Find about famous ballet soloists. Ballet dancers from Russia, known throughout the world. Vasiliev Vladimir Viktorovich

April 18 famous dancer, choreographer, choreographer, theater director and actor, teacher and People's Artist USSR Vladimir Vasiliev will celebrate his 75th anniversary. The role of Spartacus, created by Yuri Grigorovich specifically for Vasiliev, became a symbol of the national ballet of the Bolshoi Theater in the second half of the 20th century. “At the age of 28, he made a role that immediately stood in that select series of general cultural and timeless significance, where Anna Pavlova’s Swan, Galina Ulanova’s Juliet, Maya Plisetskaya’s Carmen,” wrote Asaf Messerer, ballet dancer, choreographer and uncle of the unsurpassed Maya Plisetskaya .

Even at the chreographic school, a unique duet of Vladimir Vasiliev and Ekaterina Maksimova formed -

his wife and constant partner, a ballerina, for whom he created ballets, concert performances and films. This duet has been repeatedly recognized as “golden”, “the best in the world”, and called “a legend of the 20th century”. But does everyone remember that, in addition to television recordings of ballet performances in which Vasiliev participated, such as “Spartacus”, “Romeo and Juliet”, “The Nutcracker”, “The Stone Flower”, “Cinderella”, there were also art paintings, films-ballets? These are “The Tale of the Little Humpbacked Horse”, “Spartacus”, “Gigolo and Gigoletta”. Since 1971, Vasiliev acted as a choreographer, staged a number of ballets on the Soviet and foreign stage, as well as the television ballets “Anyuta” and “House by the Road” to the music of V. A. Gavrilin. In the film “Fouette,” Vladimir Vasiliev acted both as a choreographer and as a co-director. Well, the great Franco Zeffirelli himself invited Vasiliev and Maksimova to the film version of La Traviata!

Mikhail Baryshnikov

But to another famous dancer, one of the most famous representatives of male dance in the 20th century, born in the USSR - Mikhail Baryshnikov - Joseph Brodsky himself dedicated several poems: “Classical ballet is a castle of beauty...” and “We used to water the lawn with a watering can...”. Baryshnikov’s name is even mentioned in the book “Needful Things” by Stephen King.

In cinema, Mikhail Nikolaevich had the opportunity to play several roles. But in his biography there is interesting story, associated with the teleplay “Fiesta”, staged by Sergei Yuryevich Yursky, based on the novel “The Sun Also Rises” by Ernest Hemingway. When Baryshnikov made his debut on the stage of the Kirov Theater,

It turned out that the stage had not seen such a dancer for a long time. There was talk in the city that this young student was perhaps equal in talent to Vaslav Nijinsky and Rudolf Nureyev. And Sergei Yursky took an unexpected step - he invited ballet dancer for the dramatic role of Matador in his play “Fiesta”. How can a dramatic artist prove that he is a bullfighter? Of course, the issue here is primarily about plastic. A ballet actor was what was needed. It was Baryshnikov who could best play real Spain. But in 1974, Mikhail Baryshnikov did not return from a tour in Canada and became a defector. As was then expected, everything connected with his name had to be destroyed. In particular, there was a film recording of the play “Fiesta”, but on Leningrad television, editor Elena Nisimova hid the film, thanks to which the recording was preserved in the archive.

And abroad, Mikhail Baryshnikov played in several films, such as “White Nights”, “Jack Ryan: Chaos Theory”. He was nominated for an Oscar for his supporting role in The Turning Point. The film was submitted to eleven award nominations, but received none. In one of the scenes of this film, Mikhail Baryshnikov performs Vladimir Vysotsky’s song “The Crystal House.” The dancer also starred in the latest episodes last season series "Sex in big city"in the role of Carrie Bradshaw's next lover - Russian artist Alexander Petrovsky. Immediately after their meeting in the story, Petrovsky invites the journalist to the Russian Samovar restaurant in New York, which, by the way, is owned by Baryshnikov.

Maya Plisetskaya

A whole era in our art, outstanding personality, brilliant ballerina, talented actress And interesting woman- it's all about Maya Plisetskaya. She is always modern. And during its active creative life ballerinas, and now they are the standard in everything. It is Maya Mikhailovna who personifies the Russian Ballet for many. And it is difficult to find a person in the world who does not know this name. Otherwise, the asteroid would not have been named after Plisetskaya, but the Moscow musical rock band“Klyuchevaya” would not have composed a song called “Maya Plisetskaya”, which became a hit and business card groups for many years. And there is no more symbolic name, inextricably linked with ballet and choreography. And even with cinema.

For the first time on the silver screen famous ballerina appeared in 1951 in Vera Stroeva’s film “The Big Concert”. And then, of course, there were filming of ballet films “ Swan Lake" and "The Tale of the Little Humpbacked Horse." Prima of the Bolshoi Theater was invited to the film-opera “Khovanshchina”. She took an active part in the television adaptation of the ballets Bolero and Isadora, The Seagull and The Lady with the Dog. In 1974, Maya Plisetskaya and Bolshoi Theater soloist Alexander Bogatyrev starred for television in the number “Nocturne” to the music of F. Chopin, from the ballet “In the Night” by the outstanding American choreographer Jerome Robbins.

In the very famous film adaptation of Leo Tolstoy's novel Anna Karenina directed by Alexander Zarkhi in 1967, Maya Plisetskaya played the role of Betsy. Then Maya Plisetskaya starred as singer Desiree in the film “Tchaikovsky” directed by Igor Talankin. In 1976, director Anatoly Efros invited the ballet star to the television film “Fantasy” based on Ivan Turgenev’s story “Spring Waters”. The ballerina brilliantly played the role of Polozova. The action of the film was “commented” by choreographic duets staged by choreographer Valentin Elizariev. And director Jonas Vaitkus in 1985 invited her to his film “Zodiac”, where Maya Mikhailovna played the muse of Mikalojus-Konstantinas Čiurlionis. In addition, the Bolshoi Theater prima starred in many documentaries.

Galina Ulanova

And, of course, one cannot even remember the “goddess of dance” Galina Ulanova. Until now, the phenomenon of the ballerina's talent remains a mystery. She received almost all the awards that existed in the USSR, as well as awards from other countries. Among the unofficial awards are various titles that critics and viewers awarded her:

“the soul of Russian ballet”, “an ordinary goddess”. And composer Sergei Sergeevich Prokofiev called Galina Sergeevna “the genius of Russian ballet, his elusive soul and his inspired poetry.” In her dance there was always reticence, understatement, detachment and self-absorption. Ulanova was the same in life - she rarely appeared in public and kept to herself.

After finishing her ballet career, she began working as a teacher. Over the years, she studied with such famous dancers as Ekaterina Maksimova and Vladimir Vasiliev, Lyudmila Semenyaka, Nikolai Tsiskaridze and many others. During her career, she starred in six films, most of which were documentary in nature: “Ballet Soloist”, “Masters of the Russian Ballet”, “Romeo and Juliet”, “Giselle” and documentaries.

