Ekaterina shipulina instagram official. Personal life, wife and children of Denis Matsuev

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.

The famous pianist and prima ballerina of the Bolshoi Theater have been together for many years

Photo: Instagram.com Denis and Ekaterina

In "Spartacus" you play the leader of the courtesans Aegina. After the performance, the men were frank: “Shipulina is dancing the scene of the seduction of warriors SO! I want to run out on stage and have sex with her immediately.”

- Grigorovich staged the ballet in such a way that the audience themselves should guess everything. After all, this is not a strip club - vulgarity and vulgarity cannot be allowed here, a ballerina should not cross the permitted line. Since the men spoke of my Aegina in this way, it means that I conveyed the idea of ​​the choreographer to the public. (Smiling.)

- Choreographer Fokin said: the "speech" of the ballerina's body should be filled with meaning. And if the variation is small, try to have time to “say”!

- You really need to put a lot of soul and effort into a small variation. For example, the ballet Paquita. Each ballerina has only a minute and a half to show what she is capable of. And big roles are a separate conversation. During the preparation period, you walk like a zombie, all the time you think over the image, movements, so that on stage these are not empty gestures ... Even the flutter of the ballerina's eyelashes is not accidental.

- Your mother, Honored Artist of Russia Lyudmila Shipulina, was a leading ballerina. Now she is a renowned teacher...

- Sometimes it seems to me that my mother is more a mother to her students than to me. He says: "My girls have a premiere, I need to buy presents." - “Mom, who is your daughter?!” With me, she is often a teacher. Strict, strong-willed, no compromises. The worst criticism comes from my mother. She says: if you always praise, there will be no progress.

- Now ballerinas practically do vertical splits. Maya Plisetskaya wrote in her book that in her time it was considered vulgar.

- The aesthetics of ballet was completely different then. The teacher, ballerina of the Bolshoi Marina Semyonova hated it when one of her students raised her leg high. She came up and hit her on the ankle. Then they didn’t spin as many pirouettes as they do now, they didn’t jump as high. It seems to me that this progress is connected with certain artists. Someone has an incredible step by nature. Such an artist began to imitate. And then it started - who is higher, who is further, who is faster.

- I heard from ballerinas: they do not remember a day so that the body does not hurt ...

- Ballet dancers say: if something hurts, then everything is fine, you are alive and you have to go to work. I had a moment when my hip was insanely sore. To get out of bed in the morning, I shifted my leg with my hands. She could not move her, she limped heavily. Whoever saw me was shocked: “Katya, are you going to work in such a state?” - "Yes, now I'll take a pill, I'm leaving and I'll be dancing in the evening." I was recently tested by professors. It turned out that there were no reflexes in my knees. They hit with a hammer, but the leg does not twitch. (Laughs.) There are modern ballets where you fall on your knees with all your might. But when you enter into a rage, you do not notice the pain. Many of us have what is called “habitual dislocation”. You twist your leg, sprinkle some medicine, swallow a pill - and go.

When I first came to the theater, I was like a pioneer. The temperature is 38°, and I'm going to dance. I look back and understand: now in such a state I would never go on stage. And before there was a fear: what will they think, suddenly they will not believe? Probably, only with age you begin to take care of your health.

"I can eat 24 hours a day"

- I know for myself: if you rub your leg, the mood is spoiled. And for a ballerina, stage shoes are a separate issue ...

- I am now dancing in American shoes. They are made of plastic. They can be washed in the washing machine. And for 3 months to dance in one pair.

- Athletes keep a strict regime - in nutrition, in the daily routine. What can not be a ballerina?

- I will not go skydiving if there is a performance in the evening. In general, I am an extreme person. I also go water skiing and ice skating. In my trunk I have tennis rackets, a soccer ball, ice skates, gym shoes, a swimsuit for the pool. As for food, I was lucky: I went with the constitution to my mother. I can eat 24 hours a day and my weight is fine.

I heard you're in love...

- I'm sure that feeling in love helps a lot. When a person loves, his eyes burn, he goes to work with a positive attitude, he is getting better.

Now many ballerinas calmly give birth to children, and then go back to work. I am also not going to delay the child ...

Dossier

Ekaterina Shipulina was born in 1979 in Perm in a ballet family. Together with her twin sister Anna, she studied at the Perm State Choreographic School. Graduated with honors from the Moscow State Academy of Choreography. Leading soloist of the Bolshoi Theatre.

Ekaterina Valentinovna Shipulina was born on November 14, 1979 in Perm. Her parents have been associated with ballet all their lives. Mother soloed on the stage of the local opera and ballet theater. Not only Ekaterina followed in her footsteps, but also her twin sister Anna. At the age of 10, the girls entered the Perm State Choreographic School. Soon Anna did not like ballet, and she decided to quit her studies. Catherine, despite the strong physical and emotional stress, continued to hone her skills.

In 1994, she moved from Perm to Moscow, where she continued her ballet education and entered the choreographic academy. There, Lyudmila Litavkina became her mentor. Shipulina graduated with honors in 1998. As a graduation number, Catherine chose the part from the ballet Le Corsaire.

Career

After graduating from the academy, Shipulina was immediately taken to the troupe of the Bolshoi Theater, where her curators were first teachers Tatyana Golikova and Marina Kondratieva, and then Nadezhda Gracheva. Experts immediately drew attention to the dance style of the young ballerina: she skillfully conveyed the feelings and emotions of her character, and it was almost impossible not to believe in the image and plot recreated by her.

In 1998, Ekaterina took part in only two productions: "La Bayadère" and "The Nutcracker", which were staged by Yuri Grigorovich. In 1999, the list of roles expanded significantly. So, Shipulina shone in Giselle, The Little Humpbacked Horse, Chopiniana, Don Quixote. Ekaterina relatively quickly, by ballet standards, became the prima ballerina of the main stage of the country and gained national fame. People began to go not just to the Bolshoi Theater, but to a specific ballerina - Ekaterina Shipulina. At one time, the legendary Maya Plisetskaya was awarded such fame.

Shipulina has many different awards. So, in 1999, she took a silver medal at the ballet competition in Luxembourg. In 2005, Ekaterina became the winner of the "Golden Lyre" in the nomination "Woman's Face of the Year".

In 2009, she was given the title of Honored Artist of the Russian Federation. In 2018, Ekaterina became the People's Artist of the Russian Federation for her services in the field of musical and theatrical art.

Personal life

Ekaterina Shipulina tries not to advertise her personal life. Not so long ago it became known that she had been living with the famous pianist Denis Matsuev for ten years. The couple is not officially signed. However, this did not prevent them from having a joint child. For a long time, Shipulina hid her pregnancy. In October 2016, the couple had a daughter, whom the young parents decided to name Anna. But Ekaterina and Denis are still in no hurry to go to the registry office.

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.