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Performer of the main roles in ballet performances Nutcracker/Prince ( Nutcracker), Pan ( Walpurgis Night), Poet ( Chopiniana), Danila ( Stone Flower), Prince, Stepmother (Cinderella), Batyr (Shurale), Andrey ( Page of life), Basil ( Don Quixote), Albert (Giselle), Frondoso ( Laurencia), Spartacus ( Spartacus), Majnun ( Leyli and Majnun), Ivanushka ( The Little Humpbacked Horse), Parsley( Parsley), Icarus ( Icarus), Macbeth ( Macbeth), Prin Desiree ( sleeping Beauty), Narcissus ( Narcissus), Lukasz ( forest song), Paganini ( Paganini), Paul the First ( Second Lieutenant Kizhe), Romeo ( Romeo and Juliet), Ivan groznyj ( Ivan groznyj), Sergey ( Angara), Baron ( Parisian fun), Zorba ( Zorba the Greek), Nijinsky ( Nijinsky), Balda ( The Tale of the Pope and his Worker Balda), Petr Leontievich ( Anyuta), Professor Unrath ( blue angel); Chaikovsky ( Long journey on Christmas night); Nijinsky-Diaghilev ( Diaghilev-Musaget)
Vasiliev's professional path began in the fall of 1958 on the stage of the country's first theater, where he was accepted immediately after graduating from college.
Having entered the Bolshoi, he did not even think that he would become a classical dancer: he liked parties in which you can play a role, a character through dance. Therefore, he decided that his lot was characteristic and demi-character roles.
The first season in the theater began (if only for a couple of months) with work in the corps de ballet, the lessons of which Vasiliev always considered very useful in his development. Even then, his solo performance of ballet scenes in operas was noted: the lezginka in The Demon, the gypsy dance in The Mermaid. The latter with L. Trembovelskaya and I. Khmelnitsky had such a wild success with the audience that he had to be encore. Pan's performance in "Walpurgis Night" from Gounod's opera "Faust" (staged by L. Lavrovsky, 1958) next to his beloved ballerina Olga Lepeshinskaya struck with violent energy, furious, Bacchic frenzy: a brilliant grotesque dancer danced.
Until now, Vasilyev is perplexed why it was him, an inexperienced young man who came to the theater just a few months ago, that Galina Sergeevna Ulanova chose as her partner in the purely classical Chopiniana (1958). He himself, as often happened to him, was dissatisfied with his debut performance, but the honor and responsibility were great, and the beginning of the "classic" path was laid. It was Galina Sergeevna who would subsequently often direct him in the classical repertoire.
“Galina Sergeevna is a very demanding artist, very sensitive. With her work, what she once did, she left such an indelible mark on our perception that we treat every word that Galina Sergeevna says differently than the words of some other choreographer or dancer who reprimand us. Because her creative life passed before us, and the way she worked, how, what images she created on stage, she certainly affects our work. …. The most important thing that distinguishes Galina Sergeevna is an unusually complex inner world with a minimum of external expressive means. That's why her work is valuable to me personally. It has some kind of secrecy in the external plasticity and at the same time - an unusual internal fullness.
After "Chopiniana" there was the exquisite Prince in "Cinderella" by R. Zakharov (1959), the colorful Ali-Batyr in "Shural" by L. Yakobson (1960) and one of the most difficult, virtuoso parties - Paganini (1962) - to the music of S. Rachmaninov in the production of the same name by L. Lavrovsky.
In 1959, together with a group of talented Soviet youth, Vladimir Vasiliev took part in the World Festival of Youth and Students in Vienna, where he received the 1st Prize and the Gold Medal.
In the senior class of the school, fate brought Vasilyev to a wonderful person and an interesting choreographer, an outstanding personality Kasyan Yaroslavovich Goleizovsky, who became Vasilyev's close friend and teacher, who opened so much new and beautiful to the inquisitive young man not only in the art of dance, but also in literature, history, painting, sculpture . Vasilyev had previously been friends with many artists, visited their workshops, studied painting with them, began to paint his own paintings, and thanks to Goleizovsky he also became interested in sculpture.
Friendship with this most interesting choreographer and person gave Vasiliev several unforgettable works, staged especially for him. With the famous “Narcissus” to the music of N. Cherepnin (1960), he performed at the first International Ballet Competition in Varna in 1964, where he and Katya were literally sent by order of the Ministry of Culture in the person of E. Furtseva (Vasiliev never again participated in ballet competitions). participated), and although he pulled out the number 13 during the draw at the competition, he won the Grand Prix. Since then, the Grand Prix at this most prestigious world show has not been awarded to anyone for more than half a century.
In the same 1964, the Paris Academy of Dance presented him with the Vaslav Nijinsky Prize "The Best Dancer in the World".
And “Narcissus” was later performed by other artists to whom Vasilyev gave this number, but no one else managed to create that image of primordial nature, the “childhood of mankind”, the complete merging of man with nature, which the choreographer sought, with such expressive power.
Other works with Goleizovsky are the lyrical Fantasia (1960) to the music of S. Vasilenko, the grotesque part of the Jester in a scene from the ballet A Tale for the Jester Who Outwitted Seven Jesters in a documentary film about Sergei Prokofiev (1960), and, of course, a unique image Kais/Majnun in the oriental tale-legend about extraordinary and tragic love "Leyli and Majnun" by composer S. Balasanyan (1964). In this ballet, two scenes "Majnun's Monologue in the Desert" and an adagio with Layla became especially dear to Vasilyev. And today, many decades later, in these scenes, accidentally captured on film, the beauty of the “singing” human body, the flow of freely flowing plastic melodies and the “oriental flavor” of Vasilyev’s dance are striking. It contains an amazing combination of agonizing bliss and refinement with sudden outbursts of despair that tear apart the body. The dance is performed at such a crazy pace that the viewer invariably has a question: “Is this a speeded up shooting?”. Indeed, it is hard to believe that such perfection is possible in the dancer's comprehension of the sophisticated plastic form and complex, peculiar style proposed by the choreographer.
Goleizovsky often recalled the ballet idols of his time, and, above all, the legendary Nijinsky, whom he knew and loved well. Comparing Vasiliev with them, he nevertheless put him above everyone else, marveling at his originality and the scale of his talent.
In his article about K.Ya. Goleizovsky, Vasiliev noted: “ I am indebted to many people with whom my creative destiny has brought me together. But there were two people who had a huge impact on my creative outlook. These are choreographers Kasyan Goleizovsky and Yuri Grigorovich».
