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. 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 on the performing 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 the best roles, it was roles, and not parties, since Lopatkina knows how to dramatically fill plotless compositions, that became 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 avant-garde projects of the theater and as a result of cooperation with contemporary 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 she graduated from the Academy of Russian Ballet, she already danced on the stage of the Mariinsky Kitri - 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 a prima ballerina Mariinsky Theater, although many have to wait up to 30 years or more to be promoted to this status. 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 editions 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 the choreographer chose Alexandrova as Juliet 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"
elegance allure ; silk cloak Masterpeace Axenoff Jewelery Jimmy Choo
Photo: Yaroslav Kloos
Style: Arina Lomteva
make-up: Kirill Shabalin @Yves Saint Laurent
Hair: Evgeniya Lenz
Thank you Spices restaurant
for help with filming
Prima of the Bolshoi Theater Maria Alexandrova,
who became the heroine of our festive fashion shoot, told Posta-Magazine about the new performance, the value of words, "ours" and "them" and the most important thing in life.
We met with Maria Alexandrova a few days before the premiere of Caligula at the Moscow Provincial Theatre. Based on the play of the same name by Albert Camus, directed and choreographed by Sergei Zemlyansky, the prima ballerina of the Bolshoi Theater plays Caesonia, Caligula's wife, who, in her love for him, is ready to accept all the blood that he sheds for her own pleasure. She indifferently watches the murders and atrocities of her husband, whose monstrous ingenuity seems to know no bounds. She cannot match the cruelty of Caligula, of whom Seneca said that nature created him "then to show what unlimited depravity combined with unlimited power is capable of", but she accepts the rules of a dangerous game that eventually leads her to death.
Caesonia performed by Maria Alexandrova is imperious, arrogant, sensual. Her image is made up of mean, polished movements, barely noticeable turns of the head and quick glances - in contrast to the swagger of Caligula. She creates unsettling tension just by her appearance on stage.
Watching Alexandrova at the premiere, I recalled our conversation with her, when she said that she would definitely become a dramatic actress if she had not chosen ballet. She is organic in any image, whether it is the angular student in Flindt's "Lesson", the insane Giselle or the proud and self-sufficient Carmen. With the same ease she transformed during our shooting: she was either a funny girl, or a vamp, or a comical NEP man from Zoshchenko's stories.
She has the inner strength and wisdom of an adult woman - and at the same time some kind of childishness, which is expressed in the ability to appreciate trifles and enjoy the little things. And behind the simplicity in communication, a complex personality with principles is felt. Which is very interesting to discover.
Silk and viscose dress Laroom ; silver earrings with black spinel, blackened silver ring with garnets - Axenoff Jewelery ; leather shoes decorated with feathers - Jimmy Choo
Silk and viscose dress Laroom ; necklace made of silver and rock crystal, blackened silver ring with garnets - Axenoff Jewelery
Inna Logunova: "Caligula" is a plastic, not a choreographic performance. What attracted you to this form? After all, technically, this is a much less difficult task for you than a ballet production.
Maria Alexandrova A: For two reasons. Firstly, because this is one way or another a continuation of the theater - which, as a person who spends all his life on the stage, is interesting to me in all forms. The second reason is Sergei Zemlyansky.
Have you worked with him before?
Yes, we first met in 2009 - he put on a number for my creative evening. Then for quite a long time in the work we did not intersect. Three years ago, I got to see his The Lady of the Camellias at the Pushkin Theater and then the Demon at the Yermolova Theater - incredibly powerful performances that touched me to the core. And last year, literally in two days, I "flew" into his "Inspector General" all in the same Yermolovsky and was simply stunned by Serezha's talent. I got tremendous pleasure from participating in this performance - from the production itself and from the team, it was a breath of incredible positive. Moments that stay with you for the rest of your life. Therefore, when Seryozha called me a couple of months ago and offered to take part in a new performance, I agreed without hesitation - and only then began to ask questions: what, where, why?
Dress made of tulle and silk embroidered with beads - elegance allure ; silk cloak Masterpeace ; silver and rock crystal tiara, silver earrings with rhodolites, blackened silver ring with garnets and silver ring with coral - Axenoff Jewelery ; leather shoes decorated with feathers - Jimmy Choo
In the performance, you go on stage with the hearing-impaired actors - was it easy for you to find a common language with them?
