The word "ballet" sounds magical. Closing your eyes, you immediately imagine burning fires, permeating music, the rustle of packs and the light clatter of pointe shoes on the parquet. This spectacle is inimitably beautiful, it can be safely called a great achievement of man in the pursuit of beauty.
The audience freezes, gazing at the stage. Ballet divas amaze with their lightness and plasticity, apparently at ease performing complex "pas".
The history of this art form is quite deep. The prerequisites for the emergence of ballet appeared in the 16th century. And since the 19th century, people have seen real masterpieces of this art. But what would ballet be without the famous ballerinas who made it famous? Our story will be about these most famous dancers.
Marie Ramberg (1888-1982). The future star was born in Poland, in a Jewish family. Her real name is Sivia Rambam, but it was later changed for political reasons. The girl from an early age fell in love with dancing, surrendering to her passion with her head. Marie takes lessons from dancers from the Parisian opera, and soon Diaghilev himself notices her talent. In 1912-1913, the girl danced with the Russian Ballet, taking part in the main productions. Since 1914, Marie moved to England, where she continued to study dancing. Marie got married in 1918. She herself wrote that it was more for fun. However, the marriage was happy and lasted 41 years. Ramberg was only 22 years old when she opened her own ballet school in London, the first in the city. The success was so overwhelming that Maria organized first her own company (1926), and then the first permanent ballet troupe in Great Britain (1930). Her performances become a real sensation, because Ramberg attracts the most talented composers, artists, dancers to work. The ballerina took an active part in the creation of the national ballet in England. And the name Marie Ramberg entered the history of art forever.
Anna Pavlova (1881-1931). Anna was born in St. Petersburg, her father was a railway contractor, and her mother worked as a simple laundress. However, the girl was able to enter the theater school. After graduating from it, in 1899 she entered the Mariinsky Theater. There she received roles in classical productions - "La Bayadère", "Giselle", "The Nutcracker". Pavlova had excellent natural data, besides, she constantly honed her skills. In 1906, she was already the leading ballerina of the theatre, but real fame came to Anna in 1907, when she shone in the miniature "The Dying Swan". Pavlova was supposed to perform at a charity concert, but her partner fell ill. Literally overnight, choreographer Mikhail Fokin staged a new miniature for the ballerina to the music of San Sans. Since 1910, Pavlova began touring. The ballerina gains worldwide fame after participating in the Russian Seasons in Paris. In 1913 she performed for the last time at the Mariinsky Theatre. Pavlova collects her own troupe and moves to London. Together with her wards, Anna tours the world with classical ballets by Glazunov and Tchaikovsky. The dancer became a legend during her lifetime, having died on tour in The Hague.
Matilda Kshesinskaya (1872-1971). Despite her Polish name, the ballerina was born near St. Petersburg and has always been considered a Russian dancer. From early childhood, she declared her desire to dance, none of their relatives thought to interfere with her in this desire. Matilda brilliantly graduated from the Imperial Theater School, joining the ballet troupe of the Mariinsky Theater. There she became famous for her brilliant performances of the parts of The Nutcracker, Mlada, and other performances. Kshesinskaya was distinguished by her trademark Russian plasticity, into which notes of the Italian school were wedged. It was Matilda who became the favorite of the choreographer Fokin, who used her in his works "Butterflies", "Eros", "Evnika". The role of Esmeralda in the ballet of the same name in 1899 lit a new star on the stage. Since 1904, Kshesinskaya has been touring Europe. she is called the first ballerina of Russia, honored as the "generalissimo of Russian ballet". They say that Kshesinskaya was the favorite of Emperor Nicholas II himself. Historians say that in addition to talent, the ballerina had an iron character, a firm position. It is she who is credited with the dismissal of the director of the Imperial Theaters, Prince Volkonsky. The revolution had a hard impact on the ballerina, in 1920 she left the exhausted country. Kshesinskaya moved to Venice, but continued to do what she loved. At 64, she was still performing at London's Covent Garden. And the legendary ballerina is buried in Paris.