The meeting at the end of the fifties of the outstanding choreographer Yuri Grigorovich and the unique dancer Vladimir Vasilyev is probably one of the lucky destinies of the fate of both Masters. Grigorovich immediately noticed what an immense range of possibilities, equal in both technique and artistic embodiment, this performer is endowed with. And in his very first production at the Bolshoi Theater - the ballet "Stone Flower" by S. Prokofiev (1959), the choreographer gives Vasilyev the main role. E. Maksimova (Katerina) and M. Plisetskaya (Mistress of the Copper Mountain) became his partners Danila. The Bolshoi included this performance in the program of his first tour to the USA in 1959. For the 19-year-old artist, they also became the first - in life. And, although there were many of the most eminent masters on the tour, New York noted his extraordinary talent and charm from the very first performances.
The role of the folk craftsman and artist Danila in The Stone Flower, as well as the role of Ivanushka in R. Shchedrin's subsequent ballet The Little Humpbacked Horse staged by A. Radunsky (1960), of course, was close to Vasiliev in its Russian style and character. His "Yesenin" appearance, "typification" perfectly matched the image of the hero of Russian fairy tales and legends. But, if in the role of Ivanushka the dancer bathed in the elements of humor, mischief, the bright colors of the Russian popular print, then in the role of Danila Vasiliev danced his selfless devotion, his ardent love for art. Surprisingly sensitively, Vasiliev captured the plastic Russian intonations in classical dance, which was especially clearly manifested in his Petrushka (1964). This “Russianness”, or rather natural breadth and unique national thoroughbredness, really marked the performing style of the first dancer of the 20th century. But very soon it became obvious that "Russianness", without losing its leading, main place in its individual characteristics, bloodlessly and naturally converged with artistic cosmopolitanism. In each new performance, Vasilyev presented on stage the truth that transcended temporal and national boundaries, lived above the limits of roles, swept away all genre restrictions and the boundaries of plastic systems. The patriarch of Russian ballet Fyodor Lopukhov wrote very emotionally about this: “ Speaking of the word "God" in relation to Vasiliev, I mean ... a miracle in art, perfection ... By diversity, he cannot be compared with anyone ... He is both a tenor and a baritone, and if you want, a bass.". Later, Serge Lifar echoes this quote by Lopukhov, calling Vasiliev " magician of Russian ballet».
In 1966, Grigorovich invited Vasiliev to play the lead role in his production of The Nutcracker. Vasiliev's childhood and youth, his growing up in the choreographic school, were connected with this ballet by another choreographer V. Vainonen. He started in it with soldiers, then performed in all folk dances, and only at graduation he was entrusted to dance the main part with the charming Katya Maximova.
The joint creative life of these two young talents in the theater began to develop with the ballets of Yuri Grigorovich, an innovative choreographer, whose arrival they both warmly welcomed at the Bolshoi, and with whom they were close friends and like-minded people for a long time. Vasiliev always felt subtly what the choreographer wanted from him, rethinking what the director offered him and constantly being with him in a creative search, constantly improvising and trying and suggesting new movements, shades and strokes of the role.
The improvisational impression of Vasiliev's dance has always been one of his most important traits as a performer, one of the "secrets" of his influence on the audience.
With Grigorovich of that "golden" time of the Bolshoi, he felt a spiritual and creative community. The Nutcracker was probably the brightest performance in the work of both the choreographer and its main performers: the fragile and tender atmosphere of a Christmas fairy tale created by them is so tangible in it. The Nutcracker Vasiliev, according to the choreographer, is “an ideal fairy-tale hero – a touching doll and a poetic prince, courageous and courageous, and, as befits a true prince, truly elegant.”
It was The Nutcracker with Maximova and Vasiliev in the main roles on tour of the Bolshoi Theater in 1966 that closed the old building of the Metropolitan Opera in New York.
In The Nutcracker, Vasilyev twice received a severe back burn: first at the Bolshoi in 1968 during a steam effect, and then in the same scene at the Metropolitan Opera, but with the use of chemicals. Both times Vasiliev brought the performance to the end, and in the auditorium no one suspected what it cost him!
However, in Vasiliev's professional life there were other stories as examples of the endurance and courage of the first soloist of the Bolshoi, which he had to show more than once during his performing career. Periostitis of the bones manifested itself in him from the first steps in the theater, when every movement was given with incredible pain Vasilyev overcame it only through patience and perseverance. A torn minisk, when only thanks to strong muscles he danced "Giselle" with A. Alonso and three "Don Quixote". Already on the operating table, the doctors could not believe that this was possible. And the torn ligaments on the encores in France, when he fell on the stage like a wreck. - these are just a few of the difficulties of the ballet profession that this audience favorite overcame day after day, often dancing through incredible pain that no one should have seen. Even with the most difficult injuries, he went on stage and danced, not daring to deceive the audience's expectations.
A new version of The Sleeping Beauty was staged by Grigorovich for this duet in 1973. Again - an unexpected turn, because, it would seem, the party of the gallant French prince is far from Vasiliev's individuality. He generally disliked the "blue" princes: the sphere of ceremonial pantomime gestures was far from his creative aspirations. In addition, he always believed that his physical data was not very suitable for such roles. His figure, built rather according to Leonardo's scheme - proportional, with developed male muscles, is seen in the sculptural works of old Italian masters or in ancient images of dancing gods. Fedor Lopukhov wrote about it this way: Vasiliev remains a man in his dances, .. graceful like a man and graceful like a man ... He is powerfully beautiful in dance, like the creations of Michelangelo».
So it was in this version of Sleeping Beauty, where a joint search for a choreographer and a dancer led to the creation of an innovative image of the Prince - a lively young man who differed from the prim and palace stamp and at the same time organically fit into the drawing of the role.
In "Giselle" (1964), Vasiliev did not immediately come to the solution of the image of the protagonist. His Albert did not become a scoundrel, as he was seen by other performers of that time - rather, an unreasonable, inexperienced young man who did not think about the consequences of his actions. His interpretation of this role, shown in 1968 in Rome, made a splash. It was this version that later spread widely in the world.
G.S.Ulanova persuaded Vasilyev to dance Romeo in Lavrovsky's play (1973). The legendary Juliet of the ballet stage and Maximova's teacher helped him to prepare the performance. The nuances of the acting and plastic performance of this part, found by them together, presented the viewer not only with a boy in love, but also showed the process of his spiritual growth and maturation, the versatility of his nature.
« Then there was an absolutely marvelous teacher, tutor and himself - a terrific actor, the initiator of a heroic dance on the Soviet ballet stage - Alexei Nikolaevich Ermolaev.
