Ballet dancers, dancers, choreographers. The most famous ballerinas Ballet and famous ballerinas

The word "ballet" sounds magical. Closing your eyes, you immediately imagine burning lights, chilling music, the rustle of tutus and the light click of pointe shoes on the parquet. This spectacle is inimitably beautiful, it can be safely called a great achievement of man in the pursuit of beauty.

The audience freezes, staring at the stage. The ballet divas amaze with their ease and flexibility, apparently performing complex steps with ease.

The history of this art form is quite deep. The prerequisites for the emergence of ballet appeared in the 16th century. And already from the 19th century, people saw real masterpieces of this art. But what would ballet be without the famous ballerinas who glorified it? Our story will be about these most famous dancers.

Marie Ramberg (1888-1982). Future star born in Poland, in Jewish family. Her real name is Sivia Rambam, but it was later changed for political reasons. girl with early age I fell in love with dancing, giving myself over to my passion. Marie takes lessons from dancers from the Parisian opera, and soon Diaghilev himself notices her talent. In 1912-1913, the girl danced with the Russian Ballet, taking part in the main productions. Since 1914, Marie moved to England, where she continued to study dance. In 1918, Marie got married. She herself wrote that it was more for fun. However, the marriage turned out to be happy and lasted 41 years. Ramberg was only 22 years old when she opened her own ballet school, the first in the city. The success was so stunning that Maria first organized her own company (1926), and then the first permanent ballet troupe in Great Britain (1930). Her performances become a real sensation, because Ramberg attracts the most talented composers, artists, dancers. The ballerina took an active part in the creation of the national ballet in England. And the name Marie Ramberg forever entered the history of art.

Anna Pavlova (1881-1931). Anna was born in St. Petersburg, her father was a railway contractor, and her mother worked as a simple laundress. However, the girl was able to enroll in drama school. After graduating, she entered the Mariinsky Theater in 1899. There she got the party in classical productions- “La Bayadère”, “Giselle”, “The Nutcracker”. Pavlova had excellent natural abilities, and she constantly honed her skills. In 1906, she was already the leading ballerina of the theater, but real glory came to Anna in 1907, when she shines in the miniature “The Dying Swan”. Pavlova was supposed to perform at charity concert, but her partner fell ill. Literally overnight, choreographer Mikhail Fokin staged a new miniature for the ballerina to the music of San-Saens. Since 1910, Pavlova began touring. Ballerina acquires world fame after participating in the Russian Seasons in Paris. In 1913 she last time performs within the walls Mariinsky Theater. Pavlova gathers her own troupe and moves to London. Together with her charges, Anna tours the world with classical ballets by Glazunov and Tchaikovsky. The dancer became a legend during her lifetime, having died on tour in The Hague.

Matilda Kshesinskaya (1872-1971). Despite his Polish name, was born a ballerina near St. Petersburg and has always been considered a Russian dancer. About Us early childhood declared her desire to dance, no one in her family even thought of stopping her from this desire. Matilda brilliantly graduated from the Imperial Theater School, joining the ballet troupe of the Mariinsky Theater. There she became famous for her brilliant performances of the parts of “The Nutcracker”, “Mlada”, and other performances. Kshesinskaya was distinguished by her signature Russian plastic music, into which wedged notes Italian school. It was Matilda who became the favorite of the choreographer Fokine, who used her in his works “Butterflies”, “Eros”, “Eunice”. The role of Esmeralda in the ballet of the same name in 1899 sparked new star on the stage. Since 1904, Kshesinskaya has been touring Europe. she is called the first ballerina of Russia and is honored as the “Generalissimo of Russian ballet.” They say that Kshesinskaya was the favorite of Emperor Nicholas II himself. Historians claim that in addition to talent, the ballerina had an iron character and a strong position. It is she who is credited with the dismissal of the director at one time Imperial theaters, Prince Volkonsky. The revolution had a hard impact on the ballerina; in 1920 she left the exhausted country. Kshesinskaya moved to Venice, but continued to do what she loved. At 64, she was still performing in London's Covent Garden. And the legendary ballerina was buried in Paris.

Agrippina Vaganova (1879-1951). Agrippina's father was a theater conductor at the Mariinsky Theater. However, he was only able to enroll the youngest of his three daughters in ballet school. Soon Yakov Vaganov died, the family had only hope for a future dancer. At school, Agrippina showed herself to be mischievous, constantly receiving bad grades for her behavior. After completing her studies, Vaganova began her career as a ballerina. She was given many third-rate roles in the theater, but they did not satisfy her. The ballerina was spared solo parts, and her appearance was not particularly attractive. Critics wrote that they simply did not see her in the roles of fragile beauties. The makeup didn't help either. The ballerina herself suffered greatly about this. But through hard work, Vaganova achieved supporting roles, and newspapers began to occasionally write about her. Agrippina then took a sharp turn in her fortunes. She got married and gave birth. Returning to ballet, she seemed to rise in the eyes of her superiors. Although Vaganova continued to perform second roles, she achieved mastery in these variations. The ballerina managed to rediscover images that seemed to have been erased by generations of previous dancers. Only in 1911 did Vaganova receive her first solo part. At the age of 36, the ballerina was sent into retirement. She never became famous, but she achieved a lot given her data. In 1921, a choreography school was opened in Leningrad, where Vaganova was invited as one of the teachers. The profession of a choreographer became her main one until the end of her life. In 1934, Vaganova published the book “Fundamentals classical dance"The ballerina devoted the second half of her life to the choreographic school. Nowadays it is the Academy of Dance, named in her honor. Agrippina Vaganova did not become a great ballerina, but her name will forever go down in the history of this art.