Laying the foundation for her worldwide fame. Job Poster V. Serova with the silhouette of A. Pavlova forever became the emblem of the “Russian Seasons”. With 1910 Pavlova toured many countries around the world with her own troupe. Choreographer Mikhail Fokin staged several ballets especially for A. Pavlova’s troupe, one of which was “Seven Daughters of the Mountain King.” The ballerina’s last performance in Mariinsky Theater took place in 1913, and in Russia- V 1914, after which she settled in England and never returned to Russia. 1921 -1925 Anna Pavlova toured USA, the organizer of her tour was the American impresario Russian origin Solomon Yurok. IN 1921 Anna Pavlova also performed in India and won the attention of the Indian public in Delhi , Bombay And Kolkata .Pavlova’s name became legendary during the ballerina’s lifetime.

Karsavina Tamara Platonovna

The ballerina was born on February 25 ( March 9) 1885 V St. Petersburg in the family of the imperial troupe dancer Platon Karsavin and his wife Anna Iosifovna, nee Khomyakova, the daughter of the cousin (that is, grandniece) of the famous Slavophile A.S. Khomyakov. Brother - Lev Karsavin, Russian philosopher. IN 1902 Graduated from the Imperial Theater School, where she learned the basics of ballet skills from teacher Alexander Gorsky, then joined the troupe Mariinsky Theater . Karsavina quickly achieved the status of a prima ballerina and performed leading roles in ballets of the classical repertoire - “Giselle”, “Sleeping Beauty”, “The Nutcracker”, “Swan Lake”, “Carnival”, etc. Since 1909, at the invitation of Sergei Diaghilev, Karsavina began performing in tours of Russian ballet dancers in Europe organized by him, and then in Diaghilev’s Russian Ballet. The ballerina’s most notable works during the period of collaboration with Diaghilev were leading roles in the ballets “The Firebird”, “The Phantom of the Opera”, “Petrushka” (staged by Mikhail Fokin), “Women’s Follies”, etc. In exile, she continued to perform on stage and toured with the Diaghilev Russian Ballet, and was engaged in teaching activities. In addition, in the early 1920s, the ballerina appeared in episodic roles in several silent films produced in Germany and Great Britain, including in the film “The Path to Strength and Beauty” in 1925. In 1930-1955. served as vice-president of the Royal Academy of Dance. Tamara Karsavina died on May 26, 1978 in London at the age of 93.

Ulanova Galina Sergeevna

Born on January 8, 1910 (new style) in St. Petersburg into an artistic family. In 1928 she graduated from the Leningrad Choreographic School, where she studied for the first six years with her mother M. F. Romanova, then with A. Ya. Vaganova, a famous teacher. After graduating from college she entered the Theater Opera and Ballet named after S. M. Kirov (since 1992 Mariinsky Theatre). She made her debut in the complex role of Odette-Odile in P. I. Tchaikovsky’s ballet “Swan Lake”. In 1941, Ulanova became a laureate of the Stalin Prize (this title was also awarded to her in 1946, 1947 and 1950). In 1944, the ballerina was invited to Moscow, and she became a soloist of the Bolshoi Theater. Ulanova danced on its stage until 1960, creating unforgettable images in both the classical Russian and foreign ballet repertoire. The ballerina also turned to the work of contemporary composers. Thus, Ulanova stunningly embodied the image of Juliet on stage in S. S. Prokofiev’s ballet “Romeo and Juliet.” In 1951, Galina Sergeevna was awarded the title of People’s Artist of the USSR. Her talent was recognized throughout the world. When in 1956 Bolshoi Theater went on tour to London for the first time, Ulanova won a triumphant success in the roles of Giselle (in the ballet of the same name by A. Adam) and Juliet. Juliet was her favorite heroine.

She is the only ballerina to whom monuments were erected during her lifetime (in Leningrad and Stockholm). The last ballet in which Ulanova danced was “Chopiniana” to the music of F. Chopin. After leaving the stage, she continued to work at the Bolshoi Theater as a teacher-tutor. Among her students are E. Maksimova, V. Vasiliev, L. Semenyaka and many others. A. N. Tolstoy called Ulanova “an ordinary goddess.” She died on September 22, 1998 in Moscow.

Yuri Timofeevich Zhdanov

Yuri Timofeevich Zhdanov (November 29 [according to other data September 29] 1925, Moscow - 1986, Moscow) - People's Artist of the RSFSR, choreographer, teacher, artist. He graduated from the Moscow Choreographic School in the class of N.I. Tarasov in 1944, the choreographer’s department of GITIS. A.V. Lunacharsky (Prof. L.M. Lavrovsky and R.V. Zakharov) in 1968. In the period 1944-1967, he was the leading soloist of the Bolshoi Theater ballet. He performed the main roles in the ballets “Romeo and Juliet”, “Giselle”, “The Fountain of Bakhchisarai”, “ Bronze Horseman", "Red Poppy", "Chopiniana", "Swan Lake", "Sleeping Beauty", "Raymonda", "Don Quixote", "Flames of Paris", "Gayane", "Firebird", "Walpurgis Night" and etc., led a large concert activity. In 1951-1960 was a constant partner of Galina Ulanova, performed with her in the first six of the listed ballets and in concert program. Together they toured the cities of the USSR (1952), and in subsequent years participated in the first tours of the Soviet ballet in Paris (1954, 1958), London (1956), Berlin (1954), Hamburg, Munich, Brussels (1958), New York, Washington, Los Angeles, San Francisco, Toronto, Ottawa, Montreal (1959), acted in films (“Romeo and Juliet”). In 1953, the film “Masters of Russian Ballet” was shot at the Lenfilm film studio. The film includes fragments of Boris Asafiev’s ballets “The Fountain of Bakhchisarai” and “The Flame of Paris”, as well as the ballet “Swan Lake” by P. I. Tchaikovsky. Yuri Zhdanov performed one of the main roles in this film. Yu. Zhdanov also performed with Svetlana Adyrkhaeva, Sofia Golovkina, Olga Lepeshinskaya, Ekaterina Maximova, Maya Plisetskaya, Raisa Struchkova, Nina Timofeeva, Alla Shelest and other Russian and foreign ballerinas. Spectators from more than thirty countries are familiar with the choreographic art of Yuri Zhdanov. At the end of his stage career, Yu. Zhdanov was artistic director State Concert Ensemble "Classical Ballet" (1971-1976), for which he staged the ballets "Francesca da Rimini" by P. Tchaikovsky, "Spring Fantasy" by R. Drigo, "Choreographic Suite" by K. Akimov, concert miniatures "Young Voices" by I . Bendy, “Study-Painting” by S. Rachmaninov and a number of others. For his productions, Yu. Zhdanov created the scenery and costumes himself. In 1981-1986. Zhdanov taught at GITIS, where he taught courses “The Art of the Choreographer” and “ Ballet theater and an artist." Yu. Zhdanov received his artistic education in the studio famous artist corresponding member Academy of Arts of the USSR G. M. Shegal. Since the early 1950s. he systematically participated in all-Union and international exhibitions Soviet artists, had more than fifteen personal exhibitions in our country and abroad. Since 1967 - member of the Union of Artists of the USSR. More than 150 works by Yu. Zhdanov - paintings and graphics - are in museums in our country, about 600 works have been purchased into private collections. Yuri Timofeevich Zhdanov died on April 9, 1986 in Moscow from a heart attack. After Zhdanov's death, his fame as an artist increasingly increased. The television film “Yuri Zhdanov. Pages of the life of an artist and an artist" (1988). In recent years, the master’s personal exhibitions have been successfully held in Moscow and other cities; many works have been sold to private collections in Russia, England, the USA, Germany, Italy, Japan, Finland, and Greece.