Aleksey Nikolaevich Ermolaev was distinguished by one quality - he was not interested in whether we would do the pirouette accurately or not. Or rather, he ... believed that every dancer, a professional dancer, is simply obliged to do two rounds or three, if necessary, from fifth position to fifth. It goes without saying. But he always paid attention at his rehearsals - and it was very interesting - to the circumstances, everyday details and the meaning of what we are doing. That was very valuable." (from the memoirs of V.V. Vasiliev)
And yet the most revolutionary in the work of this remarkable artist was destined to be the ballet Don Quixote (1962), prepared together with his teacher, the famous dancer of the Bolshoi Theater Alexei Ermolaev. Vasiliev's performance of the part of Basil presented the ballet world with a new, revised edition, with newly invented movements and mise-en-scenes. This choreographic version of the role so successfully and firmly entered the fabric of this already “middle-aged” performance that it began to be considered canonical all over the world. In his article about Vladimir Vasiliev, Yuri Grigorovich described this event as follows:
« 1962 ... Everyone who is somehow connected with ballet, with the art of choreography, remembered him. In May of this year, Vladimir Vasiliev performed for the first time in the ballet Don Quixote, and I will not be mistaken if I say that he opened a new era in the history of male classical dance ... He created a new standard, which has become a classic in our country, and in everything the world. Basil Vasilieva created completely new criteria not only for Don Quixote, but also for male dance in general».
A year after Vasiliev's premiere in Don Quixote, another famous destroyer of the old canons in the ballet, Vakhtang Chabukiani, gave him one of his favorite parts - Frondoso in the ballet Laurencia (1963).
Of course, the revolution made by Vasiliev in the male dance of the second half of the last century cannot be called a single act: there were predecessors, and comrades-in-arms, and “followers” who independently manifested themselves. But it was Vasilyev who was recorded in the history of ballet as the first and main innovator: he rethought everything new that happened on the territory of the dance of that time in accordance with his ideas about the choreographic theater; I believed everything by my own attitude to art.
By the mid-60s, Vasiliev's God-given talent had already acquired a magnificent facet, turning his dance into a celebration of human plasticity in all its diversity. It had everything: irresistible charm, organicity, musicality, expressiveness combined with virtuoso technique, striking with an incredible soaring jump with an instant take-off and inaudible softness of landings, the beauty of pirouettes and the ease of the most complex lifts. Is it really possible to describe Vasiliev's "borderless dance" in words?!! Pavel Gusev, the most authoritative in the ballet world, drew his conclusion: “ A bright and powerful master, Vladimir Vasilyev "rules the ball" at the Bolshoi Theater. It is impossible to dance better than him, just like him it is difficult, and worse, it is pointless!»
The special, unique plastic expressiveness of Vasiliev's hands, in which either incredible masculine strength and power, or almost childish tenderness and timidity, will remain unforgettable! It was as if they were sung about in a song: “like two big birds” - their swing was such a bewitching sight. Vasiliev soared over the stage with his arms wide open, and it seemed that he could embrace all of humanity with them. Ballet critics called these hands "Versailles", and in form they are an exact cast of the father's large working hands. But their endless cantilena created the feeling of incredibly long, boundless lines. The audience saw the artist covering the huge stage of the Bolshoi, although in life Vasiliev was not a giant. But it is the illusion, in which one unconditionally believes, that creates real art, the art of theater in particular.
Vasiliev gave this illusion to his audience in many bright and unique roles. And yet the world still associates his name with the image of the rebellious Roman gladiator in Yuri Grigorovich's ballet "Spartacus" (1968), which has become, without exaggeration, a cult. The choice of the main character was apparently not an easy task for the choreographer. For Vasiliev himself, this proposal was unexpected: in previous productions by I. Moiseev and L. Yakobson, the role of Spartacus was played by tall and stately artists of a heroic role, to which he himself was not very suitable. But the dancer was instantly carried away by the idea proposed by the choreographer, and this choice became truly historic. According to the definition of A. Messerer: “ at the age of twenty-eight, Vasiliev made a role that immediately got into the "selected series, which has general cultural and timeless significance.". For many generations of ballet lovers in Russia, Vasilyev became “our Spartacus” not only on stage: the will and desire to win, courage and perseverance in the name of justice and happiness, embodied by him in the performance, inspired people in life to overcome any obstacles and difficulties for the sake of cherished goal. The legendary Italian ballerina, also a partner of Vasiliev, Carla Fracci wrote about him: “ Vladimir Vasiliev is a symbol for the generation that grew up with him. The embodiment of a beautiful dream».
Ironically, it was Spartak that became the apogee in the creative community of Yuri Grigorovich and Vladimir Vasiliev. As is often the case, having reached the highest point, their relationship, both in creativity and in life, began to decline. Vasiliev has always been a principled and straightforward person. Straightforwardness was a natural state for Vasiliev. There was no ulterior motive or built-in strategy in the fact that he criticized several of Grigorovich's "post-Spartak" works at the Artistic Council of the theater. He then sincerely believed that it was not only possible, but also necessary, without hiding, to speak openly the truth “in the eyes” of everyone, even the chief choreographer and especially a friend. Such criticism, in his simple-hearted conviction, should have helped and benefited the common cause. Naturally, she strongly touched Grigorovich to the quick. He perceived and regarded it differently, and after the production of Ivan the Terrible, the part of which Vasilyev had already prepared with Galina Ulanova (1975), and the ballet on the Soviet theme Angara (1976), there was a final break, painful for both: their paths diverged forever .
Fate decreed that Vasiliev never had a “creative void”. In 1977, a master appeared in his life, whom he had always admired. The famous choreographer Maurice Bejart staged "Petrushka" on it in his troupe "Ballet of the 20th century". Working with Bejart carried a lot of new and interesting things. The original artistic vision of this unique choreographer opened up new horizons for Vasiliev in the art of choreography. In 1979, Bejart gave him and Katya a duet of extraordinary beauty and plasticity from his ballet "Romeo and Julia" to the music of G. Berlioz, which they performed on the set of the film "White Nights". The great choreographer admitted in an interview that he had never met such a dancer before, who “ combines everything: virtuosity, technique, dramatic talent, versatility and power».
Each performance of Vasiliev, regardless of its geographical location, was unique and unforgettable, each invariably gave birth to an increasing number of fans around the world, many of whom followed him on all his foreign trips. From role to role, from ballet to ballet, Vasiliev created the image of a dancer of the world, which no one will be able to repeat or recreate after he left the stage for a long time to come.
Short, but interesting and fruitful was the work of Vasiliev and Maximova with the famous Italian director, a student of Visconti, Franco Zeffirelli in 1982 in the film-opera La Traviata. Their meeting took place thanks to a friend - the English lady Saint Just, nee Princess Obolenskaya. To the question of her friend Zeffirelli, whom he could invite as the best ballet couple in the world, she exclaimed: "How, don't you know? Of course, Katya and Volodya! True, Vasilyev did not like the choreography originally proposed for the film, and he decided to abandon filming. But, having received "carte blanche" from Zeffirelli, he changed the choreographic pattern of the Spanish dance, staging it in his own way, and together with Maximova brilliantly performed to the pleasure of the exacting Italian master. The applause and enthusiastic exclamations of the choir and mimams on the set after their performance is not a specially invented scene built by the director, but just a spontaneous, sincere reaction of the audience, successfully included in the film.
In 1987 Vasiliev was invited by Roland Petit to play the lead role in The Blue Angel with the Marseille Ballet Company. The performances in Paris were a great success.
