, Tatiana Vecheslova, Natalia Dudinskaya, A. N. Ermolaev, N. A. Zubkovsky, O. G. Jordan, Marina Semyonova, Konstantin Sergeev, Galina Ulanova, Vakhtang Chabukiani and Alla Shelest, Tatyana Vecheslova.

In 1941, after graduating from the Moscow Choreographic School in the class of the St. Petersburg teacher Maria Kozhukhova, Inna Zubkovskaya entered the theater.

In the post-war period, the ballet repertoire of the Kirov Theater appeared new productions in which danced: I. D. Belsky, B. Ya. Bregvadze, Inna Zubkovskaya, Ninel Kurgapkina, Askold Makarov, Olga Moiseeva, N. A. Petrova, V. D. Ukhov, K. V. Shatilov, N. B. Yastrebova.

In the last issues of A. Ya. Vaganova of the 50s, two names appeared and sparkled: Irina Kolpakova and Alla Osipenko, since the 1957 season, a student of V. S. Kostrovitskaya Gabriela Komleva appeared in the theater, in 1958 a student of N. A. Kamkova Alla Sizova, in 1959 E. V. Shiripina released the future world star Natalia Makarova, in 1963 a student of L. M. Tyuntina Natalya Bolshakova appeared in the theater, in 1966 - a student of the same teacher Elena Evteeva, in 1970 in the theater a student of N.V. Belikova Galina Mezentseva appeared, and also in 1970-1972. a graduate of the same teacher Lyudmila Semenyaka danced in the theater, students of Alexander Pushkin Rudolf Nureyev worked in the Kirov ballet, since 1958 and Mikhail Baryshnikov, in 1967, since 1958 - Yuri Solovyov (a student of Boris Shavrov).

In the 80s, the next generation came to the theater, among the new stars were Altynai Asylmuratova, Farukh Ruzimatov, Elena Pankova, Zhanna Ayupova, Larisa Lezhnina, Anna Polikarpova.

XXI Century

In the new millennium in the ballet troupe of the theater: Ulyana Lopatkina, Diana Vishneva, Yulia Makhalina, Alina Somova and Victoria Tereshkina.

ballet dancers

For 2016, the following artists form the basis of the Mariinsky Ballet:

Ballerinas and premieres

• Ekaterina Kondaurova
• Uliana Lopatkina
• Julia Makhalina
• Daria Pavlenko
• Oksana Skorik
• Alina Somova
• Victoria Tereshkina
• Diana Vishneva
• Timur Askerov
• Evgeny Ivanchenko
• Kimin Kim
• Igor Kolb
• Vladimir Shklyarov
• Danila Korsuntsev
• Denis Matvienko (guest soloist)

First soloists

Second soloists

Character dance soloists

luminaries

The Pharaoh's Daughter, 1898

One of the performances, 2005

"Swan Lake", 2004

La Bayadère, 2011

see also

• History of the Petersburg ballet school

Notes

1. Ballet soloists of the Mariinsky Theatre.Mariinsky Theatre. Retrieved 17 August 2016.

Links

• Ballet soloists - on the website of the Mariinsky Theater

Mariinsky Theater Ballet, Mariinsky Theater Ballet, Mariinsky Theater Ballet, Mariinsky Theater Ballet

Ballet of the Mariinsky Theater

What Russian girl has not dreamed of ballet at least once in her life? It can be called our national art. We adore ballet and know by name almost all the primaries and premiers of the Bolshoi and Mariinsky theatres.

On the eve of the International Ballet Day - this year it is celebrated for the third time - we offer you to admire the best of the best, the goddesses of Russian ballet: Svetlana Zakharova, Diana Vishneva and Ulyana Lopatkina.

The embodiment of grace and grace

As well as iron will and unbending spirit. This prima of the Bolshoi Theater and Milan's La Scala—Svetlana Zakharova. She made her debut at the Mariinsky Theater at the age of 17, and for twenty years there has not been a single misfire in her career. She successfully performs classical and modern dance.