Plisetskaya Maya Mikhailovna

Maya Mikhailovna was born on November 20, 1925. She is truly the greatest ballerina. She is beautiful, elegant, smart.
She danced in many performances:

In the plastic arts of Maya Plisetskaya dance art achieves high harmony .

The most famous roles: Odette-Odile in Swan Lake, Aurora in Sleeping Beauty » ( 1961 ), Raymonda ballet of the same name Glazunov, Mistress of the Copper Mountain in " Stone flower » Prokofiev, Mehmene-Banu " Legend of love » Melikova, Carmen ( Carmen Suite Rodion Shchedrin).

Plisetskaya acted as a choreographer and staged the following ballets: "Anna Karenina" R.K. Shchedrin (1972, together with N. I. Ryzhenko and V.V. Smirnov-Golovanov, Bolshoi Theater; Plisetskaya - the first performer main party), "Gull" R. K. Shchedrin (1980, Bolshoi Theater; Plisetskaya - the first performer of the main role), “Raymonda” by A. K. Glazunov (1984, Opera House at the Baths of Caracalla, Rome), "Lady with a Dog" R.K. Shchedrin (1985, Bolshoi Theater; Plisetskaya - the first performer of the main role).

In the 1980s, Plisetskaya and Shchedrin spent a lot of time abroad, where she worked as artistic director Rome Opera and Ballet Theater (1983-1984), as well as the Spanish National Ballet in Madrid (1988-1990). She left the stage at the age of 65; Afterwards, she took part in concerts for a long time and conducts master classes. On her 70th birthday she made her debut in a number specially written for her. Bejara"Ave Maya" WITH 1994 Plisetskaya is the chairman of the annual international ballet competition named "Maya" ( Saint Petersburg).

Maksimova Ekaterina

In the seventh grade, she danced her first role - Masha in The Nutcracker. After college, she joined the Bolshoi Theater and immediately, practically bypassing the corps de ballet, began dancing solo parts.
From 1958 to 1988, she was a leading ballet dancer at the Bolshoi Theater. Excellent command of classical dance, excellent appearance, artistry and personal charm allowed Maximova to master the traditional repertoire of the theater. It was followed by the ballets Giselle (traditional version, music by A. Adam), Don Quixote by A.A. Gorsky (music by L. Minkus), The Sleeping Beauty (traditional edition, then edition by Yu.N. Grigorovich, music by Tchaikovsky) and others. Maksimova also performed in most of the new ballets staged in the 1960–1970s, in particular in Grigorovich’s performances , where she was often the first performer (The Nutcracker, 1966; Spartacus, music by A.I. Khachaturian, 1968, the role of Phrygia, etc.). Maksimova was the constant partner of her husband, V.V. Vasilyeva, and danced in performances staged by him at the Bolshoi Theater and beyond: Icarus (music by S.M. Slonimsky, 1976; Anyuta, music by V.A. Gavrilin, 1986; Cinderella, music by S.S. Prokofiev, 1991) . Abroad she performed leading roles in ballets by Maurice Bejart (Romeo and Julia to music by G. Berlioz), Roland Petit (The Blue Angel, to music by M. Constant), John Cranko (Onegin, to music by Tchaikovsky). K.Ya worked with Maximova. Goleizovsky, who staged one of his best numbers for her in 1960 - Mazurka to the music of A.N. Scriabin. Her career was almost put to an end by a spinal injury she received during a rehearsal for the ballet “Ivan the Terrible.” There was a difficult upper support, from which the ballerina came out unsuccessfully. As a result, her vertebra “popped out”. Her normal movement was in question. But she, with the help of her husband and her willpower, managed to cope with the disease. For a whole year she wore a special corset and did exercises developed for her by Vasiliev. On March 10, 1976, Ekaterina Maksimova again appeared on the Bolshoi stage. In “Giselle.” Of particular importance in Maximova’s work was her participation in television ballets, which revealed a new quality of her talent - comedic talent (Galatea after Pygmalion by B. Shaw, music by F. Lowe, arranged by T.I. Kogan, choreographer D.A. Bryantsev; Old tango, music by Kogan, same choreographer). Maksimova’s art and especially her participation in the famous duet Maksimova - Vasiliev, captured in the television film “Duet” (1973) and the French video film “Katya and Volodya” (1989), enjoys worldwide recognition. In 1980, Maksimova graduated State Institute theatrical art named after A.V. Lunacharsky (now Russian Academy theatrical art). Since 1982, she began teaching at the choreography department of this institute. classical heritage and dance composition (in 1996 she was awarded the academic title of professor). Since 1990, Maksimova has been a teacher and tutor at the Kremlin Ballet Theater. Since 1998 - choreographer-repetiteur of the Bolshoi Theater (she ceased to be a soloist of the troupe in 1988).

Lopatkina Ulyana Vyacheslavovna
People's Artist Russia (2005).
Laureate of the State Prize of Russia (1999).
Laureate International competition Vaganova-Prix (1991).
Prize winner: “Golden Spotlight” (1995), “Divine” with the title “Best Ballerina” (1996), “ Golden mask"(1997), Benois de la danse(1997), “Baltika” (1997, 2001: Grand Prix for promoting world fame Mariinsky Theater), Evening Standard (1998), Monaco world dance awards(2001), "Triumph" (2004).
In 1998, he was awarded the honorary title “Artist of Her Majesty’s Imperial Stage of Sovereign Russia” and was awarded the “Man-Creator” medal.

Born in Kerch (Ukraine).
Graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Professor Natalia Dudinskaya).
Since 1991 with the Mariinsky Theater troupe.
Since 1995 - soloist.

