The famous pianist Denis Matsuev says almost nothing about his personal life. He rarely makes an exception and only for his friends. Yesterday Denis became a guest of the new edition of the Evening Urgant show, where he first told Ivan Urgant about his newborn daughter from the ballerina Ekaterina Shipulina. According to Matsuev, the daughter was named Anna and the baby already has favorite pieces of music.
To Ivan’s question about how Denis’s life has changed with the birth of a child, the pianist replied that there is no way yet, if he changes something, then only after 2021.
Before that, unfortunately, everything is already planned for me. A simple example today: I flew in from Tel Aviv, yesterday I had a concert there with Zubin Meta, the Israeli Philharmonic Orchestra, tomorrow I have a concert in St. Petersburg, in Oktyabrsky, we play a jazz program. So I have time to come to you, to my favorite studio, and there is an hour to see Anna Denisovna.
Denis Matsuev and Ivan Urgant
Denis, as Ivan guessed, had already tested Anna Denisovna's ear for music and, as it turned out, managed to introduce his daughter to many outstanding classical works.
He played concertos by Tchaikovsky, Rachmaninov, and even Prokofiev. Her favorite piece is Stravinsky's Petrushka. Let's say it's not for children. But she really doesn't like Liszt's 2nd concerto. I do not know why...
It is known that the daughter of Denis and Catherine was born in October last year. The prima ballerina also did not tell subscribers about this on social networks and the press, only once, on Mother's Day, she posted her photo with a rounded belly.
Pregnant Ekaterina Shipulina
Biography
Personal life
Catherine has a sister. The ballerina's husband is pianist Denis Matsuev. On October 31, 2016, the couple had a daughter.
Repertoire
1998
- Grand pas, La Bayadère by L. Minkus, choreography by M. Petipa, revised version by Y. Grigorovich
- Waltz - Apotheosis, The Nutcracker, choreography by Y. Grigorovich
1999
- Giselle's friend, Giselle by A. Adam, choreography by J. Coralli, J.-J. Perrot, M. Petipa, edited by V. Vasiliev
- Mare, The Little Humpbacked Horse by R. Shchedrin, staged by N. Androsov
- Mazurka, "Chopiniana" to music by F. Chopin, choreography by M. Fokine
- Belle of the ball, “Fantasy on a Theme of Casanova” to music by W. A. Mozart, staged by M. Lavrovsky
- Dryad Lady, Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky, revised version by A. Fadeechev
- Tsar Maiden, The Little Humpbacked Horse by R. Shchedrin, staged by N. Androsov
2000
- Two pairs, III movement "Symphony in C", music by J. Bizet, choreography by J. Balanchine
- Wife of the Heir, "Russian Hamlet" to the music of L. van Beethoven and G. Mahler, staged by B. Eifman
- Fairy Gold, The Sleeping Beauty by P. Tchaikovsky, choreography by M. Petipa, revised version by Y. Grigorovich
- Congo river And Fisherman's wife, Pharaoh's Daughter by Ts. Pugni directed by P. Lacotte
- Lilac Fairy, The Sleeping Beauty by P. Tchaikovsky, choreography by M. Petipa, revised version by Y. Grigorovich
- 2nd variation in the film "Raymonda's Dreams", "Raymonda" by A. Glazunov, choreography by M. Petipa, revised by Y. Grigorovich
- 2nd variation in the film "Shadows", "La Bayadere" by L. Minkus, choreography by M. Petipa, revised by Y. Grigorovich
2001
- Mirtha, "Giselle" - ballets in the editions of Y. Grigorovich and V. Vasiliev
- Polish bride, Three swans, "Swan Lake
- Gamzatti, "La Bayadère
2002
- Odette and Odile, "Swan Lake" by P. Tchaikovsky in the 2nd edition of Yu. Grigorovich
2003
- classical dancer, "Bright Stream" by D. Shostakovich, directed by A. Ratmansky
- Henrietta, Raymonda, choreography by M. Petipa, revised version by Y. Grigorovich
- Esmeralda, Notre Dame Cathedral by M. Jarre, staged by R. Petit
- Seventh Waltz and Prelude, Chopiniana to music by F. Chopin, choreography by M. Fokine
2004
- Kitri, "Don Quixote "
- pas de deux, "Agon" by I. Stravinsky, choreography by J. Balanchine
- Soloist of the IV part, "Symphony in C", music by J. Bizet, choreography by J. Balanchine
- Leading soloist, Magrittomania
- aegina, Spartacus by A. Khachaturian, choreography by Y. Grigorovich
2005
- Hermia, A Midsummer Night's Dream to music by F. Madelson-Bartholdi and D. Ligeti, directed by J. Neumeier
- Action**, Omens to music by P. Tchaikovsky, choreography by L. Myasin
- Soloist***, "Playing cards" by I. Stravinsky, directed by A. Ratmansky
2006
- Cinderella, Cinderella by S. Prokofiev, choreography by Y. Posokhov, dir. Y. Borisov
2007
- Soloist***, In the Upstairs Room by F. Glass, choreography by T. Tharp
- Mekhmene Banu, The Legend of Love by A. Melikov, choreography by Y. Grigorovich
- Gulnara*, Le Corsaire by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaka
- Soloist, “Class Concert” to music by A. Glazunov, A. Lyadov, A. Rubinstein, D. Shostakovich, choreography by A. Messerer
2008
- Soloist, Misericordes to music by A. Pärt, staged by C. Wheeldon
- Soloist of the I part, "Symphony in C major")
- Jeanne And Mireille de Poitiers, The Flames of Paris by B. Asafiev directed by A. Ratmansky with choreography by V. Vainonen
- Variation***, Grand pas from the ballet Paquita, choreography by M. Petipa, production and new choreographic version by Y. Burlaka
2009
- Medora, Le Corsaire by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaka (debuted on the theater tour in the USA)
2010
- Soloist***, "Rubies" to music by I. Stravinsky, II part of the ballet "Jewels", choreography by J. Balanchine
- Soloist, "Serenade" to music by P. Tchaikovsky, choreography by J. Balanchine
2011
- fleur de lis, Esmeralda by C. Pugni, choreography by M. Petipa, production and new choreography by Y. Burlaka, V. Medvedev
- Florina, "Lost Illusions" by L. Desyatnikov, staged by A. Ratmansky
- Soloist**, Chroma J. Talbot and J. White, choreography by W. MacGregor
2012
- Soloist, "Emeralds" to music by G. Faure, I part of the ballet "Jewels", choreography by J. Balanchine
- Soloist*, dream of dream to music by S. Rachmaninov, staged by J. Elo
2013
- Giselle, "Giselle" by A. Adam, edited by Y. Grigorovich
- Marquise Sampietri Marco Spada to music by D. Aubert, choreography by P. Lacotte, script by J. Mazilier
2014
- Manon Lesko, "The Lady of the Camellias" to music by F. Chopin, choreography by J. Neumeier
Awards
Write a review on the article "Shipulina, Ekaterina Valentinovna"
Notes
Links
- // Trud No. 99, December 25, 2015
- // "Arguments and Facts" No. 2, January 13, 2016.