The premiere of Lorca Massine's production of Zorba the Greek (1988) to the music of M. Theodorakis with Vasiliev in the title role at the grandiose Verona Arena made a splash. The audience, who filled the square near the walls of the ancient Arena after the performance, chanted “Zorba!” to him. For Italy, which for more than thirty years provided Vasilyev with its best stages and arenas, Vasilyev forever remained "Il Dio della Danza". He was recognized everywhere, bowed in the streets, held photo exhibitions, vied with each other invited to participate in a variety of events and projects.
In addition to his constant partner, Vasiliev danced with other outstanding ballerinas, such as Maya Plisetskaya, Raisa Struchkova, Marina Kondratieva, Nina Timofeeva, Irina Kolpakova, Alicia Alonso, Carla Fracci, Noella Pontois, Josephine Mendez and others. It was easy and reliable for his partners on stage - they loved to perform with him - there were legends about his ability to "hold" a ballerina. With Alicia Alonso, he danced only once at the request of the ballerina herself. It was Giselle at the Grand Theater of Havana (1980). Despite Vasiliev's injury, which, of course, was known only behind the scenes, his performance shocked the Cuban public. With the wonderful Italian ballerina Carla Fracci, Vasiliev danced Giselle a lot throughout Italy. In a gala performance at La Scala in honor of the great Charlie Chaplin, they danced the pas de deux from Giselle. Later, with Carla Fracci, they performed together in the play Nijinsky (1984) at the San Carlo Theater and Diaghilev-Musagete at the Rome Opera (2009) directed by B. Menegatti.
Unemployed, and in 1988 completely dismissed from the Bolshoi Theater, Maksimova and Vasiliev toured extensively in the USA, France, Italy, Argentina with a group organized and for which the choreographer V. Vasiliev created his repertoire. As a guest star, he performed with the Kirov Theater and MALEGOT, the Perm Theatre, the Polish Ballet, as well as the Kremlin Ballet, the formation of which Vasiliev significantly contributed to by staging for him, with the support of the French company Nina Ricci, the lyrical, full of humor ballet Cinderella ( 1991), where he performed for the first time in the female part of the Stepmother (Cinderella was brilliantly performed by Ekaterina Maksimova).
Ironically, this Russian dancer, who glorified the art of his homeland, performed his last classical performance on the American stage of the Metropolitan Opera in 1990 with the troupe of the American Ballet Theater. About this last "Giselle" by Vasiliev and Maximova, the New York Times wrote: heartfelt and emotional performance... Their performance, filled with deep romanticism, became a real event».
On April 18, 2000, a grandiose gala concert was held at the Bolshoi Theater in honor of Vasiliev's anniversary, which brought together the entire cultural elite of Moscow, and foreign guests arrived. For this event, an exhibition of his paintings was arranged in the White Foyer of the theatre, commemorative silver and bronze medals depicting the legendary flying Spartak-Vasilyev (sculptor F. Feveysky), a collection of his poems "The Chain of Days" and "Encyclopedia of a Creative Personality - Vladimir Vasiliev" were issued . The idol of many generations of ballet lovers performed for the last time on his native stage as an artist - he danced Sirtaki from the ballet Zorba the Greek, which has never been seen in Moscow. At 60 years old, he was still the same great dancer and artist, able to capture and captivate any audience.
But he will still take the stage as a dancer and dramatic actor. This opportunity will be given to him by the Rome Opera and director Beppe Menegatti in the performances "A Long Journey into Christmas Night" in 2000 (the role of Maestro-Tchaikovsky) and "Diaghilev-Musaget" (double role of Nijinsky and Diaghilev) in 2009. After the departure of Katya Maximova from life confessional and tragic will be his performance of Chopin's "Ballad" dedicated to her in his own production in the New York City Center, and then in Perm, Voronezh and Donetsk in 2010.
Here is how the well-known theater critic S. Korobkov wrote about this performance of Vasiliev's "Ballads" (with D. Khokhlova):
“A handsome and flexible man, in whom nature has preserved both his posture and habit, by the power of his gift and the flight of his thought, he expanded the space of the theater to cosmic expanse. Lightly supporting the young ballerina and barely touching her face, he prolonged the moments of important dialogue, as Chopin prolonged his pianisticbrio, dreaming of penetrating the secrets of the universe and accepting new souls into their world of ever-elusive beauty. The magic of Vasiliev's confession snatched from memory the great artistic images of the century in which he was formed as an artist, and confirmed the commonality - personal and artistic - of great artistic natures. Here, in addition to the world of Vasiliev, a parallel world was also formed: from the mysteries of Hamlet by John Gielgud, from the piercing glances of Othello Laurence Olivier, from the subtle spiritual movements of Marlon Brando, from the melody of the paintings of Bergman and Fellini. All those who sooner or later stopped hiding themselves behind the character and dared to speak for themselves, who dared to confess their era.
Vasiliev was remembered for the same heartfelt performance in the second issue dedicated to Maximova “Smile” for the song by Ch. Chaplin (in Spanish by M. Jackson) at the gala evening at the Bolshoi Theater “And all that is done by you. Dedicated to Ekaterina Maksimova" in 2014.
Ballet lovers still called Vasilyev wonderful when he appeared as Natasha Rostova's father in a short miniature "Natasha Rostova's First Ball" at the opening ceremony of the Winter Olympic Games in Sochi in 2014 (choreographer R. Poklitaru).
Ballet dancer, choreographer and teacher.
Honored Artist of the RSFSR (11/11/1964).
People's Artist of the RSFSR (1969).
People's Artist of the USSR (1973).
Wife - Maksimova Ekaterina Sergeevna, an outstanding ballerina, teacher, People's Artist of the USSR, laureate of the State Prizes of the USSR and Russia.
In 1947, young Volodya Vasiliev happened to be in the classes of the choreographic circle of the Kirov House of Pioneers. The teacher Elena Romanovna Rosse immediately noted the boy's special giftedness and invited him to study in the senior group. The following year, he studied at the city's Palace of Pioneers, with whose choreographic ensemble in 1948 he performed for the first time in a concert on the stage of the Bolshoi Theater - these were Russian and Ukrainian dances.
In 1949, Vasiliev was admitted to the Moscow Academic Choreographic School in the class of E. A. Lapchinskaya. In 1958 he graduated from college in the class of M. M. Gabovich, the famous premier of the Bolshoi Theater. The professional look of Mikhail Markovich accurately noted the characteristic feature of the student's dance: "... Volodya Vasiliev dances not only with his whole body, but with every cell of it, with a pulsating rhythm, dancing fire and explosive power." Already in the years of study, Vasiliev impressed with a rare combination of expression, virtuoso technique with an undoubted acting talent, the ability to transform. At the graduation concert, he not only danced the traditional variations and pas de deux, but also created a deeply tragic image of the 60-year-old jealous Giotto in the ballet Francesca da Rimini. It was about this role that the prophetic words of the MCU teacher Tamara Stepanovna Tkachenko were spoken: “We are present at the birth of a genius!”
