Studied at the Tiflis Academy of Arts (1926-1927) under I. Charlemagne. In 1928 he moved to Moscow, where he continued his education at Vkhutein - the Higher Artistic and Technical Institute (teachers Isaac Rabinovich and Pyotr Konchalovsky). He completed his studies in 1931 at the Leningrad Vkhutein (since 1930 - the Leningrad Academy of Arts, teacher Mikhail Bobyshov).

In 1926-1927, he designed several performances of the Tiflis TRAM - the Theater of Working Youth, paying tribute to the constructivism popular in those years.

In 1932-1936 he was the chief designer of the Tiflis State Opera and Ballet Theater named after Zakharia Paliashvili. In this theater at that time and later, they designed the operas "William Tell" by G. Rossini (1931), "Daisi" by Z. Paliashvili (1936), the ballets "Heart of the Mountains" by A. Balanchivadze (1936), "Chopiniana" to music F. Chopin and "Giselle" A. Adam (1942), "Don Quixote" L. Minkus (1943), "Othello" A. Machavariani (1957).

Since 1937, he worked at the Leningrad State Academic Opera and Ballet Theater named after S.M. Kirov (now the Mariinsky). In 1945-1962 he was the chief artist of this theater.

prizes and awards

In 1949 he was awarded the Stalin Prize (State USSR) for the design of the ballet "Raymonda" in the Leningrad theater named after Kirov.
In 1951 - the Stalin Prize for the design of the opera "The Family of Taras" (ibid.).
In 1970 - the Lenin Prize for the design of the ballet "Spartacus" at the Bolshoi Theater.
In 1975 he was elected a full member of the Academy of Arts of the USSR.
In 1976 he was awarded the title of "People's Artist of the USSR".
In 1977 he received the State Prize of the SSR for the design of the ballet "Angara" at the Bolshoi Theater.
Diploma of the Union of Artists of the USSR for the film "Hamlet" (1964).

This street today bears his name. The great theater designer Simon Virsaladze was born in Tiflis, but in a different place. Together with their parents and sisters Tina and Elena, they lived on Peter the Great Street (now renamed after the linguist Ingorokva). In this mansion, or rather, in its right wing, he settled in 1958.

Having decided to return to Georgia (for many years Virsaladze worked as the chief artist of the Kirov (Mariinsky) Theater in Leningrad, at the Bolshoi Theater in Moscow), he entrusted the chores of his move to his sister Elena. Virsaladze, whom the whole theatrical world called "Soliko" in the Georgian manner, did not have his own family. She chose several options and voiced them to her brother over the phone: an apartment in a new house, an apartment in an old building, and, finally, three rooms in a one-story mansion, in the courtyard of which there is a garden with wisteria.

© photo: Sputnik / RIA Novosti

Honored Art Worker of the Georgian SSR S. B. Virsaladze

As Virsaladze’s niece Manana Khidasheli later told me, my uncle made the decision almost instantly: “He told my mother: “Take with wisteria.” And although the “conveniences” were in the yard, Soliko never regretted his decision. the kindergarten, and this institution was located here until the fifties, a real masterpiece.The artist divided one room into a kitchen and a toilet, and furnished the others with antique furniture, decorated the ceiling of the library with Persian-style stucco, and equipped a cozy office.

I would definitely like to visit this house. From the outside it looks like a normal gray building. Nearby is a high-rise bank, nearby the Dry Bridge and the legendary hotels, about the guests of which I have already written. But I knew that here, behind the windows of the library overlooking a shady courtyard, more than one fairy tale was born, otherwise the performances designed by Virsaladze cannot be called otherwise. Why not "the genius of the place"?

It was within these walls that Spartacus appeared, one of the greatest ballets staged by Yuri Grigorovich. The collaboration between Virsaladze and Grigorovich began back in Leningrad, when a well-known artist came to a performance created by a young dancer from the corps de ballet of the Kirov Theater. The young director was destined to become one of the most famous choreographers of the second half of the 20th century.