Agrippina Vaganova (1879-1951). Agrippina's father was a theater conductor at the Mariinsky. However, he was able to identify only the youngest of his three daughters to the ballet school. Soon Yakov Vaganov died, the family had only hope for a future dancer. At school, Agrippina proved to be a mischievous person, constantly getting bad grades for her behavior. After graduating, Vaganova began her career as a ballerina. She was given many minor roles in the theater, but they did not satisfy her. Solo parties bypassed the ballerina, and her appearance was not particularly attractive. Critics wrote that they simply do not see her in the roles of fragile beauties. Makeup didn't help either. The ballerina herself suffered a lot about this. But through hard work, Vaganova achieved supporting roles, they began to write about her occasionally in newspapers. Then Agrippina abruptly turned her fate around. She got married, gave birth. Returning to the ballet, she seemed to have risen in the eyes of her superiors. Although Vaganova continued to perform the second parts, she achieved mastery in these variations. The ballerina managed to rediscover images that seemed to have been worn out by generations of previous dancers. Only in 1911 did Vaganova receive her first solo part. At 36, the ballerina was retired. She never became famous, but she achieved a lot given her data. In 1921, a choreography school was opened in Leningrad, where she was invited as one of Vaganov's teachers. The profession of a choreographer became her main one until the end of her life. In 1934, Vaganova published the book "Fundamentals of Classical Dance". The ballerina devoted the second half of her life to the choreographic school. Now it is the Academy of Dance, named after her. Agrippina Vaganova did not become a great ballerina, but her name entered the history of this art forever.
Yvet Shovire (born 1917). This ballerina is a real sophisticated Parisian. From the age of 10, she began to seriously engage in dancing at the Grand Opera. The talent and performance of Yvette were noted by the directors. In 1941, she already became the prima ballerina at the Opéra Garnier. Debut performances brought her truly worldwide fame. After that, Shovire began to receive invitations to perform in various theaters, including the Italian La Scala. The ballerina was glorified by her part of the Shadow in the allegory of Henri Sauge, she performed many parts staged by Serge Lifar. Of the classic performances, the role in Giselle stands out, which is considered the main one for Chauvire. Yvette on stage demonstrated true drama, without losing all her girlish tenderness. The ballerina literally lived the life of each of her heroines, expressing all the emotions on stage. At the same time, Shovire was very attentive to every little thing, rehearsing and rehearsing again. In the 1960s, the ballerina headed the school in which she herself had once studied. And the last appearance on the stage Ivet took place in 1972. At the same time, an award named after her was established. The ballerina has repeatedly been on tour in the USSR, where she fell in love with the audience. Rudolf Nureyev himself was repeatedly her partner after his flight from our country. The merits of the ballerina before the country were rewarded with the Order of the Legion of Honor.
Galina Ulanova (1910-1998). This ballerina was also born in St. Petersburg. At the age of 9, she became a student of the choreographic school, from which she graduated in 1928. Immediately after the graduation performance, Ulanova joined the troupe of the Opera and Ballet Theater in Leningrad. The very first performances of the young ballerina attracted the attention of connoisseurs of this art to her. Already at the age of 19, Ulanova dances the leading part in Swan Lake. Until 1944, the ballerina danced at the Kirov Theater. Here she was glorified by her roles in "Giselle", "The Nutcracker", "The Fountain of Bakhchisaray". But the most famous was her part in Romeo and Juliet. From 1944 to 1960 Ulanova was the leading ballerina of the Bolshoi Theatre. It is believed that the scene of madness in Giselle became the pinnacle of her work. Ulanova visited in 1956 with a tour of the Bolshoi in London. It was said that there had not been such a success since the time of Anna Pavlova. Ulanova's stage activity officially ended in 1962. But for the rest of her life, Galina worked as a choreographer at the Bolshoi Theater. For her work, she received many awards - she became the People's Artist of the USSR, received the Lenin and Stalin Prizes, twice became the Hero of Socialist Labor and the winner of numerous awards. The great ballerina died in Moscow, she was buried at the Novodevichy cemetery. her apartment became a museum, and a monument was erected in her native St. Petersburg Ulanova.