Yvette Chauvire (born 1917). This ballerina is a truly sophisticated Parisian. At the age of 10 she began to seriously study dancing at the Grand Opera. Yvette's talent and efficiency were noted by directors. In 1941, she already became prima of the Opera Garnier. Her debut performances brought her truly worldwide fame. After this, Chauvire began to receive invitations to perform in various theaters, including the Italian La Scala. The ballerina became famous for her role as the Shadow in Henri Sauguet's allegory; she performed many roles choreographed by Serge Lifar. Among the classical performances, the role in “Giselle” stands out, which is considered the main one for Chauvire. Yvette demonstrated true drama on stage, without losing all her girlish tenderness. The ballerina literally lived the life of each of her heroines, expressing all emotions on stage. At the same time, Shovireh was very attentive to every little detail, rehearsing and rehearsing again. In the 1960s, the ballerina headed the school where she once studied. And Yvette’s last appearance on stage took place in 1972. At the same time, a prize named after her was established. The ballerina repeatedly went on tour to the USSR, where she was loved by the audience. her partner was repeatedly Rudolf Nureyev himself after his flight from our country. The ballerina's services to the country were rewarded with the Order of the Legion of Honor.

Galina Ulanova (1910-1998). This ballerina was also born in St. Petersburg. At the age of 9 she became a student at the choreographic school, which she graduated in 1928. Immediately after the graduation performance, Ulanova joined the troupe of the Opera and Ballet Theater in Leningrad. The young ballerina’s very first performances attracted the attention of connoisseurs of this art. Already at the age of 19, Ulanova danced the leading role in Swan Lake. Until 1944, the ballerina danced at the Kirov Theater. Here she became famous for her roles in “Giselle”, “The Nutcracker”, “The Fountain of Bakhchisarai”. But her role in Romeo and Juliet became the most famous. From 1944 to 1960, Ulanova was a leading ballerina Bolshoi Theater. It is believed that the peak of her creativity was the scene of madness in Giselle. Ulanova visited London in 1956 on a tour of the Bolshoi. They said that such success had not happened since the days of Anna Pavlova. Ulanova's stage activity officially ended in 1962. But for the rest of her life, Galina worked as a choreographer at the Bolshoi Theater. She received many awards for her work - she became the People's Artist of the USSR, received the Lenin and Stalin Prize, became a hero twice Socialist Labor and winner of numerous awards. The great ballerina died in Moscow, she was buried on Novodevichy Cemetery. her apartment became a museum, and a monument was erected in Ulanova’s native St. Petersburg.

Alicia Alonso (born 1920). This ballerina was born in Havana, Cuba. She began studying the art of dance at the age of 10. At that time there was only one private ballet school on the island, headed by Russian specialist Nikolai Yavorsky. Alicia then continued her studies in the USA. Debut on big stage took place on Broadway in 1938 in musical comedies. Alonso then works at the Ballet Theater in New York. There she gets acquainted with the choreography of the world's leading directors. Alicia and her partner Igor Yushkevich decided to develop ballet in Cuba. In 1947 she danced there in Swan Lake and Apollo Musagete. However, at that time in Cuba there were no traditions of ballet or stage. And the people did not understand such art. Therefore, the task of creating the National Ballet in the country was very difficult. In 1948, the first performance of "Ballet of Alicia Alonso" took place. It was ruled by enthusiasts who staged their own numbers. Two years later, the ballerina opened her own ballet school. After the 1959 revolution, the authorities turned their attention to ballet. Alicia's company evolved into the coveted National Ballet of Cuba. The ballerina performed a lot in theaters and even squares, went on tour, and was shown on television. One of Alonso’s most striking images is the role of Carmen in the ballet of the same name in 1967. The ballerina was so jealous of this role that she even forbade staging this ballet with other performers. Alonso has traveled all over the world, receiving many awards. And in 1999, she received the Pablo Picasso Medal from UNESCO for her outstanding contribution to the art of dance.