© photo: Sputnik / Rukhkyan

Their first joint ballet was "Stone Flower" to the music of Prokofiev. The premiere took place in Leningrad in 1957. And then for four decades Grigorovich worked with Virsaladze.

According to Manana Khidasheli, Grigorovich flew to Tbilisi for several days from Moscow, they sat down with Soliko near the tape recorder, in which the cassette with music for the ballet played endlessly, and fantasized.

Virsaladze himself attended the ballet studio, which at the beginning of the last century was kept in Tiflis by the Italian Perini. In the end, however, the love of drawing won; Soliko entered the studio of the artist Mose Toidze, then studied at the Art Institute in Moscow and Leningrad.

But the ballet never let him go. Virsaladze not only understood him, he felt the dance. That is why he understood very well what decorations are needed in order for everything to work out.

© photo: Sputnik / Leon Dubilt

People's Artist of the RSFSR and the Georgian SSR Simon Virsaladze at work on sketches of costumes for characters in the ballet "The Legend of Love"

The first stage director with whom Virsaladze began to collaborate was the great Vakhtang Chabukiani, whose performances were staged at the Tbilisi Opera and Ballet Theatre.

But real masterpieces were born precisely in a duet with Yuri Grigorovich. It would not be an exaggeration to call Virsaladze an equal co-author of the brilliant choreographer.

When I first crossed the threshold of the house where the Georgian artist lived, I saw on the mahogany couch - the owner loved the old days, in his collection there are a lot of unique dishes, glass, furnishings - a large Nutcracker doll. And then I heard the story of how the ballet of the same name was born.

“Yura flew in from Moscow,” recalled Manana Khidasheli, who kept everything in the house exactly as it was with her uncle. - He and Soliko listened to Tchaikovsky and fantasized out loud. As a result, a ballet appeared, which I tried not to miss, every now and then I flew to Moscow at the Bolshoi.

Soliko Virsaladze passed away in 1989. When there was no hope of recovery, the niece took Soliko from the Kremlin hospital in Tbilisi. And before that, several times a month, taking turns with her son Levan, whose photograph hangs in the most prominent place in the big room, she flew to Moscow. Levan Abashidze, a young and promising actor, died during the Abkhaz war in 1993.

Photo: book by I. Obolensky "From Tiflis to Tbilisi.

Today Manana Khidasheli lives alone in this house. He is waiting for his granddaughter Elena (daughter of her eldest son Heraclius), who is studying in London. And he sorts through the Virsaladze archive, sometimes "digging up" truly unique documents.

During my next visit, she showed me a black ink portrait. She said that she had finally found the strength to open the desk drawer, which until then had been inviolable, although many years had passed since the day Virsaladze left. A beautiful young woman looked out from the portrait. Who is it, I asked.

And Manana Khidasheli told me a love story. "In general, my uncle was not married. I even once asked him why he did not start a family. To which he replied that he was married. At his job. And then, why are you not my daughter?"

But there was love in Virsaladze's life. Even in his youth, he fell in love with Maria Bagrationi, the daughter of Prince George, the head of the royal house of Georgia, who owned this title, of course, only in words.

Photo: Virsaladze family archive

In 1801, the House of Bagrationi lost its throne, Georgia became part of the Russian Empire. When in 1921 the country became part of the future Soviet empire, the Bagrationi family, and besides Maria, the prince and his wife had other children, went abroad. They managed to get along well in Europe. But soon Maria Bagrationi returned to Tiflis: she fell in love with an employee of the Soviet embassy in France and came to the Soviet Union with him. According to one version, beloved Bagrationi was soon shot.

As a result, Maria Georgievna again ended up in the capital of Georgia. She settled in the former parental home, where the new government gave her a small room on the ground floor.

Bagrationi drew well, painted scenery at the Opera. There she met Soliko Virsaladze. It was love at first sight.

This story did not continue due to the arrest of Maria Georgievna. During interrogations, the investigator demanded that she confess that she was a princess. Bagrationi answered invariably "this is not true." When the investigator was completely furious, the arrested woman said: "I am a princess! And any gypsy can become a princess, for this it is enough just to marry a prince."