We communicate with them as with hearing and speaking, in this sense there is no caution. During rehearsals, they helped us when we had to use sign language along the way. We also explain something to them, show them. We have an amazing atmosphere in the team: everyone understands each other literally from the back. There were many comic situations. For example, once the guys, sitting in a corner, were talking animatedly in their silent language, and then Seryozha turns to them with the words: “Well, why are you talking?”
You say that in a plastic or dance performance you are not connected by speech, by voice. And yet - would you like to try yourself in drama?
Certainly. I am often asked in interviews: if not a ballerina, who would I become. And I always answer: a dramatic actress. The stage is a world in which I am very interested, where there are no boundaries and everything is possible. I feel good there.
Headband with a veil embroidered with sequins - Polyakov Couture ; silver ring with agate, blackened silver ring with garnets - Axenoff Jewelery
Better than normal life?
Not that it's better, it's more understandable.
And what is interesting - reincarnation?
The very step onto the stage. Yes, everything is interesting. Even how the beam shines. Or does not shine when you need it so much - and how do you get out of it. In my ballet profession, reincarnation is not always possible, sometimes it is simply unattainable, because we are still very connected by the physical component. And the image is made up of different things - rehearsals in the hall, interaction with a partner, how the costume fits.
I always go on stage when I have something to say. That's why I'm also interested in non-classical performances where you don't have a specific set of moves to hide behind. If in ballet you can sometimes turn off your soul and completely go into a bodily incarnation, then here you need to be spiritually filled from the very beginning, otherwise nothing will work out.
Top and skirt in silk and polyester, embroidered with beads and sequins - Alexander Arutynov ; silver tiara with pearls Axenoff Jewelery
Somehow, recalling your childhood, you said that as a child you understood that "ballet will teach you about life." Most importantly, what did he teach you?
On the one hand, he protected me from a huge amount of misunderstanding that we face in this life. On the other hand, it gave me a sense of my world and calling, that I have my own path. Attitude towards people and the understanding that we are all different - not bad and not good, just everyone has their own play. And what I have always liked about ballet is the ability to do without words.
Why do you feel better without words? You don't come across as a reserved person.
Because the word is very important to me. If a person said, then he must do. I don't like words that have nothing behind them. I'm already a grown-up girl and I judge people by their actions. In this respect, ballet is clear to me. I do not argue, it may not work out, the role may not work out, but you are trying, that is, you still remain a man of action.
Ballet is often spoken of as a closed world, things in themselves. Is your inner circle also predominantly ballet people?
Different. Fortunately. Another thing is that this circle is small. In this sense, I am not a very sociable person.
Velvet dress with mesh - Alexandra Serova ; headband adorned with feathers Polyakov Couture ; silver earrings with rhodolites and a blackened silver ring with garnets - Axenoff Jewelery
We all intuitively divide people into friends and foes. I'm not talking about likes or dislikes. It's just that a spiritual connection arises with some, and with others ... And others are just extras in our life. Here is your man - what is he like?
Talented. Smart. With humor. Believer in kindness. Let him make mistakes, sometimes get hung up on some of his squabbles, but still this is a person who believes in love. Who knows how to work and appreciate what he has now. Not wasting himself on trifles.
The greatest value in life?
Can't be said in one word. A person is determined by the ability to love, the ability to look at life through this word.
How important is recognition and fame to you?
Recognition and fame have never been my dream. I always wanted to be interesting.
What, even in school, say, a fifteen-year-old teenager? At this age, it seems to me, many dream of fame.
No, there wasn't. I never dreamed of money, fame and greatness. For as long as I can remember, I always said: I don’t want to be the first, I want to be the best. And I always believed in love.
Everyone has their own fears that we have to overcome. How do you deal with yours?
And I'm on the ship. I understand that I am afraid - and I agree with myself, I say: yes, some loss is possible on the way, but I gain much more. In principle, there are only two ways to deal with fear: either to run towards or away from it.
What in people are you not ready to put up with?
With lies.
Who are your ballet idols?
I have never had idols, somehow from the very childhood I had my own opinion on everything. But always with great respect for talent, strong personality, individuality - because it is such people that move this world. And I never wanted to imitate.
But one way or another, teachers influenced you, because this is inevitable ...
All my teachers at the school left their imprint in one way or another. Thanks to some, I have excellent hands, others - a well-placed body in a professional sense, the third - an acting personality. I was lucky that the teacher with whom I worked in the theater, Tatyana Nikolaevna Golikova, never interfered with the manifestation of this individuality. Probably something in me interfered with her, but she very delicately and competently corrected me and led me forward, for which I am very grateful to her.
Are you a happy person?