Maya Plisetskaya (born 1925). It is difficult to dispute the fact that she is the most famous Russian ballerina. And her career turned out to be record long. Maya absorbed her love for ballet as a child, because her uncle and aunt were also famous dancers. At the age of 9, the talented girl entered the Moscow Choreographic School, and in 1943, the young graduate entered the Bolshoi Theater. There the famous Agrippina Vaganova became her teacher. In just a couple of years, Plisetskaya went from corps de ballet to soloist. A landmark for her was the production of “Cinderella” and the role of the Autumn Fairy in 1945. Then there were the classic productions of “Raymonda”, “The Sleeping Beauty”, “Don Quixote”, “Giselle”, “The Little Humpbacked Horse”. Plisetskaya shone in “The Fountain of Bakhchisaray”, where she was able to demonstrate her rare gift - literally hanging in a jump for some moments. The ballerina took part in three productions of Khachaturian's Spartacus, performing the roles of Aegina and Phrygia. In 1959, Plisetskaya became People's Artist of the USSR. In the 60s, it was believed that Maya was the first dancer of the Bolshoi Theater. The ballerina had enough roles, but creative dissatisfaction accumulated. The solution was “Carmen Suite”, one of the main milestones in the dancer’s biography. In 1971, Plisetskaya also established herself as a dramatic actress, playing in Anna Karenina. A ballet was written based on this novel, which premiered in 1972. Here Maya tries herself in a new role - a choreographer, which becomes her new profession. Since 1983, Plisetskaya has worked at the Rome Opera, and since 1987 in Spain. There she leads troupes and stages her ballets. Last performance Plisetskaya took place in 1990. Great ballerina showered with many awards not only in her homeland, but also in Spain, France, and Lithuania. In 1994, she organized an international competition, giving it her name. Now “Maya” gives young talents the opportunity to break through.

Ulyana Lopatkina (born 1973). The world-famous ballerina was born in Kerch. As a child, she did a lot of not only dancing, but also gymnastics. At the age of 10, on the advice of her mother, Ulyana entered the Vaganova Academy of Russian Ballet in Leningrad. There Natalia Dudinskaya became her teacher. At the age of 17, Lopatkina won the All-Russian competition named after Vaganova. In 1991, the ballerina graduated from the academy and was accepted into the Mariinsky Theater. Ulyana quickly achieved solo parts for herself. She danced in Don Quixote, The Sleeping Beauty, The Bakhchisarai Fountain, and Swan Lake. The talent was so obvious that in 1995 Lopatkina became the prima of her theater. Each of her new role delights both viewers and critics. At the same time, the ballerina herself is interested not only in classical roles, but also in the modern repertoire. Thus, one of Ulyana’s favorite roles is the part of Banu in “The Legend of Love” directed by Yuri Grigorovich. The ballerina works best in the roles of mysterious heroines. Its distinctive feature is its refined movements, its inherent drama and high jump. The audience believes the dancer, because she is absolutely sincere on stage. Lopatkina is a laureate of numerous domestic and international awards. She is a People's Artist of Russia.

Anastasia Volochkova (born 1976). The ballerina remembers that her future profession she identified it already at the age of 5, which she told her mother about. Volochkova also graduated from the Vaganova Academy. Natalia Dudinskaya also became her teacher. Already in her last year of study, Volochkova made her debut at the Mariinsky and Bolshoi theaters. From 1994 to 1998, the ballerina's repertoire included leading roles in "Giselle", "Firebird", "Sleeping Beauty", "The Nutcracker", "Don Quixote", "La Bayadère" and other performances. Volochkova traveled halfway around the world with the Mariinsky troupe. At the same time, the ballerina is not afraid to perform solo, building a career parallel to the theater. In 1998, the ballerina received an invitation to the Bolshoi Theater. There she brilliantly performs the role of the Swan Princess in new production Vladimir Vasiliev "Swan Lake". In the main theater of the country, Anastasia receives the main roles in “La Bayadère”, “Don Quixote”, “Raymonda”, “Giselle”. Especially for her, choreographer Dean creates a new role as the fairy Carabosse in “Sleeping Beauty.” At the same time, Volochkova is not afraid to perform modern repertoire. It is worth noting her role as the Tsar-Maiden in The Little Humpbacked Horse. Since 1998, Volochkova has been actively touring the world. She receives the Golden Lion prize as the most talented ballerina in Europe. Since 2000, Volochkova has left the Bolshoi Theater. She begins performing in London, where she conquered the British. Volochkova returned to the Bolshoi for a short time. Despite the success and popularity, the theater administration refused to renew the contract for the usual year. Since 2005, Volochkova has been performing in her own dance projects. her name is constantly heard, she is the heroine of gossip columns. The talented ballerina recently began to sing, and her popularity grew even more after Volochkova published her nude photos.

Ballerinas of Russia - National treasure countries, their names are real brands. Lopatkina, who is celebrating her birthday today, Vishneva, Zakharova, Osipova are real cultural beacons. InStyle chose the main dancers modern Russia. They, like Kshesinskaya in her time, are real pop stars, they are more than ballerinas.

Ulyana Lopatkina

Last summer, Lopatkina, the one who is called the style icon of Russian ballet, announced the end of her dancing career. The reason is the consequences of injuries. “I thank everyone who met me on my creative path! Everyone who became a mentor, friend, assistant for me, who inspired, demanded, consoled and cared for me, believed, thanked and supported! Everyone who worked next to me and with me! All my viewers, everyone who understood me and gave me applause from the audience in response!” - this entry appeared on the ballerina’s website. Two months later, Lopatkina became a student at St. Petersburg State University and decided to study Environmental Design. And this spring, the Imperial Porcelain Factory released figurines of the star. Lopatkin, as well as Vishnev, are symbols of St. Petersburg, it’s time to erect monuments.

Diana Vishneva

Perhaps the most famous ballerina in Russia is her. Vishneva. “They didn’t want to take me to the choreographic school. Almost no one believed that I could first become the best student, then win competitions, and then get into the Mariinsky Theater. I can’t say that from childhood it was clear that Diana Vishneva would become what she is now,” says Vishneva, adding: “I rather consider myself an artist.” Prima Mariinsky Theater, world star, mistress of her own international festival CONTEXT, she declares that she is not a ballerina, but an artist. And that's true. Vishneva is already more than ballet.