On a false charge of non-existent crimes, Princess Bagrationi was sent to camps, where she spent several years. In conclusion, it was the profession of the artist that saved her. Maria Georgievna was transferred to a club where she designed wall newspapers.

Virsaladze sent her food parcels and money orders, which were appropriated by guards and camp authorities. But Maria Georgievna never believed that the young man remembered her all these years and tried to help as best he could. Returning to Tbilisi, she refused to meet with him.

© photo: Sputnik / Oleg Ignatovich

Scenery sketch for the opera "Abesalom and Eteri"

Virsaladze considered it below his dignity to make excuses. Moreover, he refused to even walk along Gudiashvili Street, where Bagrationi lived.

And then it turned out: he did not forget about Mary. He kept her portrait in the drawer of his desk and did not show it even to those closest to him.

To be continued…

On January 13, the famous artist Simon Bagratovich Virsaladze was born, famous, first of all, as the creator of unforgettable scenery and costumes for ballet performances of the Kirov (Mariinsky), the Bolshoi Theater of the USSR and the Opera and Ballet Theater named after Z. Paliashvili (Tbilisi), an employee of outstanding Soviet choreographers of the XX century, a real "wizard of the theater stage."

Full member of the Academy of Arts of the USSR (1975), corresponding member of the Academy of Arts of the USSR (1958).
PRIZES AND AWARDS
In 1949 he was awarded the Stalin Prize (State USSR) for the design of the ballet "Raymonda" in the Leningrad theater named after Kirov.
In 1951 - the Stalin Prize for the design of the opera "The Family of Taras" (ibid.).
In 1970 - the Lenin Prize for the design of the ballet "Spartacus" at the Bolshoi Theater.
In 1975 he was elected a full member of the Academy of Arts of the USSR.
In 1976 he was awarded the title of "People's Artist of the USSR".
In 1977 he received the State Prize of the SSR for the design of the ballet "Angara" at the Bolshoi Theater.
Diploma of the Union of Artists of the USSR for the film "Hamlet" (1964).

Set design for the ballet "Swan Lake" (1950)

Set design for the ballet "The Legend of Love"
Choir.Yu.N.Grigorovich (1959)

Design of the performance SLEEPING BEAUTY with costumes and scenery by S. B. Vizsaladze in Kirov (Mariinsky)

Simon Bagratovich Virsaladze (December 31, 1908 (January 13, 1909), Tiflis - February 7, 1989, Tbilisi)

He studied at the Tiflis Academy of Arts (1926-1927). In 1928 he moved to Moscow, where he continued his education at Vkhutein - the Higher Artistic and Technical Institute (teachers Isaac Rabinovich and Pyotr Konchalovsky). He completed his studies in 1931 at the Leningrad Vkhutein (since 1930 - the Leningrad Academy of Arts)

In 1932-1936 he was the chief designer of the Tiflis State Opera and Ballet Theater named after Zakharia Paliashvili. In this theater at that time and later, they designed the operas "William Tell" by G. Rossini (1931), "Daisi" by Z. Paliashvili (1936), the ballets "Heart of the Mountains" by A. Balanchivadze (1936), "Chopiniana" to music F. Chopin and "Giselle" A. Adam (1942), "Don Quixote" L. Minkus (1943), "Othello" A. Machavariani (1957).

In 1937 the artist moved to Leningrad. It became his 2nd homeland - creative. The performances designed by Virsaladze at the Kirov Theater and at the Maly Opera Theater won Simon Bagratovich the prestige of a major artist, a prominent place in the artistic life and art of St. Petersburg - Leningrad.

Since 1937, he worked at the Leningrad State Academic Opera and Ballet Theater named after S.M. Kirov (now the Mariinsky). In 1945-1962, he was the chief artist of this theater. Among the ballets designed by him at the Moscow Theater: Raymonda (1948), Swan Lake (1950), Sleeping Beauty (1952) - all edited by K.M. Sergeev, "The Nutcracker" (posted by V.I. Vainonen), "Stone Flower" (1957), "Legend of Love" (1959), posted by Yu.N. Grigorovich.