What makes you happy?
A lot... But first of all - I go the way of love: I do my favorite profession, I work in my favorite theater, I have a favorite and loving person. And I'm wondering.
Silk skirt and cape made of silk and fox fur - Ruban ; mesh hat embroidered with plastic flowers - Polyakov Couture ; ruby gold ring, agate gold ring - Axenoff Jewelery ; leather and fur shoes - Charlotte Olympia
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1997 - I prize at the International Ballet Competition in Moscow.
1999 - the prize of the magazine "Ballet" "The Soul of Dance" (nomination "Rising Star").
2004 - National Theater Award "Golden Mask" for the performance of the part of the Classical Dancer in the ballet "The Bright Stream" by D. Shostakovich directed by Alexei Ratmansky (season 2002/03).
2005 - the title of "Honored Artist of the Russian Federation".
2009 - the title of "People's Artist of the Russian Federation".
2018 - awarded the Leonid Myasin Prize (Positano) in the category "Dancer of the Year on the International Stage".
Biography
Was born in Moscow. While still a student at the Moscow State Academy of Choreography (class) she took part in international competition ballet dancers in Moscow (1997), won the 1st prize and was accepted into the troupe of the Bolshoi Theater. She began to receive solo parts in the first season of work in the theater, which became her last, which she spent in the rank of a corps de ballet dancer. Maria Alexandrova was a teacher-tutor. Currently rehearsing under the direction of . Since 2017, she has been working in the theater under a contract.
Repertoire
1997Belle of the ball(“Fantasy on a Theme of Casanova” to music by W.A. Mozart, staged by M. Lavrovsky)
first variation in grand pas(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky, revised version by Y. Grigorovich)
Mirtha(Giselle by A. Adam, choreography by J. Coralli, J. Perrot, M. Petipa, revised by V. Vasiliev, and then in the play, revised by Y. Grigorovich)
ladies-in-waiting(The Sleeping Beauty by P. Tchaikovsky, choreography by M. Petipa, revised version by Y. Grigorovich)
1998
street dancer("Don Quixote")
Fairy of Courage(The Sleeping Beauty by P. Tchaikovsky, choreography by M. Petipa, revised version by Y. Grigorovich)
soloist(“Dreams of Japan” to music by L. Eto, N. Yamaguchi and A. Tosh, staged by A. Ratmansky)
1999
all variations in the painting "Shadows"(La Bayadère by L.Minkus, choreography by M.Petipa, revised version by Y.Grigorovich)
three dryads("Don Quixote")
soloist of the third part(“Symphony in C” to music by J. Bizet, choreography by J. Balanchine) — first performer at the Bolshoi Theater
mazurka(Chopiniana to music by F.Chopin, choreography by M.Fokine)
mares(The Little Humpbacked Horse by R. Shchedrin, staged by N. Androsov)
2000
empress(Russian Hamlet to music by L. van Beethoven and G. Mahler, staged by B. Eifman)
Kitri(Don Quixote, choreography by M. Petipa, A. Gorsky, revised version by A. Fadeechev)
Ramsey(first performer) Congo(The Pharaoh's Daughter by C. Pugni, staged by P. Lacotte after M. Petipa)
Gamzatti("La Bayadère")
2001
Eleventh waltz("Chopiniana")
peers of the prince, Spanish bride(“Swan Lake” by P. Tchaikovsky in the second version by Y. Grigorovich, fragments of the choreography by M. Petipa, L. Ivanov, A. Gorsky were used) - was among the first ballet performers in this edition
2002
aegina(Spartacus by A. Khachaturian, choreography by Y. Grigorovich)
sylph(La Sylphide by H. Levenshell, choreography by A. Bournonville, revised version by E. M. von Rosen)
2003
classical dancer("Light Stream" by D. Shostakovich, staged by A. Ratmansky) - first performer
Clemence(Raymonda by A. Glazunov, choreography by M. Petipa, revised version by Y. Grigorovich)
Esmeralda("Cathedral Notre Dame of Paris» M. Jarra directed by R. Petit)
Mekhmene Banu(Legend of Love by A. Melikov, choreography by Y. Grigorovich)
Aspicia("Pharaoh's daughter")
Juliet(Romeo and Juliet by S. Prokofiev directed by D. Donnellan and R. Poklitaru) - first performer
2004
Lilac Fairy("Sleeping Beauty")
pas de de tchaikovsky(choreography by J. Balanchine)