“I have already danced all the parts that you can dream of, in a variety of editions. For example, "Swan Lake" was performed in more than ten versions on different stages of the world. I want to experiment, to test the capabilities of my body in something else. Modern dance is a movement that gives freedom. The classics, on the other hand, have limits and rules that you cannot go beyond, ”- Svetlana shared in an interview.

What does Zakharova like most in her profession? According to the ballerina, she is happy while preparing for the performance. Samples, rehearsals. At this time, she sometimes does not sleep at night - music sounds in her head.

The premiere itself no longer causes so much joy. It even becomes a little sad, because what I was so prepared for has already taken place.

By the way, Svetlana does not consider herself a star. "I'm just a man who plows every day" she says.

Refined and fast at the same time

Prima of the Mariinsky Theater and the American Ballet Theater Diana Vishneva celebrated its 40th anniversary this year. But it was previously believed that the career of ballerinas was annoyingly fleeting. Diana not only constantly pleases fans with premieres, but also organizes the international festival Context.

She performs both classical and modern dances. In an interview, Vishneva admitted that combining different directions in choreography is like learning a different language. Last year, Diana even made a film called Language - about the language of her own plasticity.

Vishneva speaks about herself first of all as a stubborn person. She is sure: without perseverance and dedication, ballet is not worth thinking about. “How many sacrifices must be made every day! You need to tame your body and mind. Physically exhausting labor is a prerequisite if you want to achieve something. "Hard labor" is not hyperbole. You need to be able to fly, soar, bring beauty, love... Art requires great emotional, moral and physical strength from you.”

Incredibly artistic

Delicate and at the same time daring... Prima ballerina of the Mariinsky Theatre, People's Artist of Russia Uliana Lopatkina will celebrate its 43rd anniversary in October. She is known to the whole world, but she does not like to talk about herself. Ulyana is very practical and prefers action to words.

“This is not Hollywood, in ballet everything is closer to the point. In ballet, everything is proved by work. The work is very difficult, physically, mentally, emotionally difficult, and there is something to respect for people who occupy a high position in ballet - they justify this place with their work, ”- Lopatkina noted in an interview.

Ulyana is called "an icon of Russian ballet".

But the artist does not suffer from star fever at all and believes that each of us in a certain sense can be an “icon”.

We carry holiness within us. It manifests itself in varying degrees, but is potentially inherent in all of us. Maybe that's why people who are especially sensitive to art talk about the icon. So they formulate the feeling that they may have experienced during the performance.

Honored Artist of the RSFSR Vladimir KINYAEV began his creative activity at the Donetsk Opera House (1965). In the same year, the singer was admitted by competition to the Kirov Theater.
A strong, even, beautiful velvety timbre, a dramatic baritone, acting talent, an interesting stage solution for the parts he performed, soon brought the artist the sympathy of the audience. The roles of Rigoletto, Escamillo, Amonasro, Count di Luna are imbued with sincerity and imperious drama. The singer is especially creative in the leading roles of the Russian classical repertoire, such as Demon, Mazepa, Prince Igor (see picture), Dirty, Prince in The Enchantress. One of the artist's recent successful works is the role of Tsar Boris in the opera Boris Godunov.
The concert program of V. Kinyaev is interesting and varied, including both opera arias and old romances, folk songs.
Kinyaev repeatedly successfully performed in opera performances and concerts on the stages of our country and abroad (France, Switzerland, East Germany, Poland, Yugoslavia, etc.).

People's Artist of the RSFSR Galina KOVALEVA rightfully occupies one of the leading places in the Soviet opera performing art. A brilliant lyric-coloratura soprano of a silvery timbre, remarkable vocal and acting skills, expressive phrase, subtlety and richness of nuances, and dramatic talent distinguish the singer's performing style.
A pupil of the Saratov Conservatory (1959), Kovaleva made her debut on the Leningrad stage in 1960. The repertoire includes the parts of Ludmila, Antonida, Marfa, Violetta, Gilda (see photo), Rosina, Mikaela, Margarita and others. One of Kovaleva's recent creative successes is the role of Lucia di Lammermoor, performed by her with an amazing sense of style, brilliantly, freely and dramatically. In the opera Il trovatore, she recreated the captivating image of Leonora.
The concert repertoire of the singer is extensive and interesting. She is the winner of the International Vocal Competition in Toulouse (1962), winner of international competitions in Sofia (1961) and Montreal (1967). Kovaleva performed in performances and concerts in France, Czechoslovakia, Bulgaria, Japan and other countries.