Svetlana Zakharova

Modern Russian dancers and ballerinas are real citizens of the world. Prima ballerina of the Bolshoi and La Scala, Zakharova is also a true cosmopolitan. She lived in Germany, worked at the Mariinsky Theater, then moved to Moscow, and is closely connected with Italy. This is not counting the constant movements from one point of the globe to another. The ballerina's November schedule is Beijing, Seoul, Sofia and Moscow. Zakharova was also in the State Duma, she is also a wife and mother, and loves her well-deserved popularity. The only pity is that Instagram is rare: the last post today is dated August.

Ekaterina Kondaurova

Another Mariinsky prima performed an unexpected everyday pirouette. Born in Moscow, moved to St. Petersburg and hometown doesn't want to live.

“When I began to live alone, I discovered St. Petersburg, I had more friends, and my visits to Moscow even became a burden to me. And now I generally try to avoid it. I don't like Moscow at all. I feel uncomfortable there, it’s stuffy and everything’s not right,” admits Kondaurova.

In her interviews, the ballerina appears to be very rational, but in dance... “She is more spontaneous on stage than most of her colleagues. And everything that often looks like improvisation is actually well rehearsed,” Alexei Ratmansky speaks of her.

Maria Alexandrova

The great ballerinas of Russia have always had different characters. Here is Maria Alexandrova - this prima of the Bolshoi resigned from the theater in May last year. Herself. A lengthy post published by Alexandrova on social networks did not explain anything, but the decision was firm. “I remained at the Bolshoi on a contract, and in general I remained under a contract everywhere. Now I exist as a free artist, dancing and working where I am needed. But I remained in a relationship with the theater outside the system,” she said recently in an interview. Life goes on - Maria launches projects, dances, enjoys life.

Natalia Osipova

The list of “famous ballerinas of Russia” will be incomplete without this dancer. In her generation, Osipova is the number one star. And in general, she remains - deservedly so! - in the top list of names in world ballet. Independent, searching, Natalya changes venues, theaters, countries and everywhere shows herself in all her beauty and talent. Bolshoi, Mikhailovsky, American Ballet Theater, London Royal Ballet. From London she flies to Perm, from there to St. Petersburg and further - everywhere. But Britain is a second home for Osipova, just as Sergei Polunin is one of the main stage partners.

Alexei Uchitel’s film “Matilda” is showing in Russian cinemas, and in the blogosphere they are furiously arguing about the romantic relationship between Nicholas II and Kshesinskaya. But in the history of ballet there were no less scandalous and colorful love affairs.

1. Marquise Teresa de Gorla Berthelot

It is known that classical ballet in the 17th century, it was invented by Pierre Beauchamp, Jean-Baptiste Moliere and Louis XIV. And one of the most famous stars The dancer at that time was considered Teresa de Gorla Berthelot. Teresa Duparc (that was her name after her marriage) became famous thanks to her dramatic talent, dancing, amazing beauty, love stories and piquant pirouettes, during which the viewer could observe her silk stockings.

Encyclopedias usually say that it was she who became the first performer of the roles of Donna Elvira in Molière’s “Don Juan” and Andromache in the play of the same name by Jean Racine, but contemporaries discussed her lovers no less heatedly. She was a rather flighty lady, if not a courtesan, she turned the heads of everything French high society, including the Sun King, but it was especially destructive to the flowering of French literature of that time.

It all started with Moliere, who left his first star and part-time wife, Madeleine Bejart, for her sake. Then there was an affair with the poet Pierre Corneille, who dedicated many poems to her. For some time, for the sake of the poet, Duparc even left Moliere's troupe. And then she found herself in the theater and the bed of Jean Racine, Moliere’s main rival at that time. Unfortunately, her story was interrupted too early. She died under very suspicious circumstances; for some time Racine was even accused of poisoning her.

2. Marie-Madeleine Guimard

This ballerina shone in Paris before the French Revolution. She shone not only on stage, her love affairs in the capital were discussed no less than her theatrical successes. It must be said right away that fame came to her primarily as an extraordinary dancer.

Having a bright appearance, she still did not fit into the standards of that time - Guimard was too thin. Because of this, Parisian wits called her “the skeleton of grace.” However, along with the title of prima, she also had quite influential lovers.

Unfortunately, Guimard left neither memoirs nor diaries. Many of her acquaintances either wisely died before 1789 or received the line “guillotined” in their biography. So most of the facts about her life cannot now be reliably restored. But what remains in the form of rumors and references in literature is impressive.

Among her lovers was a financier and businessman, one of richest people France Jean-Joseph de Laborde, his brother - composer Jean-Benjamin de Laborde. From the latter, Guimard probably gave birth to a daughter. But everyone was eclipsed by Charles de Rohan, Prince de Soubise.

Charles de Rohan was not only an aristocrat, gourmet and ladies' man, but also a Marshal of France, held ministerial positions, and was patronized by Madame Pompadour. Marie-Madeleine Guimard he took on full content and spent huge sums on her entertainment. It was rumored that the ballerina almost ruined him.