August 26, 1958 Vladimir Vasilyev was accepted into the ballet troupe of the Bolshoi Theater. He graduated from the school as a demi-character dancer and did not even think about dancing the classics. And initially he really had characteristic roles in the theater: a gypsy dance in the opera "Mermaid", a lezginka in the opera "Demon", Pan in the choreographic scene "Walpurgis Night" - the first big solo part. However, there was something in the young dancer that drew the attention of the great Galina Ulanova to him, and she invited him to be her partner in the classical ballet Chopiniana. Galina Sergeevna will become a friend, teacher and tutor of Vasiliev for many years and will have a huge impact on the professional and spiritual formation of the artist.
I believed in his talent and choreographer Yuri Nikolaevich Grigorovich, who then just came to the theater. He offered
The 18-year-old graduate of the school played the central part in his production of S. S. Prokofiev's ballet "The Stone Flower", in which Vasilyev immediately won the love and recognition of the audience and critics. Other major parts of the modern and classical repertoire followed.
The choreographers not only offered Vasiliev the main roles, but also staged them especially for him. He was the first performer of the solo part in the Dance Suite (staged by A.A. Varlamov, 1959), the part of Ivanushka in R.K. Shchedrin's "Humpbacked Horse" (staged by A.I. Radunsky, 1960), Slave in "Spartacus" by A.I. Khachaturian (staged by L.V. Yakobson, 1960, 1962), Lukash in G.L. Zhukovsky (staged by O.G. Tarasova and A.A. Lapauri, 1961), Soloist in the “Class Concert” (staged by A.M. Messerer, 1963), Petrushka in the ballet by I.F. Stravinsky's "Petrushka" (staged by K.F. Boyarsky after M.M. Fokin, 1964), performed by Batyr in "Shural" F.Z. Yarullin. In each new work, Vasiliev refuted the established opinion about his abilities as an artist and dancer, proving that he really is an “exception to the rule”, a person who can embody any image on stage - from the classical ballet Prince, and the hot Spaniard Basil, and the Russian Ivanushka, and a madly in love eastern youth, and a powerful people's leader, and a bloody despot king. This has been repeatedly said by both critics and his colleagues in art. The legendary M. Liepa, People's Artist of the USSR, premiere of the Bolshoi Theater, owns the following statement: “Vasiliev is a brilliant exception to the rule! He has a phenomenal talent in technique and in acting, and in the possession of a dance phrase, and in musicality, and in the ability to transform, etc.” And here is what F.V. Lopukhov, patriarch of the Russian ballet: “In terms of diversity, he cannot be compared with anyone ... He is both a tenor, and a baritone, and, if you like, a bass.” The great Russian choreographer Kasyan Yaroslavich Goleizovsky singled out Vasiliev from all the dancers he had ever seen, calling him "a real genius of dance." Back in 1960, Goleizovsky created specially for him the concert numbers "Narcissus" and "Fantasy" (for Vasilyev and E.S. Maksimova) and in 1964 - the part of Majnun in the ballet S.A. Balasanyan "Leyli and Majnun".
Almost all performances of the best period of Yu.N. Grigorovich is also associated with the name of Vladimir Vasiliev, who was the first performer of the central parts in his productions. However, gradually between V. Vasilyev and Yu. Grigorovich there was a serious difference in creative positions, which grew into a conflict, as a result of which in 1988 V. Vasilyev, E. Maksimova, like a number of other leading soloists, were forced to part with the Bolshoi Theater.
During his creative career, Vasilyev performed many and with great success abroad - at the Grand Opera, La Scala, the Metropolitan Opera, Covent Garden, the Roman Opera, the Colon Theater, etc. e. The phenomenon of Vladimir Vasilyev has always attracted outstanding figures of the foreign theater: Maurice Bejart staged his own version of the ballet by I.F. Stravinsky's "Petrushka" ("Ballet of the XX century", Brussels, 1977). Later, at concerts, Vasiliev, together with Maximova, repeatedly performed a fragment from his ballet Romeo and Julia to the music of G. Berlioz. In 1982, Franco Zeffirelli invited him and Ekaterina Maximova to take part in the filming of the film-opera La Traviata (Spanish dance - staging and performance). In 1987, Vasilyev performed the role of Professor Unrat in Roland Petit's production of The Blue Angel to the music of M. Constant (Marseilles Ballet). The year 1988 was marked by the first performance of the main role of Zorba in Lorca Myasin's production of Zorba the Greek to music by M. Theodorakis (Arena di Verona), as well as the first performance of the main parts of Leonid Myasin's one-act ballets Pulcinella by I.F. Stravinsky (Pulcinella) and "Parisian Joy" to music by J. Offenbach (Baron) in the revival of Lorca Massine at the San Carlo Theater (Naples). In 1989, Beppe Menegatti staged the play "Nijinsky" with Vasilyev in the title role (San Carlo Theatre). Vasiliev's performances (and later his ballets) have always aroused a special attitude of the public - the French called him the "god of dance", the Italians carried him in their arms, in Argentina after the premiere of his production to the music of Argentine composers "Fragments of a Biography" he simply became a national hero and honorary a citizen of Buenos Aires, the Americans named him an honorary citizen of the city of Tucson.
In addition to Ekaterina Maksimova, Vladimir Vasilyev’s constant partner, whom he always called his Muse, such famous ballerinas as Galina Ulanova, Maya Plisetskaya, Olga Lepeshinskaya, Raisa Struchkova, Marina Kondratieva, Nina Timofeeva, Natalya Bessmertnova, Irina Kolpakova, Lyudmila danced with him Semenyaka, Alicia Alonso and Josefina Mendez (Cuba), Dominique Calfuni and Noel Pontois (France), Liliana Cosi and Carla Fracci (Italy), Rita Pulward (Belgium), Zsuzsa Kuhn (Hungary).
The incredible virtuosity of the dancer, plastic expressiveness, exceptional musicality, dramatic talent, depth of thought and tremendous power of emotional impact have revealed a new type of modern ballet dancer, for whom there are no technical difficulties, no restrictions on role or plot. The standards of performance declared by Vasiliev remain largely unattainable until now - for example, the Grand Prix of the International Ballet Competition, which he won in 1964, was never awarded to anyone at subsequent competitions. Fedor Vasilievich Lopukhov wrote: "... When I say the word "God" in relation to Vasilyev... I mean a miracle in art, perfection." Vasiliev is rightfully considered a reformer of male dance, an innovator, with whom his highest achievements are associated. It is natural that at the end of the 20th century, according to a survey of the world's leading experts, it was Vladimir Vasilyev who was recognized as the "Dancer of the 20th century."