Lea(“Lea” to music by L. Bernstein, staged by A. Ratmansky, second version)
Hermia("A Midsummer Night's Dream" to music by F. Mendelssohn-Bartholdy and D. Ligeti, staged by J. Neumeier) - first performer at the Bolshoi Theater
2005
miller's wife(“Cocked Hat” by M. de Falla, chorography by L. Myasin) - first performer in Russia
Odette-Odile("Swan Lake")
soloist(“Playing cards” by I. Stravinsky, staged by A. Ratmansky) - participant in the premiere of this ballet
Raymond("Raymonda")
2006
Carmen(Carmen Suite by J. Bizet - R. Shchedrin, staged by A. Alonso)
2007
soloist(Misericordes to music by A. Pärt, staged by K. Wheeldon) - participant in the world premiere of this ballet
soloist(In the Upstairs Room by F. Glass, choreography by T. Tharp)
Medora(The Corsair by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaka)
soloist(Class Concert to music by A. Glazunov, A. Lyadov, A. Rubinstein, D. Shostakovich, choreography by A. Messerer)
Pupil(The Lesson by J. Delerue, staged by F. Flindt)
2008
Jeanne(The Flames of Paris by B. Asafiev, choreography by V. Vainonen, directed by A. Ratmansky) - first performer
variation (participant in the premiere of the ballet in this version), Paquita(Grand classical pas from the ballet "Paquita" by L. Minkus, choreography by M. Petipa, staging and new choreographic version by Y. Burlaka)
2009
Swanilda(Coppelia by L. Delibes, choreography by M. Petipa and E. Cecchetti, staging and new choreographic version by S. Vikharev) - first performer
Nikiya("La Bayadère") - debuted on tour of the Bolshoi Ballet in the USA
Esmeralda(Esmeralda by C. Pugni, choreography by M. Petipa, production and new choreography by Y. Burlaka, V. Medvedev) - first performer
2010
Countess (« Queen of Spades» to music by P. Tchaikovsky, staged by R. Petit)
Princess Aurora("Sleeping Beauty")
2012
duet(“Dream of Dream” to music by S. Rachmaninov, staged by J. Elo)
Home washcloth("Moidodyr" by E. Podgayets, staged by Y. Smekalov) - first performer
2013
plate, waltz,vacuum cleanerwasps(“Apartment”, music by Fleshquartet, staged by M. Eka) - participant of the premiere at the Bolshoi Theater
2014
Katarina(The Taming of the Shrew to music by D. Shostakovich, choreography by J.-C. Maillot)
2015
leading couple(Classical Symphony to music by S. Prokofiev, staged by Y. Posokhov)
Giselle("Giselle" in the version of Y. Grigorovich)
Undine("G er oh our time» I. Demutsky , part "Taman",choreography by Y. Posokhov, director K. Serebrennikov)
2016
Undine(Ondine by H. V. Henze, choreography by V. Samodurov)
sylph("Sylphide" in the version of J. Kobborg)
2017
Margot(Nureyev by I. Demutsky, choreography by Y. Posokhov, director K. Serebrennikov) - first performer
She participated in the Bolshoi Theater's youth New Year's Premieres (1997-98), performing in the ballet Black Out directed by Stefan Fredenreich and performing solo parts in Jörg Mannes' ballets Four Kisses to music by J.S. Bach and "The vicissitudes of love" to the music of V.A. Mozart.
In 2001, she performed twice at the Bolshoi Theater in the ballet Don Quixote with ABT premier José Manuel Carreño.
In 2003, she participated in a gala concert of soloists from the Bolshoi Theater and the Royal Ballet (Covent Garden) at the Bolshoi Theatre. Performed pas de deux from the ballet Le Corsaire by A. Adam (choreography by M. Petipa), partner - Carlos Acosta.
She performed as Ramsay in three performances of The Pharaoh's Daughter, which were filmed at the Bolshoi Theater in 2003 by the French company Bel air Media for the subsequent release of the ballet on DVD.
Tour
In 1997, she performed in New York at the Lincoln Center stage in a gala concert of Russian ballet stars dedicated to Sergei Diaghilev, performing with Nikolai Tsiskaridze the Grand Classical Pas to music by D. Aubert (choreography by V. Gzovsky).
In 2000 she took part in a gala concert of ballet stars in Madrid (partner Igor Yebra).
In 2001, she danced with the soloist of the Bolshoi Theater Mark Peretokin the main roles in the ballet Don Quixote at the Bashkir Opera and Ballet Theater as part of International Festival ballet named after R. Nureyev.