"Giselle" (Myrtha, Giselle);
"Corsair" (Medora);
“La Bayadère” (Nikia) – edited by Vakhtang Chabukiani;
Grand pas from the ballet “Paquita” (soloist);
“Sleeping Beauty” (Lilac Fairy) – edited by Konstantin Sergeev;
“Swan Lake” (Odette-Odile);
"Raymonda" (Raymonda, Clémence);
“Swan”, “Scheherazade” (Zobeide) – choreography by Mikhail Fokin;
“Bakhchisarai Fountain” (Zarema);
“The Legend of Love” (Mekhmene Banu);
“Leningrad Symphony” (Girl);
Pas de quatre (Maria Taglioni) – choreography by Anton Dolin;

“Serenade”, “Symphony in C Major” (II part Adagio), “Jewels” (“Diamonds”), “Piano Concerto No. 2” ( Ballet Imperial), “Theme and Variations”, “Waltz”, “Scottish Symphony” – choreography by George Balanchine;
“In the Night” (Part III) – choreography by Jerome Robbins;
“Young Man and Death” – choreography by Roland Petit;
“Goya Divertimento” (Death); choreography by Jose Antonio;
“The Nutcracker” (fragment “Teacher and Student”) – choreography by John Neumeier;
“The Fairy’s Kiss” (Fairy), “Poem of Ecstasy”, “Anna Karenina” (Anna Karenina) – choreography by Alexei Ratmansky;
– choreography by William Forsyth;
Trois Gnossienes– choreography by Hans van Manen;
“Tango” – choreography by Nikolai Androsov;
Grand pas de deux– choreography by Christian Spuck

The first performer of one of two solo parts in John Neumeier's ballet The Sound of Blank Pages (2001).

Zakharova Svetlana Yurievna

At the Mariinsky Theater
1996
Princess Florina(“Sleeping Beauty” by P. Tchaikovsky, choreography by M. Petipa, revised by K. Sergeev)
Queen of the Dryads(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky)
Pas de deux by Tchaikovsky(choreography by J. Balanchine)
"The Dying Swan"(to music by C. Saint-Saëns, choreography by M. Fokine)
Maria(“Bakhchisarai Fountain” by B. Asafiev, choreography by R. Zakharov)
Masha(“The Nutcracker” by P. Tchaikovsky, choreography by V. Vainonen)
1997
Gulnara(“Corsair” by A. Adam, choreography by M. Petipa, revised by P. Gusev)
Giselle(“Giselle” by A. Adam, choreography by J. Coralli, J. Perrot, M. Petipa)
Mazurka and seventh waltz(“Chopiniana”, choreography by M. Fokine)
1998
Princess Aurora("Sleeping Beauty")
Terpsichore(“Apollo” by I. Stravinsky, choreography by J. Balanchine)
Soloist(“Serenade” to music by P. Tchaikovsky, choreography by J. Balanchine)
Odette-Odile(“Swan Lake” by P. Tchaikovsky, choreography by M. Petipa, L. Ivanov, revised by K. Sergeev)
Soloist(“Poem of Ecstasy” to music by A. Scriabin, staged by A. Ratmansky)
1999
Soloist of the first part(“Symphony in C major” to music by J. Bizet, choreography by J. Balanchine)
Princess Aurora(“The Sleeping Beauty”, reconstruction of M. Petipa’s production by S. Vikharev)
Medora("Corsair")
Nikia(“La Bayadère” by L. Minkus, choreography by M. Petipa, revised by V. Ponomarev and V. Chabukiani)
2000
Soloist in “Diamonds” to the music of P. Tchaikovsky(“Jewels”, choreography by J. Balanchine)
Manon(“Manon” to music by J. Massenet, choreography by K. McMillan)
Kitri("Don Quixote")
2001
Soloist(“Now and Then” to music by M. Ravel, staged by J. Neumeier)
Young lady(“The Young Lady and the Hooligan” to music by D. Shostakovich, choreography by K. Boyarsky)
Zobeida(“Scheherazade” to music by N. Rimsky-Korsakov, choreography by M. Fokin)
2002
Juliet(“Romeo and Juliet” by S. Prokofiev, choreography by L. Lavrovsky)
Soloist(grand pas from the ballet “Paquita” by L. Minkus, choreography by M. Petipa)
Soloist(“Middle Duet” to music by Y. Khanon, staged by A. Ratmansky)
2003
Soloist(Etudes" to music by K. Czerny, choreography by H. Lander)
One of the ballerina’s regular partners was Igor Zelensky.
At the Bolshoi Theater
In season 2003/2004 Svetlana Zakharova moved to the Bolshoi Theater troupe, where she became her teacher-tutor Lyudmila Semenyaka , also a representative of the St. Petersburg ballet school.
The ballerina was introduced to the theater staff at the traditional troupe meeting, held on August 26, 2003. Her debut as a soloist of the Bolshoi Theater took place on October 5 in the ballet “Giselle” (edited by V. Vasiliev). Before moving to Moscow, she danced this performance three times at the Bolshoi Theater.
2003
Giselle("Giselle")
Aspiccia(“The Pharaoh’s Daughter” by C. Pugni, staged by P. Lacotte after M. Petipa)
Odette-Odile(“Swan Lake” by P. Tchaikovsky in the second edition by Yu. Grigorovich, fragments of choreography by M. Petipa, L. Ivanov, A. Gorsky were used)
2004
Princess Aurora(“Sleeping Beauty” by P. Tchaikovsky, choreography by M. Petipa, revised by Yu. Grigorovich)
Soloist of Part II("Symphony in C major")
Nikia(“La Bayadère”, revised by Yu. Grigorovich)
Kitri(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky, revised by A. Fadeechev)
Hippolyta(Titania) (“A Midsummer Night’s Dream” to the music of F. Mendelssohn-Bartholdy and D. Ligeti, staged by J. Neumeier) -
2005
Raymonda(“Raymonda” by A. Glazunov, choreography by M. Petipa, revised by Yu. Grigorovich)
Carmen(“Carmen Suite” by J. Bizet - R. Shchedrin, staged by A. Alonso)
2006
Cinderella(“Cinderella” by S. Prokofiev, choreography by Y. Posokhov, director Y. Borisov) - first performer
2007
Soloist(“Serenade” to music by P. Tchaikovsky, choreography by J. Balanchine) - first performer at the Bolshoi Theater
Medora(“Corsair” by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaka) - first performer
Soloist(“Class-concert” to music by A. Glazunov, A. Lyadov, A. Rubinstein, D. Shostakovich, choreography by A. Messerer)
2008
Aegina(“Spartacus” by A. Khachaturian, choreography by Y. Grigorovich)
Couple in yellow(“Russian Seasons” to music by L. Desyatnikov, staged by A. Ratmansky) - was among the first ballet performers at the Bolshoi Theater
Paquita(Great classical pas from the ballet “Paquita” by L. Minkus, choreography by M. Petipa, production and new choreographic version by Y. Burlaka)
2009
Svetlana(“Zakhar’s Super Game” by E. Palmieri, staged by F. Ventriglia) - world premiere
2010
Death(“Youth and Death” to the music of J. S. Bach, staged by R. Petit) - first performer at the Bolshoi Theater
The first and two subsequent performances of “The Pharaoh’s Daughter” with the participation of Zakharova were filmed for the release of the ballet on DVD by the French company Bel Air Media.
On June 15, 2005, the first creative evening of Svetlana Zakharova took place on the Main Stage of the Bolshoi Theater, the program of which included the painting “Shadows” from the ballet “La Bayadere” (Solor - soloist of the Mariinsky Theater Igor Zelensky)
“Middle Duet” staged by A. Ratmansky(partner - soloist of the Mariinsky Theater Andrey Merkuryev)
duet from the ballet “A Little Elevated in the Middle” to music by T. Wilems, staged by W. Forsyth (partner - Andrey Merkuryev)
the third act from the ballet “Don Quixote” (Bazil - Andrei Uvarov) and a number of numbers performed by soloists of the Bolshoi Theater ballet