One of the remarkable masters of the Soviet opera theater, People's Artist of the USSR Boris SHTOKOLOV, is a singer of rare charm and rich artistic talents.
Beautiful, deep and soft bass, emotionality, sincerity, sincerity contribute to the successful disclosure of the artist's artistic image. Shtokolov is characterized by an inquisitive creative search.
Boris came to the Kirov Theater in 1959 from the Sverdlovsk Opera. Great vocal skills and acting talent helped him to embody a number of vivid, memorable images, including Ivan Susanin, Ruslan, Demon, Gremin, Dositheus, Mephistopheles, Don Basilio and others. Shtokolov's talent was most fully revealed in two roles, very different: in the opera Boris Godunov (see photo), he draws an impressive image of Tsar Boris; sincerely, soulfully, he sings the part of the Soviet soldier Andrei Sokolov in the opera The Fate of a Man, in the creation of which the artist was directly involved.
Shtokolov has repeatedly performed on opera stages in Austria, Hungary, East Germany, Finland, Canada, Spain and other countries. The activity of the singer is not limited to the opera stage. He often performs in concerts, captivating listeners with a wonderful performance of arias, romances, folk songs.
Shtokolov is a laureate of vocal competitions at world festivals of youth and students in Moscow (1957) and Vienna (1959).

Distinctive features of the performing style of the Honored Artist of the RSFSR Irina BOGACHEVA are emotionality, dramatic expressiveness; strong, bright, deep characters are close to her. The singer has a beautiful mezzo-soprano of a wide range. On the stage of the Kirov Theatre, where she has been performing since 1963, after graduating from the Leningrad Conservatory, the artist performs a number of leading parts of the repertoire, such as Carmen, Amneris, Azucena, Marfa (see photo), Lyubasha, Ulrika and others. Bogacheva is one of the creators of the role of Aksinya in The Quiet Don. A significant event in the life of the singer was also the work on creating the image of the Commissar in the opera Optimistic Tragedy. The singer conducts a large concert activity. She is a laureate of the All-Union Glinka Vocal Competition (1962), winner of the International Vocal Competition in Rio de Janeiro (1967). Bogacheva successfully completed her creative experience at the Milan Opera House "La Scala" (1968-1970), took part in concerts and performances of the famous theater.

People's Artist of the RSFSR Rimma BARINOVA is a student of the Moscow Conservatory. She joined the opera troupe of the Kirov Theater in 1954. The singer's works are marked by vocal skill, psychological sharpness and dramatic expressiveness.
The owner of a sonorous mezzo-soprano, over the years of work she has become a performer of a whole gallery of stage images. Her repertoire includes John, Lyubasha, Martha, Ortrud in the opera Lozngrin (see photo), Amneris, Ulrika, Azucena, Preziosilla in The Force of Destiny, Natela in Abesaloms and Eteri, a number of other leading and solo parts.
At the World Festival of Youth and Students in Berlin and 1951, Barinova won the title of laureate.

Honored Artist of the RSFSR Vladimir MOROZOV - the creator of a number of vocal and stage images in new Soviet operas. Andrey Sokolov in "The Fate of a Man", Leader in "Optimistic Tragedy" (see picture), Andrey in the opera "October", Grigory in "The Quiet Don" - this is not a complete list of the singer's works during his work on the stage of the Kirov Theater where he began performing in 1959. The artist's classical repertoire is no less extensive - Dositheus, Pimen, Varlaam, Tokmakov, Farlaf, Svetozar, Gudal, Gremim. Mephistopheles, Ramfis, Sarastro, Mendoza and many other parties.
A strong, expressive bass, excellent stage skills and skill put Morozov among the leading soloists of the opera.