At the Bolshoi Theater, Virsaladze actively collaborated with Yu. N. Grigorovich, designing ALL of his ballets.

With Yu.N. Grigorovich

Sketch of scenery for the ballet "Ivan the Terrible"
Choir.Yu.N.Grigorovich (1975)

Scene from the ballet SWAN LAKE Mariinsky (Kirov) Theater 1950s

Scene from the ballet The Nutcracker Choreography by Vyacheslav Vainonen Mariinsky Theater

Scene from the ballet STONE FLOWER Chorus by Yu.N. Grigorovich (1957)

Sketches of theatrical costumes for the ballet SCHEHERAZAD

In Virsaladze's picturesque, rich and varied in color, subtle color scheme, heroic monumentality, romantic elation and festivity are combined with simplicity and conciseness, a subtle sense of style. In his scenery, he achieves high emotional expressiveness, masterfully uses color and light.

Author's style

Masters of the Bolshoi Theater painstakingly restored the scenery and costumes of the artist Simon Virsaladze

In the workshops, in the museum, in the theater, they are perplexed: how did it happen that grains remained from the huge creative heritage of Simon Virsaladze? There is a documentary film where Suliko Bagratovich was filmed in the studio, just at work on "". There are photographs: the choreographer and stage designer are examining sketches for Ivan. It is known that more than a hundred sketches were created. And as a result, in three museums: St. Petersburg theatrical, Moscow and the Museum of the Bolshoi Theater - only 9 sketches have been preserved. And one, the central sketch of the triptych in the icon-painting style is kept in the collection of Yuri Grigorovich. Where did the rest of the work go?

Amazing story

The assumptions are the most incredible. About the St. Petersburg exhibition, where “everything” was sent, and “nothing” back, about Suliko Bagratovich’s niece, who frivolously disposed of her uncle’s legacy, about the Georgian artist’s generosity, handing out works right and left. An amazing story: the scenery is frayed, the costumes are worn out, the sketches are lost, and, in the workshops, the theater workers remember Virsaladze with great tenderness, as if all the great premieres of Grigorovich happened only yesterday. And only yesterday Suliko Bagratovich "tore and threw" in the workshops. They say: he was corrosive to the smallest detail, he didn’t let go for oversights, but he didn’t spare himself either. When the performance was being handed over, it seemed that he lived in the workshops day and night. Smoked and drank tea with lemon.

Yulia Berlyaeva is the favorite craftswoman of Suliko Bagratovich. The story is about how the artist ordered her the most complex, responsible costumes: “Give these to Yulechka Berlyaeva!” - has become a household name. Julia recalls that Virsaladze was feared as much as they were loved.

- When I just graduated from the theater and art school and came to the workshops, - says Yulia Berlyaeva, - Virsaladze saw from afar: newcomers were not allowed into battle, they tried not to annoy the artist in vain ... Therefore, I looked at Suliko Bagratovich from afar. It was immediately noticeable: he had a demand for the Hamburg account. I also noticed that it is very important to understand immediately what exactly is required. Basically, all these nervous experiences happened due to the fact that the masters did not understand the artist. Finally, after a few years, I was allowed to work in the production of Virsaladze. Gave a suit from the crowd. The work was structured as follows: costumes were created in groups, sketches were handed to the craftsmen, we sewed models and went to the artist to approve. And so, on shaky legs, I went to assert. Surprisingly, Suliko Bagratovich accepted the layout, everything went without problems. And off we go...

Suliko Bagratovich drew hundreds of sketches for productions. Wide bright strokes, without going into the study of faces. He insisted: the sketch is not the meaning of the production, the goal is to realize the idea on stage. And it never happened under Virsaladze that what was conceived on the sketch could not be realized on the stage one by one. Natalya Borisovna Pavlova worked with Suliko Bagratovich in 1975 on "Ivan the Terrible" as a student of the artist. Now, already in the status of a restorer, she recalls: “Chirku (from“ strike ”,“ stroke. ”- Note. ed.) put it in the wrong place, but he sees!”