Vishnva Diana Viktorovna

People's Artist of Russia
Laureate of the State Prize of Russia
Laureate of the International Ballet Competition (Lausanne, 1994)
Award winner Benois de la Danse(1996), “Golden Spotlight” (1996, 2011), “Baltika” (1998), “Golden Mask” (2001), “Dancer of the Year - 2002” ( Dancer of Europe), prize from the magazine "Ballet" (2003)
Winner of the national theater award “Golden Mask” (2009) in three categories: “Best Actress”, “Contemporary Dance/Female Role” and “Critics Prize” (“Diana Vishneva: Beauty in Motion”, project by Sergei Danilyan, USA-Russia )

Diana Vishneva was born in Leningrad. Graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Professor Lyudmila Kovaleva). Last year I combined my studies with an internship at the Mariinsky Theater. In 1995, Diana Vishneva was accepted into the troupe of the Mariinsky Theater, and since 1996 she has been a soloist of the Mariinsky Theater.

Diana Vishneva actively speaks at presenters theater venues Europe. In 2001 she made her debut at the Munich Staatsballett (Manon by Kenneth MacMillan) and La Scala (Aurora - The Sleeping Beauty in Rudolf Nureyev's version), and in 2002 she performed on the stage of the Opera de Paris (Kitri - Don Quixote in version by Rudolf Nureyev). In 2003, she made her debut on the stage of the Metropolitan Opera in New York (Juliet - Romeo and Juliet, choreography by Kenneth MacMillan).

Since 2002, Diana Vishneva has been a guest soloist at the Staatsoper (Berlin), performing the main roles in the ballets “Giselle”, “La Bayadère”, “Swan Lake” (version by Patrice Barthes), “Ring Around the Ring” by Maurice Béjart, “Manon” and “ Sleeping Beauty". Since 2005, the ballerina has been performing as a guest soloist on the stage of the American Ballet Theater (she danced in the ballets Swan Lake, Giselle, Don Quixote, Manon, Romeo and Juliet, Ballet Imperial, "Sleeping Beauty", The Dream, "La Bayadère"). At the American Ballet Theater, Diana Vishneva performed the main roles in the ballets: “Sylvia” and Thaïs Pas de deux(choreography by Frederick Ashton), “On the Dnieper” (choreography by Alexei Ratmansky), “Lady with Camellias” (choreography by John Neumeier) and “Onegin” (choreography by John Cranko).

Diana Vishneva actively collaborates with famous modern choreographers and directors. In 2005, the premiere of Peter Zuska’s ballet “Hands of the Sea,” staged especially for Diana Vishneva, took place on the stage of the Mariinsky Theater. In 2007, Andrei Moguchiy and Alexey Kononov staged the play “Silenzio. Diana Vishneva." In February 2008, Diana Vishneva, in collaboration with Ardani Artists Management and the Orange County Performing Arts Center, presented the program “Beauty in Motion” (“Pierrot Lunaire” by Alexei Ratmansky, “Turns of Love” by Dwight Rodin, F.L.O.W. Moses Pendleton).

In March 2011, the ballet “Park” premiered on the stage of the Mariinsky Theater (choreography by Angelin Preljocaj) with the participation of Diana Vishneva. In October of the same year, the ballerina presented the project “Diana Vishneva: Dialogues”, carried out with the support of the Mariinsky Theater, the Diana Vishneva Foundation and the Ardani Artists company.

Repertoire on the stage of the Mariinsky Theater:
“Giselle” (Myrtha, Zulma) – choreography by Jean Coralli, Jules Perrot, Marius Petipa;
“Corsair” (Gulnara, Medora) – production by Pyotr Gusev based on the composition and choreography of Marius Petipa;
Grand pas from the ballet Paquita (variation) – choreography by Marius Petipa;
“La Bayadère” (Nikia); choreography by Marius Petipa, revised by Vladimir Ponomarev and Vakhtang Chabukiani;
“The Sleeping Beauty” (Aurora); choreography by Marius Petipa, revised by Konstantin Sergeev;
“The Nutcracker” (Masha) – choreography by Vasily Vainonen, as well as production by Mikhail Shemyakin with choreography by Kirill Simonov;
“Swan Lake” (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised by Konstantin Sergeev;
“Raymonda” (Raymonda); choreography by Marius Petipa, revised by Konstantin Sergeev;
ballets by Mikhail Fokine: Scheherazade (Zobeide), The Firebird (Firebird), The Vision of a Rose, The Swan;
Pas de quatre(Fanny Cerrito) – choreography by Anton Dolin;
Grand pas classique – choreography by Viktor Gzovsky;
“The Legend of Love” (Mekhmene-Banu) – choreography by Yuri Grigorovich;
“Carmen Suite” (Carmen); choreography by Alberto Alonso;
ballets by George Balanchine: “Apollo” (Terpsichore), “Symphony in C major” (III movement), Tchaikovsky Pas de deux, “Jewels” (“Rubies”), Piano Concerto No. 2 ( Ballet Imperial);
“In the Night” (I duet) – choreography by Jerome Robbins;
“Young Man and Death”, “Carmen” (Carmen) – choreography by Roland Petit;
“Manon” (Manon); choreography by Kenneth MacMillan;
Spring and Fall, Now and Then,“The Sound of Blank Pages” – choreography by John Neumeier;
ballets by Alexei Ratmansky: “Poem of Ecstasy”, “Cinderella” (Cinderella), “Anna Karenina” (Anna Karenina);
ballets by William Forsythe: In the Middle, Somewhat Elevated And Steptext;
“Park” – choreography by Angelin Preljocaj;
“Diana Vishneva: Beauty in Motion” (“Pierrot Lunaire” by Alexei Ratmansky, “For the Love of a Woman” by Dwight Rhoden, “Turns of Love” by Moses Pendleton);
“Diana Vishneva: Dialogues” (“Labyrinth” by Martha Graham, “Dialogue” by John Neumeier, “Object of Change” by Paul Lightfoot and Sol Leon).