An excerpt characterizing Shipulina, Ekaterina Valentinovna
For the first time, Prince Andrei understood where he was and what had happened to him, and remembered that he had been wounded and that at the moment when the carriage stopped in Mytishchi, he asked to go to the hut. Confused again from pain, he came to his senses another time in the hut, when he was drinking tea, and here again, repeating in his recollection everything that had happened to him, he most vividly imagined that moment at the dressing station when, at the sight of the suffering of a man he did not love , these new thoughts that promised him happiness came to him. And these thoughts, although vague and indefinite, now again took possession of his soul. He remembered that he now had a new happiness and that this happiness had something in common with the Gospel. That's why he asked for the gospel. But the bad position that had been given to his wound, the new turning over again confused his thoughts, and for the third time he woke up to life already in the perfect stillness of the night. Everyone was sleeping around him. The cricket was shouting across the entryway, someone was shouting and singing in the street, cockroaches rustled on the table and icons, in autumn a thick fly beat on his headboard and near a tallow candle that was burning with a large mushroom and stood beside him.His soul was not in a normal state. A healthy person usually thinks, feels and remembers at the same time about an innumerable number of objects, but has the power and strength, having chosen one series of thoughts or phenomena, to stop all his attention on this series of phenomena. A healthy person, in a moment of deepest reflection, breaks away to say a courteous word to the person who has entered, and again returns to his thoughts. The soul of Prince Andrei was not in a normal state in this regard. All the forces of his soul were more active, clearer than ever, but they acted outside of his will. The most diverse thoughts and ideas simultaneously owned him. Sometimes his thought suddenly began to work, and with such force, clarity and depth, with which it had never been able to act in a healthy state; but suddenly, in the middle of her work, she broke off, was replaced by some unexpected performance, and there was no strength to return to her.
“Yes, a new happiness has opened up to me, inalienable from a person,” he thought, lying in a half-dark, quiet hut and looking ahead with feverishly open, stopped eyes. Happiness that is outside the material forces, outside the material external influences on a person, the happiness of one soul, the happiness of love! Any person can understand it, but only God alone can recognize and prescribe its motif. But how did God ordain this law? Why a son? .. And suddenly the train of these thoughts was interrupted, and Prince Andrei heard (not knowing whether he was delirious or really hears this), heard some kind of quiet, whispering voice, incessantly repeating to the beat: “And drink, drink, drink,” then “and ti ti” again “and drink ti ti” again “and ti ti”. At the same time, to the sound of this whispering music, Prince Andrei felt that some strange airy building of thin needles or splinters was being erected above his face, above the very middle. He felt (although it was hard for him) that he had to diligently keep his balance so that the building that was being erected would not collapse; but it still collapsed and again slowly rose to the sounds of evenly whispering music. "It's pulling! stretches! stretches and everything stretches, ”Prince Andrei said to himself. Together with listening to the whisper and with the feeling of this stretching and rising building of needles, Prince Andrei saw in fits and starts the red light of a candle surrounded by a circle and heard the rustling of cockroaches and the rustling of a fly beating on the pillow and on his face. And every time a fly touched his face, it produced a burning sensation; but at the same time he was surprised that, striking in the very region of the building erected on the face of his face, the fly did not destroy it. But besides that, there was one more important thing. It was white at the door, it was a statue of a sphinx that crushed him too.
“But maybe this is my shirt on the table,” thought Prince Andrei, “and these are my legs, and this is the door; but why is everything stretching and moving forward and drink, drink, drink, and drink—and drink, drink, drink…” “That’s enough, stop it, please leave it,” Prince Andrei begged someone heavily. And suddenly the thought and feeling came up again with unusual clarity and force.
“Yes, love,” he thought again with perfect clarity), but not the love that loves for something, for something or for some reason, but the love that I experienced for the first time when, dying, I saw my enemy and still loved him. I experienced that feeling of love, which is the very essence of the soul and for which no object is needed. I still have that blissful feeling. Love your neighbors, love your enemies. To love everything is to love God in all manifestations. You can love a dear person with human love; but only the enemy can be loved with divine love. And from this I experienced such joy when I felt that I love that person. What about him? Is he alive... Loving with human love, one can move from love to hatred; but divine love cannot change. Nothing, not death, nothing can destroy it. She is the essence of the soul. And how many people I hated in my life. And of all people, I did not love or hate anyone else like her. And he vividly imagined Natasha, not in the way he had imagined her before, with only her charm, joyful for himself; but for the first time imagined her soul. And he understood her feeling, her suffering, shame, repentance. He now for the first time understood the cruelty of his refusal, saw the cruelty of his break with her. “If only it were possible for me to see her one more time. Once, looking into those eyes, say ... "
And drink, drink, drink, and drink, and drink, drink - boom, a fly hit ... And his attention was suddenly transferred to another world of reality and delirium, in which something special was happening. Everything in this world was still being erected, without collapsing, the building, something was still stretching, the candle was burning in the same way with a red circle, the same Sphinx shirt was lying at the door; but besides all this, something creaked, smelled of fresh wind, and a new white sphinx, standing, appeared before the door. And in the head of this sphinx there was a pale face and shining eyes of that same Natasha, of whom he was now thinking.