Virsaladze networks

All fabric colors were personally accepted by Simon Bagratovich. He went to the dyeing workshop of the workshops, where a mesh specially created for him was stained. This grid was developed for the Bolshoi Theater by the Research Institute of the Textile Industry. Therefore, now, when it was necessary to find a net for the restoration of costumes for Ivan the Terrible, the workshops were tormented: where can one get such a net now? Found in Turkey. It is produced there as a fabric for curtains ... True, in the workshops they say that this is still not quite such a net, and that if you approached this issue, as Suliko Bagratovich approached, he would notice ...

"This grid was developed for the Bolshoi Theater by the Research Institute of the Textile Industry."

The entire mesh from the research institute was delivered to the dyehouse. Masters painted. And Suliko Bagratovich, referring to the sketches, accepted the colors. Those who saw it say that it was a spectacular dramatic spectacle. Those who have learned to paint in such a way as to fall “under Virsaladze” remember this all their lives. All complex colors, both masters and artists at the Bolshoi Theater, are still called “Virsaladze’s color”. Favorite colors of the artist: gold, red, black. But in the works of the artist you will never see open red or golden, striking in the eyes, like a polished samovar. Everything is muffled, aged, ennobled.

Natalya Pavlova tells how she involuntarily caught the scene of the dressing down, which Suliko Bagratovich arranged for his artist. He looked at the ceiling from above, went down and asked: “What did I show you on the sketch? Taa-taa-taa-taa. What did you do? Ta! Ta! Ta! Ta!”

All the requirements of Virsaladze in the workshops were fulfilled unconditionally. He was not so much feared as they did not dare to upset him. Although Virsaladze liked to tell the masters: “My business is an image, it doesn’t matter to me where the tuck will be,” he treated professionals with the highest respect.

“Suliko Bagratovich complained that no one was telling him the truth,” recalls Yulia Berlyaeva, “and in difficult situations sometimes called me to arbitrate. Say, Yulia is not afraid of me, she will tell everything. I remember a difficult moment with Andris Liepa's costume. He danced Romeo in the new edition of Romeo and Juliet, and Suliko Bagratovich came up with such a costume, there were legs of different colors in tights - gray and blue. Andris came to try on a suit and decided that the gray color visually enlarges the legs - he was worried that the gray leg looks thicker than the blue one. And Suliko Bagratovich generally did not tolerate acting whims. Once the artist complained to the artist during the fitting that the suit with the train was very heavy. Suliko Bagratovich, after listening attentively to him, shook his head: “All right, I'll talk to Yuri Nikolayevich so that they give you a different role ...” But Suliko Bagratovich listened to the opinion of the soloists. Moreover, Andris was a favorite in the workshops. And he was forgiven in advance for what another artist, perhaps, would not have dared. Andris insisted. Virsaladze reasoned with him. The discussion heated up.

- I got scared and hid behind Andris's back. But then Virsaladze called me: "Let Yulia say, she will not lie." And I confessed, yes, I'm fat, yes, the gray leg looks thicker than the blue one. And then Andris got two blue legs.

prince of light

He needed more than just obedience. He sought to understand his intention. During the month and a half that we were working on costumes and scenery, we all felt like a team, - recalls Galina Ivanovna Nuridzhanova, head of the costume production department. - Before starting work on the play, Suliko Bagratovich gathered all the masters and gave a lecture to us. What is the idea of ​​the production, what is the historical period, where are the accents, how are the images revealed. And we, of course, listened to him with delight. His sense of beauty, style, excellent education, aristocracy of manners - this is never forgotten.

Galina Ivanovna recalls that quite recently, when The Nutcracker was transferred to the restored historical stage, the scenery was restored and repainted, and the costumes were updated. And Yuri Nikolaevich Grigorovich found in his archive a sketch of Virsaladze for a Chinese dance, yellow. Suliko Bagratovich once rejected this sketch.