Alicia Alonso (b. 1920). This ballerina was born in Havana, Cuba. She began to study the art of dance at the age of 10. At that time, there was only one private ballet school on the island, led by Russian specialist Nikolai Yavorsky. Then Alicia continued her studies in the USA. The debut on the big stage took place on Broadway in 1938 in musical comedies. Then Alonso works in New York's Balle Theatre. There she gets acquainted with the choreography of the world's leading choreographers. Alicia, with her partner Igor Yushkevich, decided to develop ballet in Cuba. In 1947 she danced there in "Swan Lake" and "Apollo Musageta". However, at that time in Cuba there was no tradition of ballet, no stage. And the people did not understand such art. Therefore, the task of creating the National Ballet in the country was very difficult. In 1948, the first performance of the Alicia Alonso Ballet took place. It was ruled by enthusiasts who put their numbers themselves. Two years later, the ballerina opened her own ballet school. After the 1959 revolution, the authorities turned their attention to ballet. Alicia's company has grown into the coveted National Ballet of Cuba. The ballerina performed a lot in theaters and even squares, went on tour, she was shown on television. One of Alonso's most striking images is the part of Carmen in the ballet of the same name in 1967. The ballerina was so zealous about this role that she even forbade staging this ballet with other performers. Alonso has traveled the world, receiving many awards. And in 1999, she received the Pablo Picasso medal from UNESCO for her outstanding contribution to the art of dance.
Maya Plisetskaya (born 1925). It is difficult to dispute the fact that she is the most famous Russian ballerina. And her career turned out to be a record long one. Maya absorbed her love for ballet as a child, because her uncle and aunt were also famous dancers. At the age of 9, a talented girl enters the Moscow Choreographic School, and in 1943 a young graduate enters the Bolshoi Theater. There, the famous Agrippina Vaganova became her teacher. In just a couple of years, Plisetskaya went from corps de ballet to soloist. Significant for her was the production of "Cinderella" and the role of the Autumn Fairy in 1945. Then there were the already classic productions of "Raymonda", "Sleeping Beauty", "Don Quixote", "Giselle", "The Little Humpbacked Horse". Plisetskaya shone in the "Fountain of Bakhchisarai", where she was able to demonstrate her rare gift - literally hang in a jump for some moments. The ballerina took part in three productions of Khachaturian's "Spartacus" at once, performing the parts of Aegina and Phrygia there. In 1959, Plisetskaya became the People's Artist of the USSR. In the 60s, it was believed that Maya was the first dancer of the Bolshoi Theater. The ballerina had enough roles, but creative dissatisfaction accumulated. The output was "Carmen Suite", one of the main milestones in the biography of the dancer. In 1971, Plisetskaya also took place as a dramatic actress, playing in Anna Karenina. Based on this novel, a ballet was written, which premiered in 1972. Here Maya tries herself in a new role - a choreographer, which becomes her new profession. Since 1983, Plisetskaya has been working at the Rome Opera, and since 1987 in Spain. There she leads the troupe, puts her ballets. Plisetskaya's last performance took place in 1990. The great ballerina was showered with many awards not only in her homeland, but also in Spain, France, Lithuania. In 1994, she organized an international competition, giving it her name. Now "Maya" gives an opportunity to break through to young talents.
Ulyana Lopatkina (born 1973). The world-famous ballerina was born in Kerch. As a child, she did a lot of not only dancing, but also gymnastics. At the age of 10, on the advice of her mother, Ulyana entered the Vaganova Academy of Russian Ballet in Leningrad. There, Natalia Dudinskaya became her teacher. At the age of 17, Lopatkina won the All-Russian Vaganova Competition. In 1991, the ballerina graduated from the academy and was accepted into the Mariinsky Theater. Ulyana quickly achieved solo parts for herself. She danced in "Don Quixote", "Sleeping Beauty", "The Fountain of Bakhchisarai", "Swan Lake". The talent was so obvious that in 1995 Lopatkina became the prima of her theater. Each of her new roles delights both the audience and critics. At the same time, the ballerina herself is interested not only in classical roles, but also in the modern repertoire. So, one of Ulyana's favorite roles is the part of Banu in the "Legend of Love" staged by Yuri Grigorovich. Best of all, the ballerina succeeds in the role of mysterious heroines. Its distinctive feature is its refined movements, its inherent drama and high jump. The audience believes the dancer, because she is absolutely sincere on stage. Lopatkina is a laureate of numerous domestic and international awards. She is a People's Artist of Russia.