“Oh, how heavy is this incessant nonsense!” thought Prince Andrei, trying to drive this face out of his imagination. But this face stood before him with the force of reality, and this face drew nearer. Prince Andrei wanted to return to the former world of pure thought, but he could not, and delirium drew him into his own realm. A quiet whispering voice continued its measured babble, something pressed, stretched, and a strange face stood before him. Prince Andrei gathered all his strength to come to his senses; he stirred, and suddenly there was a ringing in his ears, his eyes became dim, and he, like a man who has plunged into water, lost consciousness. When he woke up, Natasha, that very living Natasha, whom, of all the people in the world, he most of all wanted to love with that new, pure divine love that was now revealed to him, was kneeling before him. He realized that it was a living, real Natasha, and was not surprised, but quietly delighted. Natasha, on her knees, frightened, but chained (she could not move), looked at him, holding back her sobs. Her face was pale and motionless. Only in the lower part of it fluttered something.
Prince Andrei breathed a sigh of relief, smiled and held out his hand.
- You? - he said. - How happy!
Natasha with a quick but careful movement moved towards him on her knees and, carefully taking his hand, bent over her face and began to kiss her, slightly touching her lips.
- Sorry! she said in a whisper, raising her head and looking at him. - Excuse me!
“I love you,” said Prince Andrei.
- Sorry…
- Forgive what? asked Prince Andrew.
“Forgive me for what I did,” Natasha said in a barely audible, interrupted whisper and began to kiss her hand more often, slightly touching her lips.
“I love you more, better than before,” said Prince Andrei, raising her face with his hand so that he could look into her eyes.
Those eyes, filled with happy tears, looked at him timidly, compassionately and joyfully with love. Natasha's thin and pale face with swollen lips was more than ugly, it was terrible. But Prince Andrei did not see this face, he saw shining eyes that were beautiful. Behind them, a voice was heard.
Pyotr the valet, now completely awake from sleep, woke the doctor. Timokhin, who could not sleep all the time because of the pain in his leg, had long seen everything that was being done, and, diligently covering his undressed body with a sheet, huddled on the bench.
- What is it? said the doctor, rising from his bed. “Let me go, sir.”
At the same time, a girl knocked on the door, sent by the countess, missing her daughter.
Like a somnambulist who was awakened in the middle of her sleep, Natasha left the room and, returning to her hut, fell on her bed sobbing.
From that day on, during the entire further journey of the Rostovs, at all rests and overnight stays, Natasha did not leave the wounded Bolkonsky, and the doctor had to admit that he did not expect from the girl either such firmness or such skill in walking after the wounded.
No matter how terrible the idea seemed to the countess that Prince Andrei could (very likely, according to the doctor) die during the journey in the arms of her daughter, she could not resist Natasha. Although, as a result of the now established rapprochement between the wounded Prince Andrei and Natasha, it occurred to me that in the event of recovery, the former relations between the bride and groom would be resumed, no one, still less Natasha and Prince Andrei, spoke about this: the unresolved, hanging question of life or death was not only over Bolkonsky, but over Russia obscured all other assumptions.
Ekaterina Shipulina is one of the brightest and most consistently shining stars of modern Russian ballet. Without her Giselle, Odette-Odile, Kitri, Aegina and many other roles, it is impossible to imagine the poster of the Bolshoi Theater.
And her daring, dangerous and irresistibly alluring Ondine in Lermontov's play "A Hero of Our Time" became one of the main creative discoveries of 2015, for which Ekaterina, along with her colleagues in the production, was nominated for the Golden Mask Award. And Katya is a nice, smiling, sympathetic person. So much so that in the hot New Year's Eve I found time to go to the editorial office of Trud and talk with its correspondent.
- Why were you in such a hurry?
I beg your pardon, in fact, ballet people are one of the most disciplined people in the world. If they are late, then it’s completely force majeure. And then they suddenly appointed a fitting for costumes for Don Quixote, which is being transferred from the New Stage to the Historical.
- Are you the main character - Kitri?
Yes, for 10 years now. And before that, she went all the way in this performance: she sat in courtiers, and stood in flower girls, and was the mistress of dryads, and danced variations ...
- As they say, from private to general.
Absolutely. At the Bolshoi Theater, this was an iron rule: only the best children from the graduation were selected, but they were never immediately put into soloists - only into the corps de ballet. And you stood there, sat, danced. With trepidation and excitement, I watched folk artists dance - Nina Ananiashvili, Nadezhda Gracheva, Anna Antonicheva, Galina Stepanenko, Alla Mikhalchenko, Nina Semizorova ...
She herself prepared solo parts at the same time, they watched you and after that they gave one of them. Or they didn't. That is, everyone had the opportunity for creative growth, but it depended on you how to use it. For someone to be given a leading role on a silver platter - this appeared only in the most recent time. Of course, when you look back on your path, sometimes it’s a pity - after all, even then I could have danced so many roles! On the other hand, it was a wonderful school of endurance.
- Probably, for you the main event of 2015 was the part of Ondine in A Hero of Our Time?
You know, every, even an ordinary performance, is an event that can become outstanding if everyone - both your partners and the corps de ballet - unite in a single impulse. That's such a stunningly emotional performance was two weeks ago, "The Legend of Love." She has not been on for a long time, everyone misses her, the hall is overbooked, the author himself, Yuri Nikolayevich Grigorovich, is present. I danced Mekhmene Banu, and Anastasia Stashkevich performed the role of Shirin in our line-up for the first time. Maybe in connection with this there were more rehearsals than usual, we all tried to support Nastya so that she was comfortable, not scared, not excited.