In the same year, she took part in the production of the Dance Theater of Alexei Fadeyechev, performing the part of the Soloist of the 1st part in the ballet Between Heaven and Earth (choreography by T. McIntyre) and became the first performer of the part of Kitri in the play Russian chamber ballet "Moscow"(edited by M. Lavrovsky).
In 2001-02 she performed the role of Mirtha in a series of performances of the ballet Giselle with stellar casts (Yulia Makhalina, Diana Vishneva, Vladimir Malakhov, Igor Zelensky) on the stage of the Megaron Concert Hall in Athens.
In 2002, she took part in a gala concert that accompanied the opening ceremony of a new theater in the city of Apollo (USA). Partner - Nikolai Tsiskaridze.
In 2003, as part of an enterprise "Malakhov and friends" she performed in gala concerts in Athens on the stage of the Megaron Hall and took part in the International Ballet Festival in Japan (in both cases, Sergey Filin was a partner). Then she took part in the Malakhov and Friends program more than once.
In 2007 she performed at VII International Ballet Festival "Mariinsky"- as Gamzatti in the ballet La Bayadere (choreography by M. Petipa, revised by V. Ponomarev and V. Chabukiani; Nikiya - Uliana Lopatkina, Solor - Nikolai Tsiskaridze); in the final gala concert she performed the pas de deux from the ballet "Swan Lake" (partner - soloist of the Mariinsky Theater Igor Kolb); participated in a gala concert in honor of Maya Plisetskaya at the Royal Theater / Teatro Real in Madrid.
2008 - danced the part of Odette-Odile in the ballet "Swan Lake" (choreography by M. Petipa, L. Ivanov, revised by K. Sergeev) as part of the VIII International Ballet Festival "Mariinsky" (partner - soloist of the Mariinsky Theater Danila Korsuntsev);
twice performed in gala concerts International Festival of Classical Ballet named after Rudolf Nureyev(Kazan), performing the Classical pas de deux to the music of D.F.E. Ober (partner - the premiere of the Bolshoi Ballet Dmitry Gudanov);
performed in performances as part of the First Siberian Ballet Festival Novosibirsk State academic theater opera and ballet, performing the part of Gamzatti (La Bayadère, edited by I. Zelensky; Solor - artistic director of the NSATOB ballet troupe Igor Zelensky, Nikiya - soloist of the NSATOB Anna Zharova; soloist of the Dresden Semper Opera Elena Vostrotina) and debuted as Princess Aurora (Sleeping Beauty in edited by K. Sergeev, staged by S. Vikharev, Prince Desire - soloist of the Zurich Opera Ballet Semyon Chudin);
performed in Paris as Raymonda in the ballet Raymonda (choreography by M. Petipa, revised version by R. Nureyev) with the ballet troupe Paris National Opera(Jean de Brienne - Premier of the Bolshoi Ballet Alexander Volchkov).
2009 - in Novosibirsk, with the NGATOB troupe, she performed in the performances Swan Lake (edited by K. Sergeev, V. Burmeister) and Don Quixote (staged by S. Vikharev), performing the part of Odette-Odile (Prince Siegfried - soloist of NGATOB Roman Polkovnikov) and Kitri (Basil - soloist of NGATOB Maxim Gishenkov).
In the same year, together with Dmitry Gudanov, she took part in organizing a concert of ballet stars "Grand Ballet Gala. Masterpieces», held on the stage of the Moscow Academic musical theater them. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko.
As part of this concert, the premiere of Les deux genres (choreography by S. Zemlyansky) was performed by the heroes of the evening, Maria Alexandrova herself and Dmitry Gudanov, who performed that evening and in several other classical and modern numbers.
In 2010, she performed at the jubilee X International Ballet Festival "Mariinsky" - again as Gamzatti (Nikia - Victoria Tereshkina, Solor - Igor Zelensky).