- And Yuri Nikolayevich and I decided: why not try to sew a yellow suit? - says Galina Ivanovna Nuridzhanova: - They sewed it. And here is the first costume rehearsal on stage: the yellow costume is knocked out like a lantern shines! And Grigorovich says to me: “Galya! Throw it away! So we returned to the version of Suliko Bagratovich: we sewed green, as it was originally ... Imagine what a sense of color - even at the stage of sketches I realized: it won’t work!

Art critic Viktor Vanslov, a researcher of Grigorovich's work, recalls how one day, plucking up courage, he asked Virsaladze: “Suliko Bagratovich, is it true that you are a former prince?” Virsaladze's answer was: “Excuse me, Viktor Vladimirovich, is it possible to be a former St. Bernard?”

Color Virsaladze

However, despite the record man-hours worked by Virsaladze in the workshops of the Bolshoi, the great sympathy and mutual trust of the brilliant artist in his masters with golden hands, no one can remember that Virsaladze just like that, over tea and cigarettes, ranted about life or told in detail About Me. The maximum confidence that Suliko Bagratovich could go to was to allow himself a patch on the elbow of his jacket.

- Suliko Bagratovich had a favorite jacket made of woolen bouclé. Very fashionable, beautiful. It is immediately clear that it is not easy, - Yulia Burlyaeva recalls. - The jacket is so beloved that it was worn literally to the holes. And so we put patches on the elbows. It looked stylish - patches on the elbows were then in vogue.

Yulia Valentinovna recalls how once a package was brought to the workshops, and there were youthful photographs of Virsaladze. Suliko Bagratovich was happy, showing the masters how handsome he was.

“The maximum confidence that Suliko Bagratovich could go to is to allow himself a patch on the elbow of his jacket.”

That's all the talk "for life." Everything else is about the stage, the idea, the work.

Galina Ivanovna Nuridzhanova believes that Virsaladze did not leave the search for the ideal for a minute:

- We sewed suits, and right there, in the fitting room, Virsaladze accepted them. Artists came, spinning and spinning, Suliko Bagratovich found out whether it was convenient, whether it was pulling, whether it was interfering. Then they tested it on stage. And somehow, after a costume rehearsal of a dream in Raymond - we then struggled with color for a long time, we couldn’t pick it up - Suliko Bagratovich came to the workshop at night, where the costumes were brought for revision, and cut off all the trim from the dresses with scissors. We come in the morning, and the dresses are naked. So we started again.

Today the name of Virsaladze in the Bolshoi has become a household name. This is not only the “color of Virsaladze”. Not only its unique aesthetic that ties sets and costumes together. This is a unique scenography with a minimum of props on the stage - Ivan the Terrible has only a throne, a staff and a belfry hanging on the proscenium - picturesque, bright, fabric, leaving a lot of room for ballet dancers. This is a completely new approach to the design of ballets, not just painterly, as in Bakst, Korovin and Golovin - although Suliko Bagratovich himself, obviously, considered himself their successor - and not abstractly technically impersonal. This is the creation of a complete artistic image right on the stage, at the time of the performance. Spotlights turn on, the curtain opens - the grids are illuminated and turn into the golden apses of a Byzantine temple, the backlight changes - the same grid from the column turns into a haze that sets off the icon-painting panels. The performance ends, the spotlights go out, and the nets remain just nets, painted decorations.

S. B. Virsaladze was born on December 31, 1908 (January 13, 1909) and in Tiflis (now Tbilisi). Educated at the Tbilisi Academy of Arts under I. I. Charlemagne, at Vkhutein under I. M. Rabinovich and N. A. Shifrin, at the Leningrad Academy of Arts under M. P. Bobyshov. He began work in the theater in 1927 at the Tbilisi Workers' Theatre, then at the Tbilisi Opera and Ballet Theatre, where in 1932-1936 he was the chief artist. Since 1937, he has been working at the LATOB named after S. M. Kirov (in 1940-1941 and since 1945 - the main artist). Virsaladze also designed performances at the S. Rustaveli Theater in Tbilisi and others. At the Bolshoi Theater, S. B. Virsaladze actively collaborated with Yu. N. Grigorovich, designing all of his ballets. In Virsaladze's picturesque, rich and varied in color, subtle color scheme, heroic monumentality, romantic elation and festivity are combined with simplicity and conciseness, a subtle sense of style. In his scenery, he achieves high emotional expressiveness, masterfully uses color and light.