Anastasia Volochkova (b. 1976). The ballerina recalls that she determined her future profession at the age of 5, which she announced to her mother. Volochkova also graduated from the Vaganova Academy. Natalia Dudinskaya also became her teacher. Already in her last year of study, Volochkova made her debut at the Mariinsky and Bolshoi Theaters. From 1994 to 1998, the ballerina's repertoire included leading roles in Giselle, The Firebird, The Sleeping Beauty, The Nutcracker, Don Quixote, La Bayadère and other performances. With the troupe of the Mariinsky Theater Volochkova traveled half the world. At the same time, the ballerina is not afraid to perform solo, building a career in parallel with the theater. In 1998, the ballerina received an invitation to the Bolshoi Theater. There she brilliantly performs the role of the Swan Princess in Vladimir Vasilyev's new production of Swan Lake. In the main theater of the country, Anastasia receives the main roles in La Bayadère, Don Quixote, Raymond, Giselle. Especially for her, choreographer Dean creates a new part of the Carabosse fairy in Sleeping Beauty. At the same time, Volochkova is not afraid to perform modern repertoire. It is worth noting her role as the Tsar Maiden in The Little Humpbacked Horse. Since 1998, Volochkova has been actively touring the world. She receives the Golden Lion award as the most talented ballerina in Europe. Since 2000, Volochkova has left the Bolshoi Theater. She begins performing in London, where she conquered the British. Volochkova returned to the Bolshoi for a short while. Despite the success and popularity, the theater administration refused to renew the contract for the usual year. Since 2005, Volochkova has been performing in her own dance projects. her name is constantly on hearing, she is the heroine of gossip columns. The talented ballerina recently sang, and her popularity grew even more after Volochkova published her nude photos.
The light of lights, piercing music, the rustle of mesh packs and the tapping of pointe shoes on wooden parquet - ballet! How beautiful, inimitable and great he is! Holding their breath and fixing their eyes on the infinitely beautiful spectacle, the viewer is amazed at the dexterity and plasticity of the ballet diva, who perfectly performs her "pas". The history of ballet is long, and its background goes back to the 16th century AD, but the true masterpieces originate in the 19th century. From here you can start counting.
Marie Rambert and Anna Pavlova
So, the most famous ballerinas:
1 . Graduate of the Jacques-Dalcroze Ballet Institute, Polish Marie Rambert (Marie Rambert, real name Miriam Ramberg, born in 1988) already in 1920 ventured to open the first ballet school in the capital of England. The success was great, and therefore, ten years later, Marie created her first ballet troupe in London called Balle Rambert, whose performances and performances make a splash in English ballet. She works with such masters as Howard, Tudor, Ashton. The name Rambert is associated with the beginning of ballet in England.
2 . Illegitimate in 1881, the daughter of a railway contractor and a simple laundress, Anna Pavlova (Anna Pavlova) undoubtedly considered one of the greatest ballerinas in the world. After graduating from the Vaganov School, the promising girl was almost immediately accepted into the Mariinsky Theater. Here she shone in such classical productions as "Giselle", "The Nutcracker", "La Bayadère", "Pavilion of Armida" and others. But the main triumph of the talented dancer was the miniature "The Dying Swan" in December 1907.
An interesting fact is the appearance of the miniature: the day before the performance at a charity concert, Anna's partner suddenly fell ill, and then the famous choreographer Mikhail Fokin invented a miniature especially for Pavlova to the music of the great Saint-Saens overnight. In the morning, an enthusiastic Anna, seeing the result, asked "Misha, but does the swan die at the end?" "What are you doing!" exclaimed Fokin, "he just fell fast asleep!" Saint-Saens himself admitted to the ballerina that thanks to her he realized that he had composed beautiful music.
Matilda Kshesinskaya and Yvet Shovire
3 . Petersburg native Matilda Kshesinskaya (Mathilda-Marie Kschessinskaya) was famous in Russia as the favorite of Nicholas II. After graduating from the Imperial Theater School, Matilda was admitted to the Mariinsky Theater in 1890. She delightfully performed parts from "Mlada", "The Nutcracker" and other ballets. A distinctive feature of the ballerina was the classical Russian plastique, diluted with notes of a daring and dynamic Italian school. Kshesinskaya was a constant favorite in Fokine's performances ("Eros", "Butterflies", "Evnika").
The glory of one of the most talented ballerinas brought her a virtuoso performance of Esmeralda in the ballet of the same name in 1899. One of the main advantages of Matilda, in addition to talent, according to experts, was her iron character and the ability to defend her position. Rumor has it that it was with her light hand that the director of the Imperial Theaters, Prince Volkonsky, was fired.