While still in the prime of his performing arts, Vasiliev feels the need to more fully realize his creative potential and turns to choreography. His ballet debut was the ballet "Icarus" by S.M. Slonimsky on the stage of the Kremlin Palace of Congresses (1971 - 1st edition; 1976 - 2nd). Already in the first work, the distinctive features of Vasiliev's choreographic style are manifested - extraordinary musicality and the ability to reveal the subtlest shades of human feelings in plastic. Not limiting himself to only one genre, in the future he staged chamber ballet evenings in which everything is determined by music and the development of feelings, and not by a specific plot: “These enchanting sounds ...” (to the music of W. A. Mozart, G. Torelli, A. Corelli and J.F. Rameau, Bolshoi Theater, 1978; filmed on TV in 1981), “I want to dance” (“Nostalgia”) to piano music by Russian composers and “Fragments of a biography” to the music of Argentinean composers (Concert Hall "Russia", 1983; filmed on TV in 1985); embodies literary works on the stage: "Macbeth" (K.V. Molchanov, Bolshoi Theater, 1980; in 1984, a television recording of the play was made); Anyuta (based on A.P. Chekhov’s story “Anna on the Neck” to music by V.A. Gavrilin; San Carlo Theater, Bolshoi Theater, 1986), Romeo and Juliet (S.S. Prokofiev, Musical Academic Theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko, 1990, Lithuanian Opera, 1993, Latvian Opera, 1999), Cinderella (S. S. Prokofiev, Kremlin Ballet Theatre, 1991), Balda ( based on the fairy tale by A. S. Pushkin to music by S. S. Prokofiev, Bolshoi Theater, 1999); offers his vision of classical ballets: Don Quixote (American Ballet Theatre, 1991, Kremlin Ballet, 1994, Lithuanian Opera, 1995), Swan Lake (SABT, 1996), Giselle (Rome Opera, 1994; SABT, 1997 ), Paganini (Teatro San Carlo, 1988, Bolshoi Theater, 1995, Teatro Argentino, 2002).
At different times, he puts on concert numbers and choreographic miniatures: "Two", "Classical pas de deux", "Russian", "Two German dances" and "Six German dances", "Aria", "Minuet", "Waltz ”, “Caruso”, “Jester”, “Petrushka”, “Elegy”, “Overture on Jewish Themes”, “Syncopes”, etc .; large choreographic compositions to the music of P.I. Tchaikovsky and Overture to the opera "Ruslan and Lyudmila" by M.I. Glinka. Vasiliev considers the most important thing in his work to be the desire to convey to the viewer what he feels in music, to make the dance tangible, to achieve a fusion of thought and feeling that can emotionally capture and captivate the viewer. Vasiliev's productions are enthusiastically received by the public, especially those where he and Ekaterina Maksimova perform the central parts - Icarus and Eola, Macbeth, the Soloist in Charming Sounds, Anyuta and Peter Leontievich, Cinderella and the Stepmother, the heroes of Nostalgia and Fragments of a Biography ". Currently, ballets staged by Vladimir Vasilyev are performed not only on the stage of the Bolshoi Theater, but also in 19 other theaters in Russia and around the world.
Vasiliev's creative interests extend to other areas of art - he acts as a dramatic actor in the feature films "Gigolo and Gigoletta" (Sid, 1980), "Fuete" (Andrey Novikov, Master, 1986), in the oratorio film "The Gospel for the Evil One" (central roles, 1992); here, just as in the original TV ballets Anyuta (Pyotr Leontievich, 1982) and Road House (Andrey, 1983), he acts not only as a performer, but also as a choreographer and director. Vasiliev staged operas: the opera-ballet "Takhir and Zukhra" to the music of T.D. Jalilov (A. Navoi Theatre, Tashkent, 1977), requiem “Oh, Mozart! Mozart..." to music by V.A. Mozart, A. Salieri, N.A. Rimsky-Korsakov (New Opera Theatre, Moscow, 1995), La Traviata by G. Verdi (SABT, 1996) and choreographic scenes in the operas Aida by G. Verdi (Rimskaya Opera, 1993, Arena di Verona, 2002) and "Khovanshchina" M.P. Mussorgsky (GABT, 1995).
Interesting experiments will be his work on the dramatic stage: the choreography of the fairy tale-comedy "The Princess and the Woodcutter" at the Sovremennik Theater (1969) and the rock opera "Juno" and "Avos" at the Lenkom Theater (1981), directing and choreography musically - dramatic compositions "The Tale of the Pope and his worker Balda" (Concert Hall named after P.I. Tchaikovsky, 1989), "The Artist Reads the Bible" (Museum of Fine Arts named after A.S. Pushkin, 1994).
Vasiliev is also interested in pedagogical activity. In 1982, he graduated from the choreographic faculty of GITIS with a degree in choreography and began teaching there from the same year. From 1985 to 1995 Vasiliev was the head of the department of choreography at GITIS (RATI). In 1989 he was awarded the academic title of professor.
In 1995, by Decree of the President of the Russian Federation V.V. Vasilyev was appointed Artistic Director-Director of the Bolshoi Theatre. Vasiliev managed to bring the theater out of the difficult crisis state in which it was in those years. A modern contract system was approved; the traditions of benefit performances were revived: corps de ballet, choir and orchestra; the theater's own video studio and the release of a regular cycle of programs on the Kultura TV channel were organized; a press service was created and the Bolshoi Theater's official website was opened on the Internet; expanded publishing activities (including the appearance of a periodical edition of the glossy magazine "Bolshoi Theater"); preparations have begun for the reconstruction of the theater, incl. construction of its branch; organized the School of Classical Dance of the Bolshoi Theater in Brazil; many charity events were held, as well as evenings and gala concerts, directed in many cases by Vasiliev himself (a concert dedicated to the 850th anniversary of Moscow in the Kremlin, a unique New Year's ball at the Bolshoi 2000), and much more. Every year, the theater hosted premieres that made it possible to rally the creative potential of the troupe, including with the participation of outstanding foreign masters: Peter Ustinov, Pierre Lacotte, John Taras, Susan Farrell, Hubert de Givenchy, and others. theater. Newspapers wrote: "The triumphant return of the Bolshoi" (Daily Gerald), "Again the great Bolshoi" (Financial Times).
In September 2000, Vasiliev was relieved of his post "in connection with its abolition."
Vladimir Vasilyev actively cooperates with many theaters of the country and the world, heads and participates in the work of the jury of various international ballet competitions, gives master classes, rehearses, prepares new performances and roles. At the end of 2000, the premiere of the play "Long Journey to Christmas Night" about P.I. Tchaikovsky (director B. Menegatti), in which the main role was played by Vladimir Vasiliev, and in 2001 - the premieres of Vasiliev's productions of Don Quixote in the Tokyo Ballet troupe (Japan) and Cinderella in the Chelyabinsk Opera and Ballet Theater, in 2002 - production of the ballet "Romeo and Juliet" at the Municipal Theater of Rio de Janeiro.