But of course, the world premiere is something special. Preparing a work that is specially conceived for the Bolshoi Theater, no one has danced it before you, is always an interesting, although sometimes unbearably difficult process. It is important that the artist fulfills the task of the choreographer by 200 percent, and does not complain: oh, it hurts here, it’s uncomfortable, I don’t like it ...
Choreographer Yuri Posokhov was in charge of the selection of artists. I already had the good fortune to work with him, to make completely new productions from scratch - “Magrittomania”, “Cinderella” ... Therefore, I accepted his choice of role unconditionally. Although, when the compositions were hung up - Bela, Ondine, Princess Mary, Vera - some soloists were upset: why not me - Princess Mary? Yura answered: Yes, this princess was given to you, your parties will be much more interesting, believe me. Moreover, Pechorin never loved her ... Of course, it was a risk and courage - it seems to me that no one had tried to interpret Lermontov in ballet language before. I think it turned out very well.
- Many were surprised that in addition to the choreographer, the director Kirill Serebrennikov was also listed as the director.
Kirill did not interfere in the technical part of the ballet. I just aspired to have more continuous action, and not just a series of concert numbers. He suggested some things of an emotional nature to me - where to make it sharper, where it is more romantic ...
- In my opinion, you, an energetic and active person, are closer to the first.
Many people think so. That is why, for example, I danced Giselle later than Swan Lake or Don Quixote. Although it is usually the other way around, this performance is considered less difficult. There really is no super technique, crazy spins, as in other performances. But its complexity is of a different kind - emotional. At the age of 18, you won’t understand this, you won’t feel it. My teacher Tatyana Nikolaevna Golikova and I dreamed that I would perform in Giselle, but the dream came true after Tatyana Nikolaevna died ...
Many admirers, not doubting my technique, but knowing my temperament, feared: well, how will not a modest peasant girl, but the mistress of the Willys Mirtha herself, come out of Giselle's house. And they were delighted - I managed to break the stereotype, to prove that I can be a romantic ballerina. By the way, my mother, Lyudmila Valentinovna Shipulina, received the Moscow Prize in Literature and Art in 1993 for her performance of the part of Giselle.
Previously, it happened that Odette and Odile in Swan Lake were danced by different ballerinas, these are so dissimilar roles.
Well, it's been gone for a long time. Although people who are not too close to ballet still sometimes ask: what kind of swan are you dancing, white or black? And they are very surprised when they hear: both. In fact, the ballerina in "Swan" is checked precisely according to the "white" act. Of course, it is also important to purely "roll" the fouette in the part of Odile, but the main difficulties - the detachment of the image, the "melodiousness" of the hands - this is all Odette. Have you ever seen swans in your life? This is a big, bold, even aggressive bird. And after all, she, Odette, proved her strength, saved Siegfried. In fact, she couldn't save herself.
Does a lot depend on the prima in the theater? For example, can you approach the general director and ask yourself this or that performance?
The theater is a very large and complex mechanism. We have 10 prims, if everyone comes up and puts forward their demands, no repertoire will be enough. Of course, the artistic director of the ballet tries to make everyone happy. But if, for example, "Swan" this month and next, then it is not possible for one ballerina to dance both performances: others also have the right to this role. But you are provided with a variety: after the "Swan" there will be "Spartak", then "Giselle" ...
- Could you dance more outside the Bolshoi Theatre?
No matter how pathetic it sounds, I am a patriot of the Bolshoi. So we were taught from childhood: native theater is an absolute priority in life. But, of course, I go out, dance in different parts of the world, one of my recent serious, big works is Anna Karenina with the troupe of Boris Eifman.
- Have you ever danced at the Mariinsky Theatre?
At visiting performances of the Bolshoi. And in their own productions, they do not invite us very much. More of their artists come to us. Almost half of St. Petersburg primaries work for us.
- They say that St. Petersburg is stronger with technology, and Moscow with emotional spontaneity.
In my opinion, this is a myth. Moscow artists possess both the highest level of technique and emotional expressiveness. God forbid the Petersburgers have one. Maybe something is changing with the arrival of Nikolai Maksimovich Tsiskaridze at the Vaganova Academy? I studied in his class and I know how demanding he is. I wish him to add Moscow excitement to the measured St. Petersburg ballet life.
The world of ballet is beautiful with its artistic results, but sometimes such passions boil inside - they can splash acid in the face.
The ballet age is short. If dramatic artists have the opportunity to extend it with age roles, then we have it tough: 20 years old, and you are retiring. I want to dance as much as possible during this time, work with different choreographers, travel around the world. From such stress - psychological breakdowns, trauma. You may not realize how tired your body is and needs rest. It hurts - anointed, made an injection, bandaged and went to dance.
Have you been injured too?
Once in the first act of "Spartacus" I am lying on the floor after my solo, my partner has to run up to pick me up - but he runs up so unsuccessfully that he jumps right into my arm. On a moral and strong-willed effort, she danced the performance - after all, an arm is not a leg, and again the author, Yuri Nikolayevich Grigorovich, is in the hall. And after I found out: a fracture. Then the whole vacation (it was the last performance of the season) I went with plaster. And another time at a rehearsal, I landed badly after a jump, and an injured knee put me out of action for 13 months.
And what about classic theatrical meanness, like glass marbles under your feet, like in the movie Showgirls?
It's more of a legend. In my lifetime, if something like this happened, then, of course, not by someone's malicious intent, but by accident. A real case: a ballerina's beads broke on stage, and then I go out. Luckily, the stage is tilted and it all quickly rolled down to the orchestra pit. I don’t believe that some artist can deliberately cut your ribbon on pointe shoes or spill a puddle on stage. Before going out to the audience, all thoughts are only about one thing - how to perform worthily yourself.