4 . Sophisticated Parisian Yvette Shovire(Yvette Chauvire, born in April 1917) began to seriously study ballet at the Grand Opera at the age of 10. The girl's great talent was noticed by the director, and already in 1941 she became a prima ballerina at the Opera Garnier. Having received world fame after the first debut, Chauvire is invited to the troupe of the Theater of the Champs Elysees, the Italian La Scala.
Ivette's hallmark is a sharp, pronounced drama combined with extraordinary tenderness. She fully lives and feels the story of each heroine, filigree honing every little thing. The most successful part is the main role in the ballet "Giselle" to the music of Adolphe Adam. In 1972, an award named after the great ballerina Yvette Chauvire was established in Paris.
Galina Ulanova and Maya Plisetskaya
5 . Born in 1910 in St. Petersburg Galina Ulanova (Galina Ulanova) became famous in the 40s of the 20th century, performing parts of classical productions of the Mariinsky Theater ("The Flame of Paris", "The Fountain of Bakhchisarai", "Swan Lake"). In 1951, the ballerina was awarded the title of People's Artist of the USSR, and a little later she became a laureate of the Lenin Prize. Since 1960, the artist has brilliantly danced Cinderella in Prokofiev's ballet of the same name, as well as Adam's Giselle. Ulanova's former apartment is now presented as a museum, and a monument has been erected in her honor in St. Petersburg.
6 . Undoubtedly, the most famous Russian ballerina, who went down in history with a record long ballet career, is a Muscovite Maya Plisetskaya (Maya Plesetskaya, born in 1925). Plisetskaya's love for ballet was instilled in her aunt and uncle, also famous dancers. Maya, a graduate of the Moscow Choreographic School, is accepted into the troupe of the Bolshoi Theater under the direction of the great Agrippina Vaganova, where she becomes a soloist a couple of years later. In 1945, the ballerina first performed the role of the Autumn Fairy in Prokofiev's production of Cinderella. In subsequent years, she successfully participated in such productions as "Raymonda" by A. Glazunov, "The Sleeping Beauty" by Tchaikovsky, "Giselle" by Adolphe Adam, "Don Quixote" by Minkus, "The Little Humpbacked Horse" by Shchedrin.
A stunning success is brought to her by the production of "Spartacus" by A. Khachaturian, where she performs the part of Aegina, and then Phrygia. In 1959, Plisetskaya was awarded the title of People's Artist of the Soviet Union, later she was awarded the Order of Lenin three times, the Order of Merit for the Fatherland, the Order of Isabella the Catholic (in France). In 1985, the artist received the title of Hero of Socialist Labor.
Plisetskaya's calling card, in addition to many ballets, can be considered Shchedrin's production of Anna Karenina, which premiered in 1972. In this ballet, the artist performs not only as a ballerina, but also tries herself as a choreographer, which later becomes her main occupation. The ballerina danced her last performance "Lady with a Dog" in January 1990, then in 1994 she organized the Maya international competition, which gives new talents a chance to become famous.
Uliana Lopatkina
7 . Student of Natalia Dudinskaya and graduate of the Vaganova Academy of Russian Ballet Uliana Lopatkina (Uliyana Lopatkina) already in 1995 she became the prima ballerina of the Mariinsky Theatre. This artist became one of the few who received such a large number of awards and prizes: "Golden Soffit" in 1995, "Golden Mask" in 1997, "Vaganova-Prix", "Evening Standard" of London critics, "Baltika" in St. Petersburg in 1997 , 2001 In 2000, Ulyana became an Honored Artist of Russia, and in 2006 - a People's Artist.
Among the most striking roles of the ballerina, one can single out her incomparable Mirta and Giselle in the production of the same name, Medora in the ballet Le Corsaire, Odette-Odile from Swan Lake, Raimonda in the ballet of the same name. In addition, she brilliantly performed in separate productions of "Where the Golden Cherries Hang", "Kiss of the Fairy", as well as "The Poem of Ecstasy". A distinctive feature of Ulyana is her perfect, complete movements, a special, inherent only to her, drama, a high jump and inner, genuine sincerity.
Anastasia Volochkova
8 . Petersburg native Anastasia Volochkova (Anastasia Volochkova) already at the age of five, she told her mother, in a very adult way, "I will be a ballerina." And she became, despite all the hardships, obstacles, deprivations. The countdown of the career of this talented artist can be started in 1994. The leading ballerina of the Mariinsky Theatre, Anastasia brilliantly performs parts from Giselle, The Firebird, Raymonda. Along with success in the theater, she is not afraid to start a solo career and often performs in various theaters.