Became a permanent member of the project "Russian seasons XXI century" initiated by the Charitable Foundation. Marisa Liepa, SAV Entertainment and the Kremlin Ballet Theatre. The new seasons are designed to revive the once-famous productions of the legendary enterprise of Sergei Diaghilev - "Russian Seasons" of the 20th century. Alexandrova became the first performer of the role of Armida in N. Tcherepnin's Pavilion of Armida (stage director A. Liepa, choreography by Y. Smoriginas), which premiered in 2009 on the stage of the State Kremlin Palace. In December 2010, the artist’s creative evening took place on the same stage: she performed in three newly recreated Diaghilev ballets, performing the title role in I. Stravinsky’s The Firebird (according to M. Fokin, resumed by A. Liepa), solo part in "Bolero" by M. Ravel (according to B. Nijinska, resumed with the participation of H. Mitchell) and became the first woman in the history of ballet to perform in the title role of "Petrushka" by I. Stravinsky (according to M. Fokin, resumed by A. Liepa) . As part of this project, she repeatedly took part in tours - in 2009 she performed in Riga on the stage of the Latvian National Opera and in a number of Russian cities (Yaroslavl, Ryazan, Ivanovo, Izhevsk, etc.), in 2010 - in Paris on the stage of the Theater Champs Elysees and in several cities of Russia (Yaroslavl, Nizhny Novgorod, Tula).
In 2014, within the framework of the VI International Ballet Festival "In honor of Ekaterina Maximova", she performed as Kitri in the ballet "Don Quixote" by L. Minkus (V. Kokorev's version, Basil - Vladislav Lantratov) with the ballet troupe Chelyabinsk State Academic Opera and Ballet Theatre. M.I. Glinka.
In 2015 she performed the part of the Ballerina in the ballet Curtain to music by O. Respighi directed by V. Samodurov with the company Yekaterinburg State Academic Opera and Ballet Theater (world premiere).
In 2017, she performed the title role in the ballet Laurencia by A. Crane (choreography by V. Chabukiani, version and production by N. Ananiashvili) with the ballet troupe Tbilisi Opera and Ballet Theatre. Z.Paliashvili(Frondoso - Vladislav Lantratov);
part of Odette-Odile (Swan Lake, revised version by K. Sergeev) with the ballet troupe Yekaterinburg Opera and Ballet Theater(Prince Siegfried Ilya Borodulin).
2018 - performed as Kitri in the ballet Don Quixote (choreography by A. Gorsky) with the ballet troupe Mariinsky Theater(Basil - Vladislav Lantratov);
performed the title role in the ballet Giselle (staged by O. Korzenkov, E. Ivanova) with the ballet troupe Rostov State Musical Theater(Count Albert - Vladislav Lantratov).
But what else can you tell about this extraordinary and original girl? How did her theatrical career develop, and what were the most significant moments in her life? We will try to shed light on some moments of the artist's past today.
Early years, childhood and the family of Maria Alexandrova
A talented dancer was born on July 20, 1978 in Moscow. It began in the capital of Russia creative career; here all her most significant successes happened.It is worth noting that dancing has always been an important part of the life of our today's heroine. Mine creative way she began in the Kalinka ensemble, but pretty soon she began to show considerable interest in ballet. At the age of ten, Maria Alexandrova entered the Moscow State Academy of Choreography, where she began to study under the guidance of L. A. Kolenchenko. Subsequently, her mentors were L.V. Dobzhan and S.N. Golovkin.
The first roles of Maria Alexandrova
During her studies, she took part in ballet productions of The Nutcracker, Coppelia, Chopiniana and many others. For a long time, her stage partner was the famous future dancer Nikolai Tsiskaridze.Our today's heroine received a diploma of graduation from the Moscow State Academy of Arts in 1996. In the same period, she began to appear at various international festivals.
Maria Alexandrova - Nikolai Tsiskaridze
Especially successful for Maria Alexandrova was the Moscow competition of ballet dancers. As part of this forum, which took place in the Russian capital in 1997, the girl performed a variation of Gamzatti from La Bayadère, as well as some other interesting parts. The bright performance of our today's heroine brought her the first prize of the competition, and with it a prestigious invitation to the troupe of the Bolshoi Theater.
Career of the ballerina Maria Alexandrova
Maria Alexandrova began to perform solo parts on the stage of the Bolshoi Theater already in her debut season of 1997-1998. It is quite remarkable that at that time our today's heroine was still listed as a corps de ballet dancer. During this period, she participated in such productions as The Dream of Don Quixote, La Bayadère, The Legend of Love, The Nutcracker and some others. In those years, her mentor and tutor was M.T. Semenov.On October 19, 1997, the talented young ballerina performed her first solo part - the role of the Queen in the production of "Fantasy on a Theme of Casanova." The performance turned out to be successful, and just a month later, Maria Alexandrova went on tour to New York as part of the Bolshoi Theater troupe.
Monologues about yourself. Maria Alexandrova.
At the beginning of the 1998/1999 season, the talented ballerina was transferred from among the corps de ballet dancers to the category of luminaries. In modern ballet, representatives of this category of dancers are singled out from the total number of corps de ballet dancers and are among them in the foreground.