Nikolai Tsiskaridze (perhaps jokingly?) explained his injury by the intrigues of the Queen of Spades, who de revenged for the invasion of her fate in the performance of Roland Petit.
I don't believe in magic either. For example, I danced "Notre Dame Cathedral" by the same Petit, where they hang me on the gallows. In Giselle, each of us dies so many times... So what?
The fact that ballet is beautiful, but cruel, can be seen in the ballerinas themselves. From afar, everything is unthinkably beautiful, but close up you see emaciated faces and legs with twisted, broken fingers. But not you! How did you manage to save the beauty?
Thanks to nature, parents. But of course, you also need to do something yourself. By the way, take care of your face last. While you do all the rehabilitation procedures - you go to a massage therapist, or to an osteopath, if something has flown out and moved out somewhere, or you swim in the pool, warm up in the sauna or just sit in the bath at home - there is simply not enough time for the rest and forces. The best medicine is just sleep, but it is sorely lacking.
And returning to emaciated faces is not only from the hardships of the profession. More important is the character, which with age more and more affects the appearance.
- Judging by your fresh smiling face, you have an excellent character.
Not complaining!
- Is your twin sister also in ballet?
No, although we are from a ballet family. Anya is only 15 minutes older, but we are completely different characters. If I am active, then she is much calmer. But when your parents are dancers, there is practically no choice. In any case, Anya and I were not particularly asked who we want to be when we were taken to the Perm Choreographic School. As a child, I had neither skates nor a bicycle - my mother believed that the wrong muscles were growing from them.
She categorically refused to give me to figure skating - only ballet. It can be said that ballet children have no childhood at all ... Then their parents were invited to Moscow, to the theater named after Stanislavsky and Nemirovich-Danchenko. Naturally, they took us with them, together we passed the selection to the Moscow Choreographic Academy, but then my sister said that she had had enough of ballet. She studied at GITIS as a producer, now she is raising her daughter.
- The New Year is coming, why are you not on the poster of the most fabulous performance in the world - The Nutcracker?
I participated in it when I first came to the corps de ballet. Then a couple of years was in the six soloists. Then the Nutcrackers did not start on December 18, as they do now, but right from the 1st. Two performances a day! That is, there could be up to 30 pieces, despite the fact that you had to work in other performances. I danced this waltz for the rest of my life.
But Masha, unfortunately, did not have a chance to cook. My height is seventy-five meters, but for some reason it is generally accepted that Masha should be just an inch ... But when for the rest of the artists, from mid-December to mid-January, hellish suffering begins with these “Nutcrackers”-twins, then I have a period of calm . Now, for example, before the New Year, I have only one “Light Stream” left to dance, and the next performance, “Swan Lake”, is already in January. I can enjoy the preparation for the holiday, meetings with friends, trips to drama theaters, cinema, exhibitions. Yes, just read on the couch.
- But you are dancing Sleeping Beauty. This is also a fairy tale, why is it not put on the poster for the New Year?
Don't know. It's a great show though. And Cinderella was an amazing production, but it's not on now. "Cipollino" has been removed from the repertoire... In general, there are a number of performances, one might say, mandatory for the theater of the Bolshoi level, but "La Bayadere" has not been shown for two seasons. "Corsair" is not season three. And when was the last time "Raymond" was on, I can't even remember. But perhaps my prayers have been heard? It seems that since February La Bayadère, Le Corsaire and Raymonda have been in our repertoire again.
- It's no secret - your friendship with pianist Denis Matsuev. Did you meet at a creative project?
No, just at the opening of a restaurant with mutual friends.
- But did you have a joint performance?
Yes, in the project of the American producer Sergei Danilyan "Reflections". There are 5 ballerinas, each one has a number assigned by one of the 5 choreographers. My number was put by Canadian Azur Barton. The pianist on the stage plays Tchaikovsky's "Dumka", he is the same participant in the composition as the ballerina.
After the American premiere, we showed a performance in Moscow, and then Sergey said: it would be great if Denis played ... I promised to ask - and unexpectedly Denis answered that on Saturday he would “get to run”. Of course, there was no time left for the rehearsal, we were only able to try a little bit before going on stage. The pace at which we danced, Denis called "mournful" and categorically stated: "I will play as it is written by Tchaikovsky." I had to mobilize my body. But what a surprise for the public!
Imagine, the lights are completely turned off in front of the number, and now the spotlight highlights the pianist, then the ballerina comes out. Denis was not on the poster, but of course he was immediately recognized, there was a buzz, applause broke out. Already a success! Moreover, I danced three times faster than it was set.
- And they didn’t argue, didn’t say that you were uncomfortable?
Why download rights? I remember the answer of Gennady Nikolayevich Rozhdestvensky, who conducted The Nutcrackers with us, to one ballerina who asked: maestro, could you play my variation more slowly, I don’t have time. He told her: if you can't dance, goodbye, Tchaikovsky will manage without you.
- Where will you celebrate the New Year?
We have been meeting him together for many years in Irkutsk, Denis's homeland, at his traditional New Year's festival. And this time there will be music, dance, obligatory diving in Baikal.
- In the hole?!
And what? A wonderful tradition. Especially for me, who was born in the Urals, where the winter is stronger than in Moscow. You get such a boost of energy that you have enough for the whole year. I can’t imagine a New Year’s holiday under palm trees. Thanks to Denis, a huge number of musicians and ballet people have already passed this Siberian baptism.
- What do you expect from next year?
As they say, if you want to make God laugh, tell him about your plans ... In our crazy world, everything changes so quickly that planning is unrealistic. The most important thing is health. If a year has passed for a ballet person without illnesses and injuries, consider it already successful.
The prima ballerina of the Bolshoi Theater Ekaterina Shipulina told La Personne about the premiere of Nureyev and about her creative search.
Let's start with Nureyev. Opinions about the performance were divided: someone was delighted, someone did not understand at all what the hype was about. It is interesting to know your opinion, the person who was inside this work.