Heading the Galina Ulanova Foundation since 1998, Vasiliev stages and conducts the annual gala concerts "Dedicated to Galina Ulanova" (Novaya Opera, 2003, Bolshoi Theater, 2004 and 2005).
The following films are dedicated to V. Vasiliev’s work: “Duet” (1973), “Katya and Volodya” (USSR-France, 1989), “And there was, as always, something left unsaid ...” (1990), “Reflections” ( 2000); photo albums: R. Lazzarini. Maximova & Vasiliev at the Bolshoi (London: Dance Books, 1995), E.V. Fetisova "Ekaterina Maksimova. Vladimir Vasiliev” (M.: Terra, 1999), Pedro Simon “Alicia Alonso. Vladimir Vasiliev. Giselle" (Editorial Arte Y Literatura, Ciudad de la Habana, 1981); monograph by B.A. Lvov-Anokhin "Vladimir Vasiliev" (Moscow: Tsentrpoligraf, 1998); encyclopedia compiled by E.V. Fetisova "Vladimir Vasiliev: Encyclopedia of a Creative Personality" (Moscow: Teatralis, 2000), V. Golovitzer photo album "Ekaterina Maksimova and Vladimir Vasiliev (Moscow-New York, Ballet, 2001).
Honorary Professor of Moscow State University (since 1995), full member of the International Academy of Creativity (since 1989) and the Academy of Russian Art (since 1990), secretary of the Union of Theater Workers of Russia, deputy chairman of the executive committee of the Russian Center of the International Dance Council at UNESCO (since 1990), member of the jury of the Russian independent award in the field of the highest achievements of literature and art "Triumph" (since 1992).
In 1990-1995 Since 1996 he has been the chairman of the jury, since 1996 he has been the artistic director of the Arabesque Open Ballet Competition (Perm), since 2004 he has been the chairman of the jury of the annual International Children's Festival Tanzolymp (Berlin).
He devotes his free time mainly to painting - his most serious and long-standing hobby (six solo exhibitions of his works took place).
In 2000, his first poetry collection "The Chain of Days" was published.
theatrical work
Gypsy dance (opera "Mermaid" by A. Dargomyzhsky, choreography by E. Dolinskaya, B. Kholfin, 1958)
Pan (painting "Walpurgis Night" in the opera "Faust" by Ch. Gounod, choreography by L. Lavrovsky, 1958)
Soloist (Chopiniana to music by F. Chopin, choreography by M. Fokine, 1958)
Soloist ("Dance Suite" to music by D. Shostakovich, staged by A. Varlamov, 1959) - first performer
Danila (Stone Flower by S. Prokofiev, choreography by Y. Grigorovich, 1959)
Prince (Cinderella by S. Prokofiev, choreography by R. Zakharov, 1959)
Benvolio (Romeo and Juliet by S. Prokofiev, choreography by L. Lavrovsky, 1960)
Ivanushka ("Humpbacked Horse" by R. Shchedrin, staged by A. Radunsky, 1960) - first performer
Batyr (Shurale by F. Yarullin, staged by L. Yakobson, 1960)
Lukash (Forest Song, ballet by O.G. Tarasova, A.A. Lapauri, 1961) - first performer
Andrei ("Pages of Life" by A. Balanchivadze, choreography by L. Lavrovsky, 1961)
Paganini (Paganini to music by S. Rachmaninoff, staged by L. Lavrovsky, 1962)
Rab (Spartacus by A. Khachaturian, staged by L. Yakobson, 1962) - first performer
Basil (Don Quixote by L. Minkus, choreography by A. Gorsky, 1962)
Soloist (Class Concert to music by A. Glazunov, A. Lyadov, A. Rubinstein, D. Shostakovich, staged by A. Messerer, 1963) - was among the first performers
Frondoso (Laurencia by A. Crane, choreography by V.M. Chabukiani, 1963)
The Blue Bird (The Sleeping Beauty by P. Tchaikovsky, choreography by M. Petipa, revised version by Y. Grigorovich, 1963)
Albert (Giselle by A. Adam, choreography by J. Coralli, J. Perrot, M. Petipa in L. Lavrovsky, 1964)
Petrushka (Petrushka by I. Stravinsky, choreography by M. Fokine, 1964)
Majnun ("Leyli and Majnun" staged by K. Goleizovsky, 1964) - first performer
The Nutcracker Prince (The Nutcracker directed by Y. Grigorovich, 1966) - first performer
Spartak ("Spartak" staged by Y. Grigorovich, 1968) - first performer
Icarus ("Icarus" by S. Slonimsky in his own production, 1971)
Romeo ("Romeo and Juliet", 1973)
Prince Desire ("Sleeping Beauty" in the new version by Y. Grigorovich, 1973) - the first performer
Ivan the Terrible ("Ivan the Terrible" to music by S. Prokofiev, staged by Y. Grigorovich, 1975)
Sergei ("Angara" by A. Eshpay, staged by Y. Grigorovich, 1976) - first performer
Icarus ("Icarus" in the second edition, 1976) - the first performer
Romeo (duet from the ballet "Romeo and Julia" to music by G. Berlioz, staged by M. Bejart, 1979) - the first performer in Russia
Macbeth ("Macbeth" by K. Molchanov in his own production, 1980) - first performer
Pyotr Leontyevich ("Anyuta" to music by V. Gavrilin in his own production, 1986) - first performer
prizes and awards
Lenin Prize (1970) - for the performance of the title role in the ballet performance "Spartacus" by A. I. Khachaturian.
State Prize of the USSR (1977) - for the performance of the part of Sergei in the ballet performance "Angara" by A. Ya. Eshpay.
State Prize of the RSFSR named after the Vasiliev brothers (1984) - for participation in the creation of the film-ballet "Anyuta" (1981).
State Prize of the RSFSR named after M. I. Glinka (1991, in the field of musical art) - for concert programs of recent years.
Lenin Komsomol Prize (1968) - for high skill and the creation of the image of a national hero in ballet performances of the Bolshoi Theater
Order of Lenin (1976).
Order of Friendship of Peoples (1981).
Order of the Red Banner of Labor (1986).
Order "For Merit to the Fatherland" IV degree (April 18, 2000).
Order "For Merit to the Fatherland" III degree (December 1, 2008).
Order of Merit (1999, France).
Order of Rio Branco (2004, Brazil).
Medal named after P. Picasso (2000).
Prize named after S. P. Diaghilev (1990).
Prize of the Moscow Mayor's Office (1997).
Theater award "Crystal Turandot" in 1991 (together with E. S. Maksimova) and in 2001 - "For Honor and Dignity".
First prize and gold medal at the VII International Festival of Youth and Students in Vienna (1959).
Grand Prix and gold medal at the 1st International Ballet Competition in Varna (1964).
Vaslav Nijinsky Prize - "The Best Dancer of the World" (1964, Paris Academy of Dance).