For more than two decades, People's Artist of the RSFSR Valentina MAKSIMOVA has been performing on the theater stage. The singer graduated from the Leningrad Conservatory in 1950 and was immediately accepted as a soloist of the opera.
Distinctive features of Maksimova are a light coloratura soprano of a beautiful timbre, perfect vocal technique, and acting skills. Over the years of work in the theater, the artist has performed many leading roles, including Antonida, Lyudmila, Violetta, Martha, Gilda, Lucia, Rosina, Louise (“Betrothal in a Monastery”, see picture) and others. Maksimova pays much attention to the chamber repertoire. She is a laureate of the vocal competition of the World Festival of Youth and Students in Berlin (1951).

Honored Artist of the RSFSR Matvey GAVRILKIN embodied a number of interesting characters on the theater stage. Among the many leading parts of the repertoire sung by the artist are German (see picture), Faust, Jose, Werther, Alvaro, Manrico. Sobinin, Golitsyn, Pretender, Shuisky, Peter Grimes, Vladimir Igorevich, Masalsky (October), Alexei (Optimistic Tragedy) and others. After graduating from the Sverdlovsk Conservatory in 1951, the singer first performed at the Perm Opera House, and in 1956 made his successful debut on the stage of the Kirov Theatre. Grateful vocal and stage skills, lyrical and dramatic tenor of a bright timbre, temperament, vocal and acting skills contributed to the promotion of the artist to the ranks of the leading soloists of the opera.

Tatiana in Eugene Onegin, Mikaela in Carmen, Pamina in The Magic Flute (see photo), Margarita in Faust, Amelia in Un ballo in maschera, Aida, Yaroslavna in Prince Igor, Tanya in Dubrovsky, Liza in The Queen of Spades, Elsa in Lohengrin - these are the main works of the opera soloist Ona GLINSKAYTE. The young singer graduated from the Leningrad Conservatory in 1965 and was immediately accepted into the theater troupe.
The artist is endowed with a beautiful, rich timbre, flexible and strong lyric-dramatic soprano of a wide range.
Artistry, stage charm, vocal technique contributed to the success of the singer. Her concert repertoire includes classical and contemporary vocal music.

The repertoire of the Honored Artist of the RSFSR Vladimir KRAVTSOV testifies to the breadth of his acting range and vocal skills. Lensky, Faust (see picture), Lohengrin, Werther, Almaviva, Alfred, Herzog, Manrico, Lykov, Vladimir Dubrovsky, the Holy Fool, the Pretender, the Indian guest, Alexei in the Optimistic Tragedy - these are his main works.
A pupil of the Moscow Conservatory, Kravtsov came to the Kirov Theater in 1958 from the troupe of the Stanislavsky and Nemirovich-Danchenko Theater. A light, sincere lyrical tenor of a beautiful timbre, the desire to reveal the inner world of his hero by means of vocal expressiveness - these are the main features of the artist's creative image.

Honored Artist of the RSFSR Igor NAVOLOSHNIKOV, a graduate of the Ural Conservatory (1958), while still performing on the stage of the Sverdlovsk Opera House, sang many leading parts. Having become a soloist of the Kirov Theater in 1963, the singer expands his repertoire. Ivan Susanin, Boris Godunov, Kochubey, Gremin, Galitsky, Konchak, Sobakin, Ruslan, Varlaam, Ramfis, Mephistopheles, Don Basilio (see picture), Monterone, Sarastro - these are his main parts.
The high, soft bass of an even range, vocal skill, the desire for a deep and truthful implementation of the stage concept helped the artist to take the position of one of the leading soloists of the opera. Navoloshnikov is the winner of the Mussorgsky All-Union Vocal Competition (1964).