Many people asked me about my impressions after the premiere, but it's hard for me to evaluate. This show is like a child to me. All of us, the participants in the performance, have been working on this ballet since the very first day, sometimes we didn’t even treat it very adequately. Of course, we fell in love with him, by the end we liked everything about him.
I like this performance.
Dress A La Russe Anastasia Romantsova
You danced the monologue "Diva", where you had to tell the story of two divas: Natalia Makarova and Alla Osipenko. How were these roles formed?
Everything came from Yuri Posokhov, who put such a correct choreography to music and text. When staging, he proceeded from the letters written by these ballerinas, in particular, from words and even intonations. Of course, this is what played a big role. I think it is the choreography that touches the viewer's most subtle feelings and evokes strong emotions.
In your opinion, why is there no such ballet dancer as Nureyev in our time?
I think he was such a special person, headstrong and freedom-loving. Now artists may be afraid of losing their jobs, stability, although nowadays you can go abroad without any problems. I don't know the exact answer. He was one of the first such rebels. Now there are also outrageous, scandalous artists, but now all this is no longer relevant. Gone are the days when it was interesting. Now artists try to behave with dignity, this is considered professionalism.
When a creative person goes into secular life - does it interfere or not, what do you think?
With Nureyev, it was organic, he did not force himself. For many, this image is part of the image. I think if it's fun, why not?..
A La Russe Anastasia Romantsova dress; Boots Zara
When you look at your Instagram, you get the impression that you are a very open person. But it is clearly seen that this is the outer side of life. Is it such a position not to open your personal life for show?
Yes. Personal life is personal, to remain behind the scenes. When people flaunt their relationships, their families and children, most often it looks unnatural. There is some show in this.
Suit and coat A La Russe Anastasia Romantsova; Prada velvet sandals; Zara bag
You studied at the Perm School, but then moved to the Moscow Academy of Choreography. What prompted you to take this step, ambition?
At that moment, no. It was a coincidence, since the parents, being the premieres of the Perm Theater, were invited by Bryantsev to the Muses. theatre. Stanislavsky and Nemirovich-Danchenko. Of course, they agreed, and literally a year later my mother took us to a Moscow school. It's great that I had experience teaching with different methods. I studied in Moscow for 4 years. It was at the Moscow Academy of Choreography that I felt some leadership qualities in myself, of course, I only wanted to go to the Bolshoi. Where else?
Did you imagine that someday you will become the prima of this theater?
Probably not. I started with the second corps de ballet, went to courtiers, sat on a bench. In general, I went through all the stages.
Is it difficult when parents are ballet?
On the one hand, yes. They tell you 24 hours a day what to do and how to do it. It is you who eventually understand that parents say the right things. In fact, I am very grateful to them for the fact that they did not discourage the desire for this art.
Suit and coat A La Russe Anastasia Romantsova; Zara bag
During the time that you have been dancing in the theater, many leaders have changed ...
This is true!
Dress A L Russe Anastasia Romantsova; Gucci bag (property of Galina Ulanova); Boots Zara
What would you recommend for a leadership change?
Yes. This is hard. You seem to have already achieved something, and then another person comes and you prove everything again. Each leader has his own opinion, his own tastes. The artist may be great, but the manager may not like it.
And how to be in such a situation?
Work!
What do you have in your life besides ballet?
Recently, there has been less opportunity to go somewhere, meet friends, although I try to find time for meetings and drama theater. Now the priority is the child. I don't even want to leave him, to be honest.
I would like to return to our photo session in the museum-apartment of Galina Ulanova. We did not just invite you to this photo story. You are currently working with Nadezhda Gracheva, who was the last student of Galina Ulanova. Tell me, how often does she share Galina Sergeevna's remarks with you at rehearsals?
She speaks very sincerely about Galina Sergeevna. They were connected by many things, Nadezhda Alexandrovna began her career in the theater with her and, of course, Galina Ulanova gave her a lot in creative terms. Besides, she's a legend!
Suit and coat A La Russe Anastasia Romantsova
As for the remarks, I just remembered, the remark about Saint-Saens' "Swan". There is no clear system in this number, there is a canvas, and each ballerina has her own hands and poses. And so, Nadezhda Alexandrovna said that Ulanova appeared in this issue without suffering right away, as most ballerinas do. She had such a concept that the swan appears proud, beautiful, yet not tragic. He doesn't die right away.
And finally, what would you wish your viewers for the New Year?
Of course, good health! Live and enjoy every second! Inspiration and fulfillment of all dreams! And by all means go to the theater, enjoy, empathize and have fun!
Interview Alisa Aslanova
Photo Daria Ratushina
Designer A La Russe Anastasia Romantsova
Producer Ekaterina Bornovitskaya
Stylist Ksenia Vorobieva
MUAH Alena Soboleva
We thank Galina Ulanova's Apartment Museum and the Bakhrushinsky Museum for their assistance in organizing the shooting.
Ekaterina Shipulina was born in 1979 in Perm, in a ballet family. Her mother, Honored Artist of the RSFSR Lyudmila Shipulina, worked at the Perm Opera and Ballet Theater from 1973 to 1990, and since 1991 she and her husband danced in Moscow, at the Musical Theater. Stanistavsky and Nemirovich-Danchenko.
Since 1989, Ekaterina Shipulina (together with her twin sister Anna, who later abandoned ballet) studied at the Perm State Choreographic School, in 1994 she continued her studies at the Moscow State Academy of Choreography, from which she graduated with honors in 1998 in the class of teacher L Litavkina. At the graduation concert, she danced the pas de deux from the ballet "Corsair" paired with Ruslan Skvortsov. After graduating from college, Shipulina was accepted into the Bolshoi Theater. Shipulina's teacher-repetiteur in the theater is M.V. Kondratiev.
In the spring of 1999, Ekaterina Shipulina won a silver medal at the International Ballet Competition in Luxembourg.
Shortly after the competition, Shipulina danced the part of the Queen of the Ball in Fantasia on a Theme of Casanova and the Mazurka in Chopiniana.