With his funds, Guimard built her famous luxury hotel on the outskirts of Paris. The Temple of Terpsichore, as it was also called, was famous for its evenings, during which they gave performances beyond the bounds of decency and invited the “most lascivious girls” of the city. Contemporaries repeatedly wrote that everything ended in orgies.

3. Giovanna Bassi

The 18th century is rich in drama and Detective stories, which have never been solved. Giovanna Bassi cannot be called an outstanding ballerina, although she performed quite actively on the stage of the Swedish Opera, and the local audience received her with delight. But she went down in history not thanks to her steps, but because whirlwind romance with Count Adolf Frederic Munch, the “gray eminence” and favorite of the Swedish king Gustav III.

The acquaintance of the ballerina and the influential courtier began when the courtier’s career was at the very top. His rise was greatly helped by the fact that Munch was able to reconcile the king with his wife Sophia Magdalena of Denmark. Acting as a sexologist, he “established the production” of two heirs. Gossips However, they argued that in the birth of the future Gustav IV Adolf they managed to do without a king altogether. The prince looked too much like Munch. Giovanna Bassi also gave birth, but a girl.

It is unknown whether Bassi was counting on a quiet family life with the Count, but Munch was put on trial. He was accused of having started counterfeiting Russian money on behalf of the king, and at the same time made some Swedish money. He would have been forgiven, but his patron, Gustav III, died at the hands of the conspirators. Death overtook the Swedish king at the opera during a masquerade. Munch was expelled from the country to Italy, the ballerina followed him. Bassi wanted him to marry her and recognize her daughter. The disgraced count refused her. Enraged, Bassi returned to her homeland. However, there is another version that in Italy the ballerina was carrying out a spy mission Privy Council Sweden.

4. Teresa Elsler

It may seem that the romantic relationship between a ballerina and an aristocrat must necessarily end in either an orgy or tragedy. This is not entirely true; there are plenty of examples in history when everything is fine in the end, that is, a happy bride is led down the aisle. For example, Teresa Elsler managed to become the wife of not even a count or baron, but a real prince, the younger brother of the Prussian king Frederick William III - Adalbert of Prussia.

More noticeable in the history of ballet younger sister Elsler - Francis, or Fanny. She was called one of the most famous ballerinas of the 19th century. Strauss's son even wrote an operetta about her life, "The Dancer Fanny Elsler." Teresa was considered too tall and not so expressive. Nevertheless, it was she who managed to captivate Adalbert, who was no longer an enthusiastic young man - by that time he was 38 years old, and the ballerina, by the way, was several years older than him. Surprisingly, King Frederick William IV agreed to this morganatic marriage.

The younger, and more famous, sister Fanny was also the object of attention of persons close to the throne. For example, initially the sisters’ career was helped by Fanny’s connection with the Sicilian prince Leopoldo, who arranged ballerinas for the Naples opera and did not particularly hide his tender attitude towards the younger Elsler. It is believed that the couple even had a son.

5. Anna Pavlova

In the 20s of the 20th century, a whole wave of “Pavlova mania” swept across Europe and the United States. Cakes, tulips and newborns were named after the Russian ballerina. She performed a lot, toured until she was completely exhausted and received huge fees for that time. And next to her was almost always Victor Dandre, who served as a manager, companion and secret husband to the ballerina.

When Pavlova just graduated from the Imperial Theater School, Victor Dandre seemed to her like a fairy-tale prince. A rich baron, a handsome man, an important official... Of course, Kshesinskaya actively set her up with Grand Duke Boris Vladimirovich, but the aspiring ballerina did not want to be just a kept woman. And next to Dandre, she hoped for an official marriage...

Alas, Victor quickly made it clear that he could not agree to such a misalliance. The aristocrat gave her leading roles, gave her jewelry and fully provided for her, but that’s all. In the end, a break followed and Pavlova left with Diaghilev for Paris, where she triumphantly participated in the Russian Seasons.

At that moment, Dandre's life changed dramatically: he went to prison on charges of embezzlement. He doesn't have the money to pay off the debt. Then Pavlova left Diaghilev, signed an enslaving, but very profitable contract financially Contract. In addition, she was immediately paid a rather impressive advance, which she immediately gave to her abandoned lover so that he could pay bail and get out of prison. Dandre left Russia illegally, came to her in England and asked for her hand. She agreed, but demanded that their marriage remain a secret.

6. Tamara Karsavina

Not only ballet historians, but also literary scholars dedicate monographs to the phenomenon of Tamara Karsavina. Columbine Silver Age was the subject of worship for a whole generation of Russian poets, starting with Blok.

There is nothing strange about this. Ballet stars always attract the attention of not only the rich and aristocrats; among them you can always find creative people: writers, artists and musicians. Surprisingly different. Karsavina refused many celebrities, influential and noble admirers, and married a quiet and modest nobleman Vasily Mukhin.

After Diaghilev's seasons in Paris, Karsavina became a world celebrity, she was literally besieged by admirers, but for a long time this did not affect her marriage to Mukhin. The meeting in 1913 with Henry Bruce crossed everything out. English professional diplomat, Eton graduate, younger son A wealthy landowner saw her during a reception at the British Embassy and immediately fell in love. He quickly took her away from her husband, and after the revolution he took her away from Russia.