Opera soloist Mikhail EGOROV, a pupil of the Moscow Conservatory (1964), was invited to the troupe of the Kirov Theater in 1965. In a short time, the artist became the performer of a number of leading roles: Lensky (see photo), Vladimir Igorevich, Lykov, Gvidon, Holy Fool, Faust, Lohengrin, Duke, Alfred, Almaviva, Edgar in Lucia di Lammermoor, Tamino in The Magic Flute ”, Vladislav in “Gunyadi Laszlo” and others.
Egorov has a fresh lyric-dramatic tenor voice, artistic temperament, musicality, and bright stage talent. The artist performs a lot in concerts. Its extensive repertoire includes classics, folk songs, works by Soviet and foreign composers.

The creative path of the remarkable Soviet ballerina, People's Artist of the USSR Irina KOLPAKOVA began in 1951. Over the years, the dancer's skill has reached brilliance, earning her well-deserved fame throughout the world. Kolpakova's dance captivates with lightness, plasticity, openwork pattern. The images created by her are deeply authentic, lyrical, extraordinarily penetrating.
The artist's repertoire is diverse: Giselle, Raymond, Cinderella, Aurora (see photo), Juliet, Maria and many other parts. Kolpakova is the first creator of leading roles in many Soviet performances. The stage images of Katerina (Stone Flower), Shirin (Legend of Love), His Beloved (Shore of Hope), Ala (Scythian Suite), Eva (Creation of the World), Snegurochka (Choreographic Miniatures), the central roles in staged for her creative evening of one-act ballets "Two" and "Romeo and Julia".
Kolpakova is a laureate of competitions for ballet dancers at the world festivals of youth and students in Berlin (1951) and Vienna (1959). At the International Dance Festival in Paris (1965) she won a gold medal.

People's Artist of the RSFSR Yuri SOLOVIEV combines in his art the perfection of classical technique with inspired figurative expressiveness. His dance strikes with extraordinary flight, dynamics, plasticity.
The creative path of the artist began in 1958. His repertoire is very diverse. With great skill he performs the roles of Siegfried, Desire, the Blue Bird, Albert, Solor, Frondoso, Ferkhad, Danila, Ali Batyr, the Prince in Cinderella (see photo), God in The Creation of the World, leading roles in one-act ballets "Two" and "Oresteia". The artist starred as Prince Desiree in the film-ballet Sleeping Beauty.
At the ballet competition of the World Festival of Youth and Students in Vienna (1959) and at the International Dance Festival in Paris (1965), the artist won the title of best dancer. In 1963, in Paris, "space Yuri" - as reviewers of foreign newspapers called him for his light, airy jump - was awarded a Nizhinsky diploma and the title of the best dancer in the world.

The young ballet soloist Mikhail BARYSHNIKOV, having started dancing on the stage of the theater in 1967, is rapidly gaining recognition with his musicality, plastic sensitivity, refinement and grace of movements, expression and flight of dance, virtuosity of classical technique.
Baryshnikov is the winner of the International Competition for Young Ballet Dancers in Varna (1966). In 1969 he received a gold medal and the title of laureate of the International Dance Festival in Moscow.
The artist performs as Desiree, Blue Bird, Basil (see photo), Albert, Mercutio, in choreographic miniatures Vestris, Eternal Spring, etc. Among his recent creative successes are the roles of romantically pure Hamlet and temperamental, courageous Adam in The Creation of the World ".

The performing skills of the People's Artist of the RSFSR Sergei VIKULOV are characterized by poetry, flight, and the perfect technique of classical dance. Having started his career in 1956, the artist gradually becomes the performer of many leading roles and is widely recognized.
The repertoire of the dancer is very diverse. Prince Desire and the Blue Bird, Siegfried (see photo), Albert. Solor, the Prince in Cinderella, Vatslav, Paris and Mercutio, Jean de Brienne - all these virtuoso parts are inspired by Vnkulov's inner content and depth of feeling.
In 1964, Vikulov became the winner of the International Competition for Young Ballet Dancers in Varna, and in 1965 in Paris he was awarded the title of the best dancer in the world and a diploma named after Nijinsky.