Prize "Intervision" (for the TV ballet "Anyuta") at the International TV Film Festival "Golden Prague" (1982).
Big prize in the competition of musical films (TV ballet "Anyuta") at the X All-Union TV Film Festival (Alma-Ata, 1983).
The Intervision Prize and the prize for the best performance of a male role (TV ballet House by the Road) at the International Film Festival Golden Prague (Prague, 1985).
The prize for the best performance of the season is the ballet Anyuta at the San Carlo Theater (Naples, 1986).
Prize for the best Chekhov performance at the Chekhov Festival (Taganrog, 1986).
Special Prize and Gold Medal of the Varna City Komsomol Committee (1964, Bulgaria)
M. Petipa Prize "The Best Duet of the World" (together with E. S. Maksimova, 1972, Paris Academy of Dance).
Prize of the Rome Municipality "Europe-1972" (Italy).
Medal of the Academy of Arts of Argentina (1983).
Simba Academy Award (1984, Italy).
Prize "Together for Peace" (1989, Italy).
J. Tanya Prizes - "Best Choreographer" and "Best Duet" (together with E. S. Maksimova, 1989, Italy).
UNESCO Prize (1990).
Award of the city of Terracina (1997, Italy).
Honorary Medal of the Karina Ari Foundation (1998, Sweden).
Medal of Merit of Princess Dona Francesca (2000, Brazil).
Awards "For the highest achievements in the field of choreography" (USA, 2003, Italy 2005).
Award "For life in dance" (Italy, 2001).
Prize of the magazine "Ballet" "Soul of Dance" in the nomination "Legend of Ballet" (2005).
Prize to them. Ludwig Nobel (St. Petersburg, revived on the initiative of the Academy of Culture, Patronage and Charity, 2007).
Freedom Award, awarded in New York for outstanding contribution to the development of Russian-American cultural ties (2010).
Order of St. Constantine the Great (1998).
Order of the Holy Prince Daniel of Moscow (1999).
International Stanislavsky Prize (K.S.Stanislavsky International Foundation, 2010)
Vladimir Vasiliev has become a truly man-epoch in Russian ballet. Meanwhile, the beginning of the life of the future dancer, it would seem, did not portend a ballet career.
The future famous dancer was born in 1940 in Moscow. His parents were not connected with art in general and with ballet in particular: his father was a driver, his mother was a sales manager. The family was happy, despite ideological differences (the father was a staunch atheist, and the mother was an Orthodox Christian). Vladimir's early childhood fell on the difficult years of the war - the boy's father was at the front, his mother worked in three shifts at the factory.
As a child, Vladimir had many friends, and one of them invited him to a choreographic circle at the House of Pioneers, where he studied himself. Teacher E. R. Rosse saw his talent, and seven-year-old Vladimir began to learn the art of dance. In the circle, he quickly became the best student - so much so that other guys learned the movements by his example. In 1948, the children's choreographic ensemble performed on the stage of the Bolshoi Theater, Vladimir participated in the performance of Ukrainian and Russian dances - and it was then that he fully realized his desire to connect life with ballet.
In 1949, Vladimir Vasiliev entered the Moscow Choreographic School, where he also became one of the best. Already in his student years, those qualities are manifested that later will be the hallmarks of a dancer: expression, ease of jumping, strength and masculinity of dance, acting data. He learns from Mikhail Gabovich, who characterized his student as follows: "Volodya Vasiliev dances not only with his whole body, but with every cell of it, with a pulsating rhythm." T. Tkachenko spoke even more definitely about him after his performance in the ballet Francesca da Rimini, where the young man convincingly revealed the deeply tragic image of the heroine’s old husband: “We are present at the birth of a genius!”
In 1958, having completed his studies, Vladimir Vasilyev became an artist at the Bolshoi Theatre. He performs in characteristic images in operatic choreographic scenes - a gypsy dance in "Mermaid" by A. Dargomyzhsky, a lezginka in "Demon" by N. Rubinshtein. His performance of the role of Pan in "Walpurgis Night" in "Faust" by C. Gounod attracted attention to him, and with her he performed his first classical part at the Bolshoi Theater - a soloist in the ballet "".
Truly triumphant was the performance of Vladimir Vasiliev in the ballet "" in 1959 staged. The choreographer entrusted him with the main role - Danila. This success opened the way for the young dancer to various central roles: the Prince in "", Batyr in "Shural", Frondoso in "", title roles in the ballets "Paganini" and "" and others.
For some parts, Vladimir Vasiliev became the first performer: soloist in A. Varlamov's "Dance Suite" to music, Lukash in the ballet by O. Tarasova and A. Lapauri to the music of M. Skorulsky "Forest Song", Ivanushka in "" R. Shchedrin directed by A Radunsky. The dancer participated in the first performance of two choreographic versions of A. Khachaturian's ballet "": in the production he played the role of a slave, and in the production he played the title role. He took part in the first performance and other ballets staged: the main role in "", Prince Desire in "The Sleeping Beauty", in the ballet of the same name to music, Sergei in "Angara" to the music of A. Eshpay. He was the first dancer to perform the role of Romeo in the USSR in M. Bejart's ballet to the music of G. Berlioz "". The dancer was also appreciated by another choreographer - K. Goleizovsky, who created for him the miniature "Narcissus" and the part of Majnun in the ballet "Leyli and Majnun" to the music of S. Balasanyan.
An outstanding domestic dancer called V. Vasiliev "a brilliant exception to the rule", referring to his exceptional ability to transform. He was equally convincing in the image of the lyrical Nutcracker Prince, the heroic Spartacus, the passionate Basil in "". Choreographer F. Lopukhov, comparing ballet images with operatic voices, said that V. Vasiliev is “both tenor, and baritone, and bass.” V. Vasiliev's performances abroad were as successful as at home: he was called the "god of dance" in France, he was awarded the title of honorary citizen of the American city of Tucson and Buenos Aires. His talent was appreciated by such a famous Italian director as Franco Zefirelli - in his film-opera "" V. Vasilyev staged and performed a Spanish dance.
Even in his student years, a feeling arose between Vladimir Vasilyev and the ballerina. In 1961, they became spouses, and became not only a wife for the dancer, but also a constant partner, whom he called his muse. to the music of V. Gavrilin based on the story by A.P. Chekhov "Anna on the neck", "Macbeth" to the music of K. Molchanov. He also staged plotless ballets, in which the main "characters" were music and the dance that reveals it: "These enchanting sounds" to the music of A. Corelli, J. F. Rameau and V. A. Mozart, "Nostalgia" to Russian piano music composites, "Fragments of one biography" to the music of Argentine composers. In 2015, V. Vasiliev created a unique production to the music of the Mass in B minor "Give Us Peace", which combines elements of oratorio, ballet and dramatic action.
Ballet is the main, but not the only area of creativity of Vladimir Vasiliev: he is engaged in painting and writing poetry.
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