Unlike many similar stories, Henry Bruce did not demand that Karsavina leave ballet. Vice versa! He himself left the service, fulfilling, however, some assignments, and for a long time traveled with her around Europe. They first lived in France and moved to London in 1929, but Bruce returned to the Foreign Office only during the Second World War.

The dance style of this ballerina cannot be confused with anyone else. A clear, carefully honed gesture, measured movement around the stage, the utmost laconicism of costumes and movements - these are the features that immediately distinguish M. Plisetskaya.

After graduating from the Moscow Choreographic School, where Plisetskaya studied with teachers E. P. Gerdt and M. M. Leontyeva, from 1943 she worked at the Bolshoi Theater. From the very beginning creative path Plisetskaya’s special artistic individuality emerged. Her work is distinguished by a rare combination of purity of line with imperious expression and rebellious dynamics of dance. And her excellent external characteristics - a long step, a high, light jump, rapid rotations, unusually flexible, expressive hands and the finest musicality - once again confirm that Plisetskaya not only became a ballerina, but was born one.

Anna Pavlovna Pavlova(February 12, 1881 – January 23, 1931), Russian ballerina.

Pavlova's art is a unique phenomenon in the history of world ballet. She first turned academic dance V mass appearance art, close and understandable even to the most unprepared public.

Legends envelop her entire life from birth to death. According to the documents, her father was a soldier of the Life Guards Preobrazhensky Regiment. However, even during the ballerina’s lifetime, newspapers wrote about her aristocratic origins.

Galina Sergeevna Ulanova(January 8, 1910 – March 21, 1998), Russian ballerina.

Ulanova’s work constituted an entire era in the history of world ballet. She not only delighted with the filigree art of dance, but with every movement she conveyed state of mind of your heroine, her mood and character.

The future ballerina was born into a family where dance was a profession. Her father was a famous dancer and choreographer, and her mother was a ballerina and teacher. Therefore, Ulanova’s admission to the Leningrad Choreographic School was completely natural. At first she studied with her mother, and then the famous ballerina A. Ya. Vaganova became her teacher.

In 1928, Ulanova brilliantly graduated from college and was accepted into the troupe of the Leningrad Opera and Ballet Theater. Soon she becomes the leading performer of the roles of the classical repertoire - in the ballets of P. Tchaikovsky “Swan Lake” and “The Nutcracker”, A. Adam “Giselle” and others. In 1944 she became a soloist at the Bolshoi Theater in Moscow.

Marius Ivanovich Petipa(March 11, 1818 - July 14, 1910), Russian artist, choreographer.

The name of Marius Petipa is known to everyone who is even slightly familiar with the history of ballet. Wherever today there are ballet theaters and schools, where films and television programs dedicated to ballet are shown, books about this amazing art are published, this man is known and honored. Although he was born in France, he worked all his life in Russia and is one of the founders of modern ballet.

Petipa once admitted that from birth his whole life was connected with the stage. Indeed, his father and mother were famous artists ballet and lived in the large port city of Marseille. But Marius’s childhood was spent not in the south of France, but in Brussels, where the family moved immediately after his birth in connection with his father’s new appointment.

Marius's musical abilities were noticed very early, and he was immediately sent to the Great College and Conservatory to study violin. But his first teacher was his father, who taught a ballet class at the theater. In Brussels, Petipa appeared on stage for the first time as a dancer.

He was only twelve years old at that time. And already at sixteen he became a dancer and choreographer in Nantes. True, he worked there for only a year and then, together with his father, went on his first foreign tour to New York. But, despite the purely commercial success that accompanied them, they quickly left America, realizing that there was no one there to appreciate their art.

Returning to France, Petipa realized that he needed to get a deeper education, and became a student of the famous choreographer Vestris. The classes quickly yielded results: in just two months he became a dancer, and later a choreographer in ballet theater city ​​of Bordeaux.

Sergei Pavlovich Diaghilev(March 31, 1872 – August 19, 1929), Russian theatrical figure, impresario, publisher.

Diaghilev did not know his mother; she died during childbirth. He was raised by his stepmother, who treated him the same as her own children. Therefore, for Diaghilev death stepbrother V Soviet time became a real tragedy. Perhaps that is why he stopped striving to return to his homeland.

Diaghilev's father was a hereditary nobleman, a cavalry guard. But due to debts, he was forced to leave the army and settle in Perm, which at that time was considered the Russian outback. His house almost immediately becomes the center cultural life cities. Parents often played music and sang at the evenings held in their house. Their son also took music lessons. Sergei received such a diverse education that when he ended up in St. Petersburg after graduating from high school, he was in no way inferior in knowledge to his St. Petersburg peers and sometimes even surpassed them in terms of erudition and knowledge of history and Russian culture.

Diaghilev's appearance turned out to be deceptive: the big provincial man, who seemed like a bumpkin, was quite well read and spoke several languages ​​fluently. He easily entered the university environment and began to be listed as a student at the Faculty of Law of St. Petersburg University.