The characteristic features of the performing style of Kaleria FEDICEVA, People's Artist of the RSFSR, are temperament, expression, and romantic elation. Her dance is plastic, large-scale, technically perfect. With her usual brightness and originality, the artist performs the parts of Raymonda, Laurencia (see photo), Odette - Odillni, Kitri, Gamzatti, Nikiya, Mistress of the Copper Mountain, Zarema, Aegina, Mehmepe-Baiu, Zlyuka, Gertrude, Devils and others.
A feature of Fedicheva's talent is a tireless creative search. Clytemnestra in the one-act ballet Oresteia staged for her creative evening is one of her best roles. Fedicheva - laureate of the World Festival of Youth and Students in Helsinki (1962).

The art of Ninella Kurgapkina, People's Artist of the RSFSR, is cheerful and emotional. Her dance is marked by lightness, brilliance, swiftness, impeccable movements, virtuoso classical technique. She is not characterized by poetic daydreaming, psychological complexity, her element is a dynamic allegro. The artist especially succeeds in major roles, full of spiritual clarity, bubbling enthusiasm and fun. Aurora, Kitri, Gamzatti, Columbine, Shirin (see photo), Parasha, Bird Girl, Tsar Maiden, Jeanne in "The Flames of Paris" are some of her works. At the ballet competition of the World Festival of Youth and Students in Bucharest (1953), Kurgapkina was awarded a gold medal.

The characters are strong, solid, effective, the performances of sharp dramatic intensity are close to the creative personality of the Honored Artist of the RSFSR Olga MOISEEVA. Her dance is expressive, emotionally filled, marked by spirituality and originality of the performing style.
In the repertoire of the artist of the role of Odette - Odile, Nikni, Egiia, Raymonda, Krivlyaki, Laureieii, Kitri, Zarema, Girls-ntntsy, Sari in "Thunder Path" (see picture) and others. Moiseeva is one of the creators of the images of Mekhmene-Banu in the "Legend of Love" and Gertrude in "Hamlet". In 1951, the artist became the winner of the ballet competition at the World Festival of Youth and Students in Berlin.

Heartiness and spontaneity, brilliance and classical perfection of plasticity - these are the features that define the performing style of the People's Artist of the RSFSR Alla SIZOVA.
Among the images embodied by the artist on the stage of the theater (since 1958) are Aurora, Giselle, Sylphide (see picture), Kitri, Katerina, Cinderella, Maria, Juliet, Ophelia and others.
The actress starred as Aurora in the film-ballet Sleeping Beauty. At the ballet competition of the World Festival of Youth and Students in Vienna (1959) and the International Competition for Young Ballet Dancers in Varna (1964), Sizova won gold medals. In 1964, in Paris, she was awarded an honorary diploma named after Anna Pavlova.

The stage path of the Honored Artist of the RSFSR and the Dagestan ASSR, laureate of the State Prize of the RSFSR Gabriela Komleva began in 1957.
Great musicality, virtuoso classical technique, ease, precision and completeness of the dance helped the artist to recreate a number of bright plastic images: Raymonda Odette - Odile, Aurora, Kitri, Giselle Mirta, Nikiya, Cinderella, Mistress of the Copper Mountain, Pannochka, Ophelia and others. In the performance of these very different parties, the artist achieved convincing stage images of impeccable skill and brilliance. Komleva's great creative success is the strong and truthful image of the brave mountain girl Asiyat created by her in the ballet "Goryanka" (see picture).
Komleva was awarded the title of laureate of the International Competition for Young Ballet Dancers in Varna (1966).

One of the best character dancers of the ballet troupe, Honored Artist of the RSFSR Irina GENSLER temperamentally and truthfully reveals in her character dance the psychological features of the image, its dramatic sound.
Among the numerous works of the artist, in which her peculiar talent was clearly manifested, are Hungarian and Spanish dances in Swan Lake, Gypsy and Mercedes in Don Quixote, Hindu in La Bayadère, Hungarian and Panaderos in Raymonda, Mazurka in " Cinderella, Lezginka in Goryanka, Teresa in The Flames of Paris, Gadita Maiden in Spartacus, Matchmakers in Shural, Fanny in Thunder Path, Spanish Miniatures (see photo), choreographic miniatures Gossips", "Troika" and many others.
Gensler is the originator of the bright, dynamic stage image of the Young Gypsy in "Stone Flower".