Tereshkina Victoria Valerievna

Honored Artist of Russia (2008)
Laureate of the IX International Ballet Competition “Arabesque-2006” (Perm, 2006). Winner of the Ballet magazine prize - “Soul of Dance” in the “Rising Star” category (2006)
Winner of the highest theater award of St. Petersburg “Golden Sofit” in the nomination “Best Actress in ballet performance"for the role of the Queen of the Sea in the ballet Ondine (2006)
Winner of the highest theater award of St. Petersburg “Golden Sofit” in the nomination “Best female role in a ballet performance” in a ballet performance Approximate Sonata– choreography by William Forsyth. (2005)
Winner of the International Ballet Award “DANCE OPEN” in the “Miss Virtuosity” category (2010 and 2011)

Born in Krasnoyarsk.
In 2001 she graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of Marina Vasilyeva).
Since 2001 with the Mariinsky Theater troupe.

In the repertoire:
“Giselle” (Giselle, Myrta, Zulma);
"Corsair" (Medora);
“La Bayadère” (Nikia, Gamzatti);
“Sleeping Beauty” (Aurora, Fairy of Gold, Fairy of Diamonds);
“Swan Lake” (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised by Konstantin Sergeev;
“Raymonda” (Raymonda); choreography by Marius Petipa, revised by Konstantin Sergeev;
“Don Quixote” (Kitri) – choreography by Alexander Gorsky;
“Scheherazade” (Zobeide) – choreography by Mikhail Fokin;
“Spartacus” (Phrygia) – choreography by Leonid Yakobson;
“Romeo and Juliet” (Juliet) – choreography by Leonid Lavrovsky;
“The Legend of Love” (Mekhmene Banu) – choreography by Yuri Grigorovich;
Grand pas classique– choreography by Viktor Gzovsky;
ballets by George Balanchine: “Apollo” (Polyhymnia, Terpsichore, Calliope), “Serenade”, “Symphony in C Major” (I movement), “A Midsummer Night’s Dream” (Titania), “Theme and Variations”, “The Four Temperaments”, Tchaikovsky Pas de deux, “Jewels” (“Rubies”, “Diamonds”), “Piano Concerto No. 2” ( Ballet Imperial), Tarantella;
“In the Night” – choreography by Jerome Robbins;
“Young Man and Death” (Death) – choreography by Roland Petit;
“Manon” (Courtesans); choreography by Kenneth MacMillan;
“Etudes” (soloist) – choreography by Harald Lander;
“Ondine” (Queen of the Sea); choreography by Pierre Lacotte;
ballets by Alexei Ratmansky: “Anna Karenina” (Anna Karenina), “Cinderella” (Khudyshka, women’s dance), “The Little Humpbacked Horse” (The Tsar Maiden);
"Gently, with fire" ( Dolce, con fuoco) – choreography by Svetlana Anufrieva;
“The Nutcracker” (Masha, the Nutcracker’s sisters) – production by Mikhail Shemyakin, choreography by Kirill Simonov;
ballets by William Forsythe: Approximate Sonata, In the Middle, Somewhat Elevated;
“Ring” – choreography by Alexey Miroshnichenko;
“Aria Interrupted” (soloist) – choreography by Peter Quantz;
“Bolero Factory” (Soul) – choreography by Yuri Smekalov;
“Park” (soloist) – choreography by Angelin Preljocaj.

The first performer of the roles of the Queen of the Sea (Ondine, choreographed by Pierre Lacotte, 2006), the Tsar Maiden (The Little Humpbacked Horse, choreographed by Alexei Ratmansky, 2009) and Phrygia (Spartacus, choreographed by Leonid Yakobson, 2010).

A galaxy of rising stars of Russian ballet

Christina Shapran

Anna Tikhomirova

Sergei Polunin

Artem Ovcharenko

Kristina Andreeva and Oleg Ivenko

The myths about only female parts in dance have long gone into oblivion. Today men rightfully occupy the leading roles, without them we cannot imagine modern ballet.

Top 5 most famous ballet dancers

Vaslav Fomich Nijinsky

The founder of male ballet of the 20th century. Born into a family of dancers in 1890. In 1907, after graduating from college, he began performing with the Mariinsky Theater, almost immediately playing leading roles. Nijinsky had a technique that was unique at that time, especially inconspicuous in life, he completely transformed into his hero. His bird-like jumps and flights were inimitable. Nijinsky's innovations and experiments were not always successful; he seemed to be ahead of his time and the public did not understand him. In 1919 it was last performance artist. Later, the ballet adopted his expressionist style and completely new plastic movements. Despite the short period of creativity (10 years), he was and remains an idol.

Vasiliev Vladimir Viktorovich

Born in 1940 into a working-class family. In 1947, for company, I went to a dance club with a friend. And 2 years later, in 1949, he was admitted to the choreographic school, where he amazed his teachers with his skill and virtuosity. After college, in 1958 he was invited to join the Bolshoi Theater ballet troupe, where he almost immediately began playing leading roles. The most enchanting part was the part of Spartak, after which Vasilyev was nicknamed “the god of dance.” With his movements he conveyed the slightest accents in the music, merging with it into a single whole. Vasiliev was awarded several awards and became a laureate of many competitions, winning first prizes and gold medals.

Gorsky Alexander Alekseevich

In 1889 he began dancing in the corps de ballet, and 11 years later he became the premier of the troupe. Author teaching aid systems dance moves Stepanova. Dance theory teacher at a ballet school. Gorsky is a ballet reformer. He introduced the laws of drama and a sense of authenticity into ballet. His production of Don Quixote is still staged in theaters, although at that time it did not cause delight among critics. As a choreographer, Gorsky made a great contribution to the development and improvement. Many famous ballets, staged by Gorsky according to his own interpretation, began to live a new life.

Ermolaev Alexey Nikolaevich

As a 16-year-old college graduate, Ermolaev plays the god of the wind - his first role in the ballet “Talisman”. The theater's choreographer immediately saw the guy's unbridled energy and strength and created images to suit his character. A fan of ballet, he rearranged all the parts to suit himself, rehearsing at night by candlelight. Ermolai changed the usual image of the male role in ballet; his virtuoso movements - triple rounds in the air, double revolts - are still not being repeated by dancers.

Fokin Mikhail Mikhailovich

Italian, born into a family of ballet dancers in 1850. Studied at the Florentine Dance Academy G. Lepri. Since 1870 he performed on the stage of La Scala Theatre. Master of facial expressions and pas de deux. Author of the methodology for developing ballet dance technique.

Correspondent at the Bolshoi Opera and Ballet Theater of Belarus Naviny . by I learned first-hand what ballet dancers wear under tights and why it is believed that many of them are gay.Read about the pregnancy of ballerinas and one day off a week in our 10 facts.

To figure out which rumors about the Belarusian ballet are true and which are pure fiction, let the correspondent Naviny. by theater artist helped Gennady Kulinkovich with ballerina assistants.