At the same time, he plunged into theatrical and musical life capital Cities. The young man takes private piano lessons from the Italian A. Cotogna, attends a class at the St. Petersburg Conservatory, tries to compose music, and studies history artistic styles. During the holidays, Diaghilev made his first trip to Europe. He seems to be looking for his calling, turning to various areas of art. Among his friends are L. Bakst, E. Lanseray, K. Somov - the future core of the World of Art association.

Vaslav Fomich Nijinsky(March 12, 1890 – April 8, 1950), Russian dancer and choreographer.

In the 1880s, a troupe of Polish dancers performed successfully in Russia. It was staffed by husband and wife – Tomasz and Eleanor Nijinsky. They became the parents of the future great dancer. Theater and dance entered Vaclav’s life from the first months of his life. As he himself later wrote, “the desire to dance was as natural to me as breathing.”

In 1898 he entered the St. Petersburg Ballet School, graduated in 1907 and was accepted into the Mariinsky Theater. The outstanding talent of a dancer and actor immediately brought Nijinsky to the position of prime minister. He performed many parts of the academic repertoire and was a partner of such brilliant ballerinas as O. I. Preobrazhenskaya, A. P. Pavlova,.

Already at the age of 18, Nijinsky danced the main roles in almost all new ballets staged on the stage of the Mariinsky Theater. In 1907 he danced the White Slave in the Armida Pavilion, in 1908 the Slave in Egyptian Nights and the Young Man in Chopiniana staged by M. M. Fokin, and a year later he performed the role of the Hurricane in the ballet Talisman by Drigo directed by N. G. Legat.

And, nevertheless, in 1911, Nijinsky was fired from the Mariinsky Theater because, while performing in the ballet “Giselle,” he voluntarily put on a new costume made according to a sketch by A. N. Benois. By appearing on stage half-naked, the actor irritated the members of the royal family sitting in the boxes. Even the fact that by this time he was one of the most famous dancers of Russian ballet could not protect him from dismissal.

Ekaterina Sergeevna Maksimova(February 1, 1939 - April 28, 2009), Russian Soviet and Russian ballerina, choreographer, choreographer, teacher, People's Artist of the USSR.

This unique ballerina has not left the stage for thirty-five years. However, Maksimova is still connected with ballet today, since she is a teacher and tutor at the Kremlin Ballet Theater.

Ekaterina Maksimova received a special education at the Moscow Choreographic School, where her teacher was the famous E. P. Gerdt. While still a student, Maksimova received first prize at the All-Union Ballet Competition in Moscow in 1957.

She began her service to art in 1958. After graduating from college, the young ballerina came to the Bolshoi Theater and worked there until 1988. Small in stature, perfectly proportioned and surprisingly flexible, it seemed that nature itself was destined for classical roles. But it soon became obvious that her capabilities were truly limitless: she performed both classical and modern roles with equal brilliance.

The secret of Maximova’s success is that she continued to study all her life. The famous ballerina G. Ulanova passed on her rich experience to her. It was from her that the young ballet actress adopted the art of dramatic dance. It is no coincidence that, unlike many ballet actors, she played whole line roles in ballet television performances. Maximova’s unusually expressive face with big eyes reflected the most subtle nuances when performing comedic, lyrical and dramatic roles. In addition, she brilliantly performed not only female, but also male roles, as, for example, in the ballet performance “Chapliniana”.

Sergei Mikhailovich Lifar(April 2 (15), 1905 - December 15, 1986), Russian and French dancer, choreographer, teacher, collector and artist.

Sergei Lifar was born in Kyiv into the family of a prominent official; his mother came from the family of the famous grain merchant Marchenko. He received his primary education in his hometown, entering the Kiev Imperial Lyceum in 1914, where he underwent the training necessary for a future officer.

At the same time, from 1913 to 1919, Lifar attended piano classes at the Taras Shevchenko Conservatory. Having decided to devote his life to ballet, he entered the State School of Arts (dance class) at the Kyiv Opera in 1921 and received the basics of choreographic education in B. Nijinska’s studio.

In 1923, on the recommendation of the teacher, together with four of his other students, Lifar was invited to audition for the Russian Ballet troupe of S.P. Diaghilev. Sergei managed to pass the competition and get into the famous team. From that time on, the difficult process of transforming a novice amateur into a professional dancer began. Lifar was given lessons by the famous teacher E. Cecchetti.

At the same time, he learned a lot from professionals: after all, the best dancers in Russia traditionally came to Diaghilev’s troupe. In addition, not having his own ideas, Diaghilev carefully collected the best that was in Russian choreography and supported the searches of George Balanchine and Mikhail Fokine. Scenography and theatrical scenery were engaged famous artists Russia. Therefore, gradually the Russian Ballet turned into one of the best teams in the world.

A few years after the death of Maris Liepa, it was decided to immortalize five of his drawings in the form of medallions. They were made under the direction of the Italian master D. Montebello in Russia and are sold at evenings in memory of Liepa in Moscow and Paris. True, the first circulation was only one hundred to one hundred and fifty medallions.

After graduating from the Riga Choreographic School with V. Blinov, Maris Liepa came to Moscow to also study at the Moscow Choreographic School with N. Tarasov. After graduating in 1955, he never returned to his historical homeland and worked in Moscow almost his entire life. Here he received recognition from fans and his fame as an outstanding ballet dancer.