In May 1999, Shipulina danced in the Grand Pas in the ballet La Sylphide.
In July 1999, the premiere of the ballet "Don Quixote" in the version of Alexei Fadeyechev took place at the Bolshoi Theater, in which Shipulina danced a variation.
In September 1999, Shipulina first danced the part of the Tsar Maiden in the ballet The Little Humpbacked Horse.
In February 2000, the premiere of Boris Eifman's ballet "Russian Hamlet" took place at the Bolshoi Theater. In the first cast, Anastasia Volochkova performed the part of the Empress, Konstantin Ivanov - the Heir's Wife, Ekaterina Shipulina - the Heir's Wife.
On March 12, 2000, Shipulina first performed the part of the Queen of the Dryads in the ballet Don Quixote.
In April 2000, a festive concert dedicated to the anniversary of Vladimir Vasiliev took place at the Bolshoi Theater. In this concert, Ekaterina Shipulina, Konstantin Ivanov and Dmitry Belogolovtsev performed an excerpt from "Swan Lake" in the version of the hero of the day.
In May 2000, the Bolshoi Theater premiered The Pharaoh's Daughter, staged by the French choreographer Pierre Lacotte based on Marius Petipa's production of the same name, especially for the Bolshoi Theater Company. At the premiere on May 5, Ekaterina Shipulina danced the part of the Congo River, and at the second performance on May 7, she danced the part of the Fisherman's Wife.
On May 25, 2000, Ekaterina Shipulina made her debut as the Lilac Fairy in The Sleeping Beauty.
On November 18, 2000, the Bolshoi Theater and the Regional Public Charitable Foundation for the Support of Poor Citizens "Help", with the participation of the Moscow Government, held a charity event "Children of Independent Russia". The ballet "The Little Humpbacked Horse" was shown, in which the main parts were performed by Ekaterina Shipulina (Tsar Maiden) and Renat Arifulin (Ivan).
December 8, 2000 Shipulina first danced the second variation in the painting "Shadows" in the ballet "La Bayadère".
On December 12, 2000, the Russian Cultural Foundation, together with the Bolshoi Theater, held a gala concert of the 1st International Ballet Festival "In Honor of Galina Ulanova". The first part of the concert consisted of concert numbers performed by famous dancers from different countries, and in the second part the picture "Shadows" from "La Bayadere" was shown, where the main parts were performed by Galina Stepanenko and Nikolai Tsiskaridze, and Ekaterina Shipulina danced the 2nd shadow.
At the beginning of April 2001, in the Australian cities of Melbourne, Sydney and Brisbane, solemn presentations of the future ballet schools of the Bolshoi Theater took place, in which Ekaterina Shipulina and Ruslan Skvortsov took part.
In May 2001 Kazan hosted the 15th International Festival of Classical Ballet. Rudolf Nureyev. At the festival, Ekaterina Shipulina danced the Queen of the Dryads in the play Don Quixote.
In June 2001, the Bolshoi Theater hosted the IX International Competition for Ballet Dancers and Choreographers. Ekaterina Shipulina participated in the competition in the older age group (duets). Shipulina and her partner, soloist of the Bolshoi Theater Ruslan Skvortsov, danced the pas de deux from Corsair, the pas de deux from Esmeralda and the contemporary Awakening choreography by S. Bobrov. As a result, Shipulina shared the second prize with Barbosa Roberta Markes from Brazil.
In December 2001, the troupe of the Bolshoi Theater toured Italy. Shipulina participated in tours and danced the Lilac Fairy in the ballet "Sleeping Beauty".
On March 29, 2002, Ekaterina Shipulina danced Odette-Odile for the first time in the ballet Swan Lake. Her partner was Vladimir Neporozhny.
From May 30 to June 4, 2002, the Bolshoi Theater troupe performed at the ballet festival in the Finnish city of Savonlinna, showing two "Swan Lakes" and three "Don Quixote". Ekaterina Shipulina danced Odette-Odile in the first "Swan Lake" paired with Sergei Filin, as well as the Queen of the Dryads in "Don Quixote".
From July 24 to July 26, 2002, the Bolshoi Theater troupe gave three performances of Giselle in Cyprus. Ekaterina Shipulina performed as Mirta.
From September 21 to October 10, 2002, the Bolshoi Theater Ballet and Orchestra toured Japan. The ballets Sleeping Beauty and Spartacus were shown in Tokyo, Osaka, Fukuoka, Nagoya and other cities. Ekaterina Shipulina participated in the tour.
On October 18, 2002, a gala concert dedicated to the 200th anniversary of the Ministry of Economic Development and Trade was held at the Bolshoi Theater. The concert ended with the Grand Pas from the ballet "Don Quixote", in which the main parts were danced by Anastasia Volochkova and Evgeny Ivanchenko, and the variations by Maria Alexandrova and Ekaterina Shipulina.
From late October to mid-December 2002, the Bolshoi Ballet Company toured the cities of the USA - Seattle, Detroit, Washington, etc. with the ballets La Bayadère, Swan Lake and, at the end of the tour, The Nutcracker. Ekaterina Shipulina participated in tours, danced the Shadow variation in La Bayadère and the Polish Bride in Swan Lake.
Ekaterina Shipulina became the owner of the Triumph youth incentive award for 2002.
In March 2003, a ballet festival was held on the stage of the Kennedy Center in Washington. In the first part of the festival (March 4-9), a program of short works performed by artists from the Royal Danish Ballet, the Bolshoi Theater and the American Ballet Theater was shown several times. A pas de deux from Don Quixote was shown with Anastasia Volochkova, Evgeny Ivanchenko (main roles), Ekaterina Shipulina and Irina Fedotova (variations).
On March 30, 2003, the Bolshoi Theater hosted a ballet evening dedicated to the 50th anniversary of Marina Kondratieva's creative activity. At the evening, Kondratieva's student Ekaterina Shipulina and Konstantin Ivanov danced the black swan pas de deux from the Swan Lake ballet.