After that, new bright performances followed, which did not go unnoticed by prominent Russian critics. In 1999, the authoritative magazine Ballet awarded Alexandrova a prestigious prize in the Rising Star nomination.
Such a high recognition pushed the young ballerina to new achievements. In 1999, she performed several new numbers in ballet productions and very soon was officially transferred to the soloists of the Bolshoi Theater. During this period, Tatyana Golikova became her permanent tutor. In this context, it is worth noting that it is with her that the ballerina is still engaged.
Since 2000, Maria Alexandrova has become one of the main stars of the Bolshoi Theater. Together with his ballet troupe, our today's heroine has traveled, without exaggeration, half the world. The theater tours took place in various cities of Russia, as well as in France, the USA, Finland, Italy and many other countries of the world. As the ballerina herself admits, throughout her career she received offers from theaters in Paris, New York and some other cities. However, the decision to move did not work out.
In 2004, for her performance in the ballet The Bright Stream, Maria Alexandrova received the prestigious Golden Mask theater award. A year later, in the collection of personal awards of our today's heroine, there was also a letter of awarding her the title of Honored Artist of Russia. Four years later, the talented dancer was also awarded the title of People's Artist of Russia.
Throughout her career, Maria Alexandrova has performed more than sixty different roles, most of which are still considered a model of high ballet art.
Maria Alexandrova today
Currently, our today's heroine still performs on the stage of the Bolshoi Theater, and also goes on tour with him to different cities of the Earth. In August 2013, there were reports in the press that the girl was seriously injured during a tour in London. Today the ballerina is under the supervision of the best doctors in Europe. However, the very fact of returning to the big stage is currently in question.Personal life of Maria Alexandrova
In 2005, Maria Alexandrova married a man named Sergei. According to the ballerina herself, her chosen one is an artist. However, nothing more specific is known about him. The dancer herself speaks of her husband as perfect man brunette with blue eyes.Maria Alexandrova in the ballet Laurencia. Photo - Lado Vachnadze / Georgian Opera and Ballet Theater
Ballerina Maria Alexandrova on what it's like to work outside the system.
An event in Georgia: at the Tbilisi Opera and Ballet Theater “Laurencia”, the legendary Vakhtang Chabukiani, edited by Nino Ananiashvili, was presented to the public by a brilliant couple - Maria Alexandrova and Vladislav Lantratov.
After the premiere, Ogonyok's correspondent Iya Barateli spoke to the wonderful guest.
Having read on the Internet that Maya Plisetskaya called Alexandrova “the most intelligent ballerina of the Bolshoi Theatre”, I come to the theater dressing room, from the window of which I can see the Tbilisi courtyard located next door.
In February, Maria Alexandrova of her own free will.
And in the summer, a new “episode”: together with Vladislav Lantratov, she was supposed to dance in the play “Nureyev”, but just before the premiere, then, however, it turned out - ...
What is happening at the Bolshoi Theater with the ballet about Rudolf Nureyev, in which you play Margot Fontaine? Do you think there will be no more scandal or will the performance be cut?
What is there to cut? The performance turned out to be about the loneliness of the artist, about the archetype of any artist, of any level. The essence of the artist is that he follows the role. Here the role is colossal - ten roles change ...
Performance with new music, with new choreography, with new direction. In fact, no one told the truth about this performance. Because, most likely, writing about what is simple good performance, no one is interested.
We are looking forward to this performance, we want to live this story. Premiere announced in December.
- Maria, how is your career developing after leaving the Bolshoi Theatre?
I stayed in the Bolshoi on a contract, and in general I remained on a contract everywhere. Now I exist as a freelance artist, dance and work where I am needed.
Here's the premiere of "Laurencia" - it's very interesting. Then there will be other projects that will be created elsewhere. And with the theater, I remained in a relationship outside the system.
- Why "Laurencia" is "very interesting"?
This is a legacy of the Soviet era, there is a lot of drama ballet. Like “Cinderella” by Rostislav Zakharov, like “Romeo and Juliet” by Leonid Lavrovsky, these are characteristic performances, with a pronounced style, choreographic message. It is not an easy job to assemble a drum ballet.
And, of course, coming to Tbilisi and dancing Chabukiani's version is like touching the original source. How to read a book by a good author that is not written now...
Ballet is unique. He develops three centers in the artist at once: both the physical state, and the spiritual, and the intellectual. We are silent creatures, our life is movement. This is the first time I've spoken for such a long time.