Immediately after graduating from college, Maris Liepa joined the troupe of the K. Stanislavsky Theater, where he danced the role of Lionel in the ballet “Joan of Arc,” Phoebus, and Conrad. Already in these games they showed main features his talent is a combination of excellent technique with vivid expressiveness of each movement. Job young artist attracted the attention of leading ballet specialists, and since 1960 Liepa became a member of the Bolshoi Theater team.

Matilda Feliksovna Kshesinskaya(Maria-Matilda Adamovna-Feliksovna-Valerievna Krzesinska) (August 19 (31), 1872 - December 6, 1971), Russian ballerina.

Matilda Kshesinskaya was petite, only 1 meter 53 centimeters tall, and the future ballerina could boast of her curves, unlike her thin friends. But, despite her height and somewhat overweight for ballet, the name of Kshesinskaya for many decades did not leave the pages of gossip columns, where she was presented among the heroines of scandals and “ femme fatales" This ballerina was the mistress of the last Russian Tsar Nicholas II (when he was still heir to the throne), as well as the wife of Grand Duke Andrei Vladimirovich. They talked about her as a fantastic beauty, and yet she was only unusually different. beautiful figure. At one time, Kshesinskaya was a famous ballerina. And although the level of talent was much inferior to, say, such a contemporary as Anna Pavlova, she still took her place in Russian ballet art.

Kshesinskaya was born into a hereditary artistic environment, which for several generations was associated with ballet. Matilda's father was a famous dancer and a leading artist in the imperial theaters.

Father became his first teacher youngest daughter. Following her older sister and brother, Matilda was accepted into the choreographic school, after which her long service in the imperial theaters began.

On the birthday of the Bolshoi Theater, which is traditionally celebrated on March 28, AiF.ru talks about the prima ballerinas who shine on the famous stage today.

Maria Alexandrova

Name People's Artist RF Maria Alexandrova on the poster is an undoubted guarantee of a full house. The ballerina entered the Bolshoi Theater back in 1997, becoming a first prize winner international competition. And almost immediately she moved from corps de ballet dancers to the rank of leading soloists. For 20 years now, no one can do without her participation. theater season. All prima heroines are owners of difficult characters, strong-willed and strong women. Today at the Bolshoi Theater you can see Alexandrova in the image of Ondine from “A Hero of Our Time” and in leading role"Giselle" in Grigorovich's edition.

Svetlana Zakharova

Svetlana Zakharova first performed on the stage of the St. Petersburg Mariinsky Theater, but at the height of her career she was not afraid to start over and move to the Bolshoi. Since 2003, the artist has been performing in Moscow, and in 2008 she even became a prima ballerina of the famous Milan theater La Scala. We can say that Zakharova managed to dance all the solo parts of cult ballets, including “Giselle”, “Swan Lake”, “La Bayadère”, “Carmen Suite”. But, despite her worldwide fame, the prima remains devoted to the Bolshoi Theater, and her last work is Mary in the ballet “A Hero of Our Time.”

Evgenia Obraztsova

Another former prima of the Mariinsky Theater, and since 2011 a star of the Bolshoi Theater, is Evgenia Obraztsova. An elegant, fragile girl is everyone’s ideal heroine romantic fairy tales, therefore, behind her are such gentle images as Sylphide, Giselle, Bayadère, Princess Aurora, Cinderella, Juliet. However, the ballerina does not seek to limit herself to a narrow role: the main thing for her is to dance in such a way that the audience believes what they see on stage. Obraztsova tours a lot and even stars in foreign films.

Ekaterina Shipulina

Ekaterina Shipulina is one of the most sought-after ballerinas in Russia today. After graduating from the Moscow State Academy of Choreography, she was accepted into the Bolshoi Theater troupe, where she managed to work with absolutely all the choreographers. Critics note Shipulina's desire for absolute precision in execution. The star's repertoire includes dozens of leading roles: Odette-Odile in Swan Lake, Esmeralda in Cathedral Notre Dame of Paris", Giselle in "Giselle". Today you can see Prima on the Bolshoi stage in the image of Ondine in the ballet “Hero of Our Time”.

Ekaterina Krysanova

The biography of this prima may surprise many, because Ekaterina Krysanova’s first education was not choreographic. At first, the famous ballerina studied at the Moscow Center for Opera Singing. Vishnevskaya and only after that she entered the Moscow Academy of Choreography. She did not immediately receive prima status, but after participating in the ballet “The Sleeping Beauty,” she once and for all became a favorite of audiences and theater critics. Last job Krysanova's roles at the Bolshoi Theater included Russian Seasons and the role of the Parisian ballerina Coralie in Lost Illusions.

Nina Kaptsova

Nina Kaptsova in 1996, immediately after graduating from the Moscow State Academy of Choreography, was accepted into the Bolshoi Theater troupe. She was an excellent student since childhood and was not used to working hard. The result of hard training is obvious: in 2011, Kaptsova received the title of prima of the Bolshoi. After which she consolidated her success with leading roles in the ballets: “Emeralds”, “Ivan the Terrible”, “Onegin”. Today the prima ballerina can be seen on the Bolshoi stage in the image of Marguerite Gaultier in “The Lady of the Camellias”, as well as in “Classical Symphony”.