1. Are ballet dancers fragile and fluffy?

Hearing: During one performance, a ballet dancer lifts and carries about 2 tons of weight.

Is it true: The physical activity is really great. On stage - it depends on the production, of course - a ballet dancer, a man lifts the ballerina many times. In modern productions all you do is lift and set, lift and set, lift, circle, set. If you count the number of lifts, then yes, two tons is a real number.

In addition, ballet dancers rehearse and train a lot. This is also a burden. We have rehearsals every day, except for the day off, which is once a week. Plus performances.

2. Ballet dancers get sick more often

Hearing: Due to heavy workloads and constant diets, ballet dancers get sick more often than others.

Is it true: The ballet rehearsal halls of the Bolshoi Theater of Belarus are equipped with bactericidal lamps, like in a hospital. In winter, when the flu begins and other viruses appear, a separate worker turns on these lamps for half an hour to disinfect the room. This is very important so that diseases do not spread: we all work in close contact, train and rehearse for many hours. If someone brought a disease, then it is neutralized.

3. Occupational diseases in ballet

Hearing: Legs are the most sore spot on the dancer's body.

Is it true: This is partly true. Occupational diseases of dancers are diseases of the joints. Ballet dancers have protruding bones at their big toes, their joints become inflamed and naturally hurt. Women also have this disease, but it is caused by uncomfortable, tight shoes that deform the foot. For ballet masters, there is constant stress on the toes and forefoot: many movements in ballet are performed on the toes.

The second common class of health problems is prolapse of internal organs from constant jumping. Everything is individual, but often the kidneys, heart, and other internal organs drop, which subsequently put pressure on the bladder.

4. Young pensioners

Hearing: Some people think that ballerinas retire too early.

Is it true. By law, ballet dancers retire after 23 years of work experience. Maternity leave time is not counted towards length of service. As a result, ballet dancers become young pensioners. However, many of them do not actually retire: depending on their state of health, retired dancers work as tutors, teachers, stage managers, stage workers, costume designers, etc.

To the interlocutor Naviny. by Gennady Kulinkovich has two years left until retirement. In the future, the dancer also plans to engage in teaching.

5. Abnormal operation

Hearing: Ballet theater artists have two days off a week, just like ordinary citizens

Is it true. Ballet dancers work 6 days a week. There is only one day off - Monday. During the summer, due to the fact that spectators migrate to dachas and the sea, the day off at the Bolshoi Theater is moved to Saturday. The female part of the troupe is happy about this: finally there is an opportunity to spend time with their family. Men grumble: when Monday is a day off, you can at least rest and not do household chores.

The working day of ballet masters is also abnormal in understanding ordinary person: from 10:00 to 15:00, then a three-hour break, after the break work resumes at 18:00 due to evening performances. The official working day for ballet workers ends at 21:00.

A long break is necessary so that after morning training and rehearsals the body has time to rest and recover before evening work.

This is convenient for young dancers: they can study during the break. Gennady Kullinkovich, for example, received a higher choreographic education this way. But now he sees few advantages in this schedule.

“With such a schedule it is very difficult to arrange a personal life. Look at me: 38 years old, and no family, no children. My whole life is in the theatre,”- says Gennady.

6. Are ballet and children incompatible?

Hearing: Due to requirements for appearance, ballerinas have to give up motherhood.

Is it true: Having a family and children at the height of their career is really more difficult for ballet dancers than for representatives of other professions: both the work schedule and the fact that postpartum restoration of shape requires time and effort. So girls use two strategies: either start a family and children immediately after college/university, or postpone it until they retire.

Despite the unfavorable circumstances, in the Bolshoi Theater of Belarus there are ballerinas who have two, and some even have three children.

“We, just like doctors and teachers, combine work and pregnancy. We plan, we go to maternity leave, we recover and work on. This is a matter for each individual artist, but during pregnancy, the sooner you leave dancing, the better for you and your unborn child. This is associated with risks: here you need to bend, jump, you can fall and get hurt,”- told website ballerinas of the Bolshoi.

“We are the best mothers, wives, and we also know how to dance and tiptoe around the kitchen,”- ballerinas joke in response to a question about the specifics of family life.

7. If he dances in ballet, that means he’s gay.

Hearing: There are many gays among ballet dancers.

Is it true: This is a common stereotype, says ballet dancer Gennady Kullinkovich. We no longer react to it. This is what they say about all men who dance. It is born out of a misunderstanding on the part of the viewer: how can men remain indifferent and calm surrounded by so much beauty and nudity. Spectators often find themselves behind the scenes, and men are shocked: here everyone changes clothes, intimate parts of their bodies are at arm's length... But we are already accustomed to this and react as if it were something normal. So the viewer thinks that the men in the ballet are gay.

8. What does a dancer wear under his tights?

Hearing: Dancers don’t wear panties.

Photo pixabay.com

Is it true: There is more talk about the underwear of male artists than about the underwear of ballerinas: the viewer under a snow-white tights, to his surprise, does not see the expected outlines of the panties.

Gennady Kulinkovich said that dancers have their own secrets. Manufacturers of dancewear meet the expectations of artists and produce seamless models of special underwear that is invisible under the costume - bandages. A store located near the Bolshoi sells special clothes for dancers.

9. Meat in pointe shoes

Hearing: Ballerinas put meat in their pointe shoes to reduce injury to their feet.

Is it true: No meat is included. There are more modern ways to protect your feet. Ballet companies produce special half shoes that cover only the toes. They are silicone. Some people don’t add anything - it’s already convenient for them. Silicone inserts for pointe shoes are not produced in Belarus; they are made in the USA, China, and Russia.

Photo pixabay.com

Over the course of a year, a ballerina wears out 5-10 pairs of pointe shoes, depending on the load. Some artists have their own lasts - three-dimensional copies of feet made by masters, from which pointe shoes are made to order.

10. Dancing pays well.

Hearing: Artists earn a lot.

Is it true: Everything is relative. The earnings of ballet dancers depend on their position in the troupe: leading stage master, soloist or corps de ballet dancer. The number of scenes worked in productions also affects. For each performance, points are awarded, which are kept by a special theater employee. The amount of points for each dance is different, standard for all artists, it depends on the complexity and duration of the performance. The amount of points received affects the bonus. Thus, the salary of a corps de ballet dancer is around 120 rubles, and the bonus awarded for performances can exceed it several times.

Photo by Sergei Balay

They are airy, slender, light. Their dance is unique. Who are they? outstanding ballerinas of our century.

Agrippina Vaganova (1879-1951)

One of the most important years in the history of Russian ballet is 1738. Thanks to the proposal of the French dance master Jean-Baptiste Lande and the approval of Peter I, the first school of ballet dance in Russia was opened in St. Petersburg, which exists to this day and is called the Academy of Russian Ballet. A.Ya. Vaganova. It was Agrippina Vaganova in Soviet era systematized the traditions of classical imperial ballet. In 1957, her name was given to the Leningrad Choreographic School.