Awards and prizes

• People's Artist of the USSR (1976)
• People's Artist of the RSFSR (1957)
• People's Artist of the Georgian SSR (1958)
• Honored Artist of the Georgian SSR (1943)
• Lenin Prize (1970) - for the design of the ballet performance "Spartacus" by A. I. Khachaturian (1968)
• Stalin Prize of the second degree (1949) - for the design of the ballet performance "Raymonda" by A. K. Glazunov
• Stalin Prize of the second degree (1951) - for the design of the opera performance "The Family of Taras" by D. B. Kabalevsky
• State Prize of the USSR (1977) - for the design of the ballet performance "Angara" by A. Ya. Eshpay
• The order of Lenin
• two other orders and medals

Performances

Tbilisi Workers Theater

• 1927 - "Sellers of Glory" Pagnola and Nivua

GraTOB named after Z. P. Paliashvili

• 1931 - "William Tell" G. Rossini
• 1934 - "Swan Lake" by P. I. Tchaikovsky
• 1936 - "The Heart of the Mountains" by A. M. Balanchivadze; "Daisi" by Z. P. Paliashvili
• 1942 - "Chopiniana"; "Giselle" A. Adam
• 1943 - Don Quixote by L. F. Minkus
• 1947 - "Giselle" A. Adam
• 1957 - "Otello" A. D. Machavariani

LATOB named after S. M. Kirov

• 1941 - "The Fountain of Bakhchisarai" B. V. Asafiev (costumes)
• 1947 - "The Prince-Lake" by I. I. Dzerzhinsky; "Spring Tale" by B. V. Asafiev (based on musical materials by P. I. Tchaikovsky)
• 1951 - "The Family of Taras" by D. B. Kabalevsky
• 1953 - "Carmen" by J. Bizet
• 1938 - "The Heart of the Mountains" by A. M. Balanchivadze,
• 1939 - Laurencia by A. A. Crane
• 1950 - "Swan Lake" by P. I. Tchaikovsky
• 1952 - "Sleeping Beauty" by P. I. Tchaikovsky
• 1954 - The Nutcracker by P. I. Tchaikovsky
• 1957 - "Stone Flower" by S. S. Prokofiev
• 1949 - "Raymonda" by A. K. Glazunov
• 1961 - "The Legend of Love" by A. D. Melikov

Gradt named after Sh. Rustaveli in Tbilisi

• 1945 - "The Great Sovereign" V. A. Solovyov
• 1943 - "Heroes of Krtsanisi" S. I. Shanshiashvili

• 1959 - "Stone Flower" by S. S. Prokofiev
• 1963 - "Sleeping Beauty" by P. I. Tchaikovsky
• 1965 - "The Legend of Love" by A. D. Melikov
• 1966 - The Nutcracker by P. I. Tchaikovsky
• 1968 - "Spartacus" by A. I. Khachaturian
• 1969 - "Swan Lake" by P. I. Tchaikovsky
• 1973 - "Sleeping Beauty" by P. I. Tchaikovsky
• 1975 - "Ivan the Terrible" by S. S. Prokofiev
• 1976 - "Angara" A. Ya. Eshpay
• 1979 - "Romeo and Juliet" by S. S. Prokofiev
• 1982 - "The Golden Age" by D. D. Shostakovich
• 1984 - "Raymonda" by A. K. Glazunov

• 1940 - “Ashik-Kerib” by B. V. Asafiev, choreographer B. A. Fenster
• 1950 - Scheherazade by N. A. Rimsky-Korsakov, choreographer N. A. Anisimova
• 1953 - "Seven Beauties" by K. A. Karaev, choreographer P. A. Gusev
• 1955 - "Corsair" A. Adana

Movies

• 1970 - King Lear

Filmography

• 2009 - “Simon Virsaladze. Music of Color" - documentary film, 2009, 52 min., director N. S. Tikhonov