In the morning we rehearsed - six hours of hard work, and all this in silence. To make a performance, you must study the era, you cannot dance a baroque thing and at the same time be a person from the 21st century - you must be a person of the baroque era.
And so you read about it, listen to certain music, watch certain paintings, movies and so on. Only ballet does this. And this is a momentary art, not frozen like a sculpture.
Video recording conveys order, but not emotional condition between the spectator and the artist - it exists only for these two hours at a performance in the theater.
In general, ballet is a very strange, conditional, synthetic art that requires attention from the viewer, it is a workflow. Ballet is different from dance, especially Russian, then Soviet. Not a single old ballet - neither Italian nor French - has been decomposed “scientifically”, in the way it was painted in our country. As it was done by Vaganova, then Tarasov and so on. And this is our property. Modern dance- hobby, pastime. Ballet is super art.
- But at the same time, you recently performed in New York in a glamorous project ...
This is a very beautiful thing at a very interesting intersection, called “Goddesses & Demonesses”, or “Goddesses and Demonesses”. There are only two of us dancers - me and the Frenchwoman Blanca Lee.
It's about feminine essence in different incarnations - from the beginning of time, when it is something indefinite, in the light of dawn, either an animal or a woman, and ends with such a strong, very feminine dance.
All the costumes in the performance are haute couture, and we don't just wear them, we actively dance - for an hour and a half we exist non-stop in this format. There is a beautiful light in the show, it is a very modern thing.
- It turns out that there is life after the Bolshoi?
You know, the Bolshoi Theater, on the one hand, sets a huge scale. On the other hand, a huge number of people who come there are not even able to understand or feel this scale. They just come to a loud place, get shoulder straps, crowns, conjuncture and go somewhere further.
Therefore, all this talk, “what after the Bolshoi?” ... Nothing. A huge number of people after the Bolshoi began to make a career for themselves. Although, perhaps, they did not touch something important or basic.
It all depends on the person - you can think that you are a grain of sand on the scale of the cosmos, or you can know that you are the whole cosmos. These are all very personal things. Therefore, I don’t ask myself this question at all - I just wildly love this place - the Bolshoi Theater. He made me who I am. And I know this place has too many vultures around. When I began to understand that it was difficult for me in such a situation, I left.
- Satisfied or disappointed?
There is no disappointment. It was a very tough choice. I realized that this should not be delayed, then the theater will eat up. And this moment needs to be felt.
Theater is people. Sometimes it's very difficult for them. And you ask yourself the question: do you live to do something or to make people feel comfortable?
I live for today. Now, at this moment, I'm happy with myself. I have a lot of plans, I don’t have any free time to lie on the couch. The test of freedom is generally a serious thing. You can live in the illusion that you are someone ...
- What kind of illusion is it - to be the prima of the Bolshoi?
Just because you are the prima of the Bolshoi. But there is no Big? And then what?
Our problem, in ballet in general, is that we are tied to a place, tied to a troupe. The more you swing, the more you get out of shape. A ballet dancer is very specific, it is a philosophy. Before we go on stage, we can't say it in the room, we need a place to rehearse. This is a big problem.
Here in the opera you can recruit full-time or there is also the opera “stajoni”, when artists are hired for a season. With ballet, this will not work - you cannot recruit them for a month, and then dismiss them.
For ballet dancers, traveling is also a problem. Because before going on stage, we rehearse ten times more than we dance. And there should be a place where you rehearse, have a class, there should be time for this.
I now have a fairly normal situation - I'm at the Bolshoi Theater and rehearse, and take classes, and sometimes I go on stage. But at the same time, I am free to choose other things, I don’t waste time, I don’t expect anything, no one deceives me.
At the Bolshoi, you look forward to every performance, you can’t agree to go somewhere to dance ... And I repeat: the theater is people. Often you just don't want to waste time.
- Sorry for the question, but in Tbilisi everyone is wondering: how much should a ballerina weigh?
For a ballerina, the main thing is not weight, but the ability to control your body. You need to be aware of your legs, the length of your arms, and learn to move. This is the trick, and not just weighing 50 kilograms with a height of 180.
The ballerina must stay a healthy person. With a good, lively psyche to please others. Dancing and not eating - so you can stretch your legs. I clearly know that in order to stand on my feet and work for seven hours, I do not need breakfast and lunch, but then I eat.
Today, after work at dinner in Tbilisi, I will want satsivi, which means I will eat satsivi ...