Maya Plisetskaya (1925)

An outstanding dancer of the second half of the 20th century, who went down in the history of ballet with her phenomenal creative longevity, Maya Mikhailovna Plisetskaya was born on November 20, 1925 in Moscow.

In June 1934, Maya entered the Moscow Choreographic School, where she consistently studied with teachers E. I. Dolinskaya, E. P. Gerdt, M. M. Leontyeva, but she considers Agrippina Yakovlevna Vaganova, whom she met already at the Bolshoi Theater, to be her best teacher , where she was accepted on April 1, 1943.

Maya Plisetskaya is a symbol of Russian ballet. She performed one of her main roles as Odette-Odile from Swan Lake on April 27, 1947. It was this Tchaikovsky ballet that became the core of her biography.

Matilda Kshesinskaya (1872-1971)

Born into the family of dancer F.I. Kshesinsky, a Pole by nationality. In 1890 she graduated from the ballet department of the St. Petersburg Theater School. In 1890-1917 she danced at the Mariinsky Theater. She became famous in the roles of Aurora (The Sleeping Beauty, 1893), Esmeralda (1899), Teresa (Rest of the Cavalry), etc. Her dance was distinguished by its bright artistry and cheerfulness. In the early 1900s she was a participant in M. M. Fokine’s ballets: “Eunika”, “Chopiniana”, “Eros”, and in 1911-1912 she performed in the Diaghilev Russian Ballet troupe.

Anna Pavlova (1881-1931)

Born in St. Petersburg. After graduating from the St. Petersburg Theater School, in 1899 she was accepted into the troupe of the Mariinsky Theater. Danced the part in classical ballets“The Nutcracker”, “The Little Humpbacked Horse”, “Raymonda”, “La Bayadère”, “Giselle”. Natural abilities and constant improvement of performing skills helped Pavlova to become the leading dancer of the troupe in 1906.
Collaboration with innovative choreographers A. Gorsky and, especially, M. Fokin had a huge impact on identifying new opportunities in Pavlova’s performing style. Pavlova performed the main roles in Fokine's ballets Chopiniana, Armida's Pavilion, Egyptian Nights, etc. In 1907, at a charity evening at the Mariinsky Theater, Pavlova first performed the choreographic miniature The Swan (later The Dying Swan) choreographed for her by Fokine "), which later became a poetic symbol of Russian ballet of the 20th century.

Svetlana Zakharova (1979)

Svetlana Zakharova was born in Lutsk, Ukraine, on June 10, 1979. At the age of six, her mother took her to a choreographic club, where Svetlana studied folk dances. At the age of ten she entered the Kiev Choreographic School.

After studying for four months, Zakharova left the school as her family moved to East Germany in accordance with the new assignment of her military father. Returning to Ukraine six months later, Zakharova again passed the exams at the Kiev Choreographic School and was immediately accepted into the second grade. At the Kiev School she studied mainly with Valeria Sulegina.

Svetlana performs in many cities around the world. In April 2008, she was recognized as the star of the famous Milan theater La Scala.

Galina Ulanova (1909-1998)

Galina Sergeevna Ulanova was born in St. Petersburg on January 8, 1910 (according to the old style, December 26, 1909), in a family of ballet masters.

In 1928, Ulanova graduated from the Leningrad Choreographic School. Pretty soon she joined the troupe of the Leningrad State academic theater opera and ballet (now Mariinsky).

Ulanova had to leave her beloved Mariinsky Theater during the siege of Leningrad. During the Great Patriotic War Ulanova danced in theaters in Perm, Almaty, Sverdlovsk, performing in hospitals in front of the wounded. In 1944 Galina Sergeevna moves to the Bolshoi Theater, where she has performed periodically since 1934.

Galina's real achievement was the image of Juliet in Prokofiev's ballet Romeo and Juliet. Her best dances are also the role of Masha from Tchaikovsky’s “The Nutcracker”, Maria from “The Fountain of Bakhchisarai” and Giselle Adana.

Tamara Karsavina (1885-1978)

Born in St. Petersburg in the family of the Mariinsky Theater dancer Platon Karsavin, the great-niece of Alexei Khomyakov, a prominent philosopher and writer of the 1st half of the 19th century century, sister of the philosopher Lev Karsavin.

She studied with A. Gorsky at the Peturburg Theater School, which she graduated in 1902. While still a student, she performed the solo part of Cupid at the premiere of the ballet Don Quixote staged by Gorsky.

She began her ballet activity during a period of crisis in academism and the search for a way out of it. Fans of academic ballet found many flaws in Karsavina’s performance. The ballerina improved her performing skills with the best Russian and Italian teachers
Karsavina’s remarkable gift was manifested in her work on M. Fokin’s productions. Karsavina was the founder of fundamentally new trends in the art of ballet at the beginning of the 20th century, later called “intellectual art.”

The talented Karsavina quickly achieved the status of a prima ballerina. She performed leading roles in the ballets Carnival, Giselle, Swan Lake, Sleeping Beauty, The Nutcracker and many others.

Ulyana Lopatkina (1973)

Ulyana Vyacheslavna Lopatkina was born in Kerch (Ukraine) on October 23, 1973. As a child, she studied in dance clubs and in the gymnastics section. On the initiative of her mother, she entered the Academy of Russian Ballet. A.Ya. Vaganova in Leningrad.

In 1990, as a student, Lopatkina participated in the Second All-Russian competition them. A.Ya. Vaganova for students of choreographic schools and received first prize..

In 1995, Ulyana became a prima ballerina. On her track record best roles in classical and modern productions.

Ekaterina Maksimova (1931-2009)

Born in Moscow on February 1, 1939. Since childhood, little Katya dreamed of dancing and at the age of ten she entered the Moscow Choreographic School. In the seventh grade, she danced her first role - Masha in The Nutcracker. After college, she joined the Bolshoi Theater and immediately, practically bypassing the corps de ballet, began dancing solo parts.

Of particular importance in Maximova’s work was her participation in television ballets, which revealed a new quality of her talent - comedic talent.

Since 1990, Maksimova has been a teacher and tutor at the Kremlin Ballet Theater. Since 1998 - choreographer-tutor of the Bolshoi Theater.

Natalya Dudinskaya (1912-2003)

Born on August 8, 1912 in Kharkov.
In 1923-1931 she studied at the Leningrad Choreographic School (student of A.Ya. Vaganova).
In 1931-1962 - leading dancer of the Leningrad Opera and Ballet Theater. CM. Kirov. She performed the main roles in the ballets “Swan Lake” and “The Sleeping Beauty” by Tchaikovsky, “Cinderella” by Prokofiev, “Raymonda” by Glazunov, “Giselle” by Adam and others.

We admire the skill of these brilliant ballerinas. They made a huge contribution to the development of Russian ballet!