In April 2003, the premiere of the ballet The Bright Stream, staged by Alexei Ratmansky especially for the Bolshoi Theater troupe, took place on the New Stage of the Bolshoi Theatre. At the third performance on April 22, the parts of the Classical Dancer and the Classical Dancer were performed by Ekaterina Shipulina and Ruslan Skvortsov.
In May 2003, the Bolshoi Theater hosted the premiere of the updated choreographic and stage version of the ballet "Raymonda" staged by Y. Grigorovich. At the premiere on May 10, Shipulina danced the part of Henrietta, Raymonda's friend.
On May 21, 2003, Ekaterina Shipulina danced the role of Esmeralda for the first time in the ballet Notre Dame Cathedral. Her partners were Dmitry Belogolovtsev (Quasimodo), Ruslan Skvortsov (Frollo), Alexander Volchkov (Phoebus).
On May 26, 2003, the Bolshoi Theater hosted a ballet evening dedicated to the 70th birthday and 50th anniversary of Nikolai Fadeyechev's creative activity. At the evening, Ekaterina Shipulina danced the 2nd variation in the painting "Shadows" from the ballet "La Bayadère" and the 2nd variation in the 3rd act from the ballet "Don Quixote".
At the end of May 2003, Kazan hosted a festival to them. R. Nurieva. At the festival, Ekaterina Shipulina danced the Queen of the Dryads in the ballet "Don Quixote".
In June 2003 the English Royal Ballet performed on the stage of the Bolshoi Theatre. The tour ended on June 29 with a gala concert with the participation of the stars of the English Royal Ballet and the Bolshoi Ballet. In the concert, Shipulina danced the 2nd variation in the Grand Pas from the ballet "Don Quixote" (the main parts were performed by Andrei Uvarov and Marianela Nunez).
On October 16, 2003, Ekaterina Shipulina danced the main part (the Seventh Waltz and Prelude) in "Chopiniana" for the first time.
On October 27, 29 and 31, 2003, performances of the ballet "The Pharaoh's Daughter" were held at the Bolshoi Theater, which were filmed on video by the French company Bel Air for the subsequent release of the DVD version of the ballet. Ekaterina Shipulina danced the part of the Congo River.
On November 22, 2003, the Bolshoi Theater hosted a performance of "Don Quixote" dedicated to the centenary of the birth of Asaf Messerer. Shipulina danced the Queen of the Dryads.
In January 2004, the Bolshoi Theater toured Paris. From 7 to 24 January, the ballets Swan Lake, The Pharaoh's Daughter and The Bright Stream were shown on the stage of the Palais Garnier. Shipulina danced the Polish Bride in Swan Lake, the Fisherman's Wife and the Congo River in Pharaoh's Daughter, and the Classical Dancer in Bright Stream.
Awards:
1999 - silver medal at the International Ballet Competition in Luxembourg.
2001 - second prize at the IX international competition of ballet dancers and choreographers in Moscow.
2002 - Youth incentive award "Triumph".
Repertoire:
One of Giselle's friends, "Giselle" (J. Perrot, J. Coralli, staged by V. Vasiliev).
Fairy Sapphires, "Sleeping Beauty" (M. Petipa, staged by Y. Grigorovich).
Mazurka, "Chopiniana" (M. Fokin), 1999.
The queen of the ball, "Fantasy on the theme of Casanova" (M. Lavrovsky), 1999.
Grand pas, "Sylphide" (A. Bournonville, E.-M. von Rosen), 1999.
Variation in Grand Pas, "Don Quixote" (M.I. Petipa, A.A. Gorsky, production by A. Fadeechev), 1999.
Tsar Maiden, "Humpbacked Horse", 1999.
Queen of the Dryads, "Don Quixote" (M.I. Petipa, A.A. Gorsky, staged by A. Fadeechev), 2000.
Lilac Fairy, "Sleeping Beauty" (M. Petipa, staged by Y. Grigorovich), 2000.
The second variation in the film "Shadows", "La Bayadère" (M. Petipa, staged by Y. Grigorovich), 2000.
Wife of the Heir, "Russian Hamlet" (B. Eifman), 2000.
Magnolia, "Cipollino" (G. Mayorov), 2000.
The Congo River, "Pharaoh's Daughter" (M. Petipa, P. Lacotte), 2000.
The Fisherman's Wife, "Pharaoh's Daughter" (M. Petipa, P. Lacotte), 2000.
Mirtha, "Giselle" (J. Perrot, J. Coralli, staged by V. Vasiliev), 2001.
Gamzatti, "La Bayadère" (M. Petipa, V. Chabukiani, staged by Y. Grigorovich).
Odette-Odile, "Swan Lake" (M. Petipa, L. Ivanov, staged by Y. Grigorovich), 2002.
Polish bride, "Swan Lake" (M. Petipa, L. Ivanov, staged by Y. Grigorovich).
Classical dancer, "Light Stream" (A. Ratmansky), 2003.
Henrietta, Raymonda's friend, "Raymonda" (M. Petipa, staged by Y. Grigorovich), 2003.
Esmeralda, "Notre Dame Cathedral" (R. Petit), 2003.
Seventh Waltz and Prelude, "Chopiniana" (M. Fokin), 2003.
Sources:
1. Booklet issued for the IX International Competition of Ballet Dancers and Choreographers in 2001 in Moscow.
2. Programs of the Bolshoi Theatre.
3. V. Gaevsky. War of the scarlet and white roses. "Line", July-August 2000.
4. I. Udyanskaya. An aristocrat from a ballet fairy tale. "Line", October 2001.
5. A. Vitash-Vitkovskaya. Ekaterina Shipulina: "I love the Bolshoi, and he loves me back." "Line" #5/2002.
6. A. Galayda. Ekaterina Shipulina. "Bolshoi Theatre" No. 6 2000/2001.