The generosity of fantasy, dramatic expression and inner fullness, the high technique of classical and characteristic dance define the creative face of the ballet soloist Anatoly Gridin.
The dancer has been performing on the theater stage since 1952. He has performed in many leading and solo parts of the repertoire, including Rothbart (Swan Lake), Fairy Carabosse (Sleeping Beauty), Hans (Giselle), Gamache and Espada (Don Quixote), Pierrot (Carnival), Drosselmeyer (The Nutcracker), Commander and Mengo (Laurencia), Giray (Fountain of Bakhchisaray), Tybalt (Romeo and Juliet), Krase (Spartacus), King of Monsters (Wonderland), Mako (Thunder Path), Prisypkin (Bedbug), choreographic miniatures Troika and Stronger than Death ”, “Spanish miniatures” (see picture).
Gridin's images of Severyan for The Stone Flower and the Vizier in The Legend of Love are among the most interesting roles of the Soviet ballet theater.

The plastic images created by Anatoly SAPOGOV, Honored Artist of the RSFSR, have a special power of expressiveness. The classical perfection of the form, the virtuoso, clear pattern of the dance are combined in them with great temperament and acting originality.
Sapogov made his debut on the theater stage in 1949. Here he created a number of diverse, memorable images. Shurale, Fairy Carabosse, Nurali, Mako, King of Monsters, Ali in Goryanka, Agamemnon in Oresteia, Claudius in Hamlet, characteristic dances in the ballets Swan Lake, Don Quixote, Raymonda, La Bayadère ”,“ Laurencia ”- this is an incomplete list of the artist’s works. The roles of the Young Gypsy in The Stone Flower and the Stranger in The Legend of Love (see picture) created by Sapogov are of the greatest interest in the artist’s work in terms of depth and expressiveness and occupy a special place in the Soviet ballet theater.

Grace, elegance, liveliness and grace of characteristic dance, combined with a strict classical form and a subtle sense of style - these are the features of the performing style of the Honored Artist of the RSFSR Olga ZABOTKINOI.
On the stage of the theater, where the dancer has been performing since 1953, she is one of the leading character dancers in the ballets Swan Lake (see photo), Raymonda, The Nutcracker, Laurencia, Cinderella, The Bronze Horseman ”,“ Goryanka ”,“ The Fountain of Bakhchisarai ”and many others, the roles of Mercedes and the Street Dancer in Don Quixote, the Colored Girl in The Path of Thunder, the Young Gypsy in The Stone Flower, Aisha in Gayane and others. Zabotkina starred in the films Two Captains (Katya), Don Cesar de Bazan (Maritana), Sleeping Beauty (The Queen Mother) and Cheryomushki (Lida). She is a laureate of the World Festival of Youth and Students in Bucharest (1953).

Honored Artist of the RSFSR Konstantin RASSADIN, a bright, characteristic dancer of a wide range, began his creative activity on the stage of the theater in 1956. With his characteristic temperament and expressiveness, the artist performs many characteristic parts in classical and Soviet performances: Espada, Nurali, Mengo, Shurale, Severyan in The Stone Flower, The Stranger in The Legend of Love, Mako in The Path of Thunder, character dances in ballets "Swan Lake" (see picture), "Raymonda", "Cinderella" and others. A peculiar acting gift of Rassadin found a particularly vivid expression in the creation of satirical, grotesque parts - Polichinel and Toady in Choreographic Miniatures, Prisypkin in the ballet The Bedbug.
At the All-Union Competition in Moscow (1969), Rassadin was awarded the first prize for his performance of the Russian folk humorous “The Man and the Devil”, staged by him.