The ballerina's talent was noticed by Vladimir Vasiliev, and already in 1998 he invited her to perform the main role in his new production of Swan Lake. At the Bolshoi, Anastasia performs the main roles: Raymonda from the ballet of the same name, the Lilac Fairy from The Sleeping Beauty, Nikiya from La Bayadère and many others. The famous choreographer D. Dean creates a new part of the Fairy Carabosse in the production of "The Sleeping Beauty", especially for Anastasia.
Recently, the artist's schedule has been filled with constant concerts and tours, including a show in the Kremlin, where the greatest stars of the national stage were gathered.
In Russian cinemas, the film by Alexei Uchitel “Matilda” is shown, and in the blogosphere they are arguing furiously about the romantic connection between Nicholas II and Kshesinskaya. But in the history of ballet there were no less scandalous and vivid love stories.
1. Marquise Teresa de Gorla Berthelot
It is known that classical ballet was invented in the 17th century by Pierre Beauchamp, Jean-Baptiste Molière and Louis XIV. And one of the most famous dance stars at that time was Teresa de Gorla Bertelo. Teresa Duparc became famous (that was her name after marriage) thanks to her dramatic talent, dancing, amazing beauty, love stories and spicy pirouettes, during which the viewer could watch her silk stockings.
Encyclopedias usually say that it was she who became the first performer of the roles of Donna Elvira in Moliere's Don Juan and Andromache in the play of the same name by Jean Racine, but contemporaries no less heatedly discussed her lovers. She was a rather windy lady, if not a courtesan, turned the heads of all the French high society, including the Sun King, but she went through the color of the then French literature especially destructively.
It all started with Moliere, who for her sake left his first star and part-time wife - Madeleine Bejart. Then an affair thundered with the poet Pierre Corneille, who dedicated many poems to her. For some time, for the sake of the poet, Duparc even left the troupe of Molière. And then she ended up in the theater and the bed of Jean Racine, Moliere's main rival at that time. Unfortunately, her story ended too soon. She died under very suspicious circumstances, for some time Racine was even accused of poisoning her.
2. Marie-Madeleine Guimard
This ballerina shone in Paris before the French Revolution. She shone not only on stage, her love affairs in the capital were discussed no less than her theatrical successes. It must be said right away that fame came to her first of all as an outstanding dancer.
Having a bright appearance, she still did not fit into the then standards - Guimard was too thin. Because of this, the Parisian wits called her "the skeleton of grace." However, along with the title of prima, she also had quite influential lovers.
Unfortunately, Guimard left no memoirs or diaries. Many of her acquaintances either prudently died before 1789 or received the line "guillotined" in their biography. So most of the facts about her life cannot be reliably restored now. But what remains in the form of rumors and references in the literature is impressive.
Among her lovers were the financier and businessman, one of the richest people in France, Jean-Joseph de Laborde, his brother, the composer Jean-Benjamin de Laborde. From the latter, Guimard probably gave birth to a daughter. But everyone was eclipsed by Charles de Rogan, Prince de Soubise.
Charles de Rogan was not only an aristocrat, gourmet and womanizer, but also a marshal of France, he held ministerial positions, he was patronized by Madame Pompadour. Marie-Madeleine Guimard, he took full support and spent huge sums on her entertainment. It was rumored that the ballerina almost ruined him.
With his funds, Guimard built her famous luxury hotel on the outskirts of Paris. The Temple of Terpsichore, as it was also called, was famous for its evenings, during which performances were given beyond the brink of decency and invited "the most lustful girls" of the city. Contemporaries repeatedly wrote that everything ended with orgies.
3. Giovanna Bassi
The 18th century is rich in dramas and detective stories that have never been solved. Giovanna Bassi cannot be called an outstanding ballerina, although she performed quite actively on the stage of the Swedish Opera, and the local audience accepted her with enthusiasm. But she went down in history not thanks to her pas, but because of a stormy romance with Count Adolf Frederick Munch, the “gray eminence” and favorite of the Swedish king Gustav III.
The acquaintance of the ballerina and the influential courtier began when the career of the courtier was at the very top. His rise was greatly helped by the fact that Munch was able to reconcile the king with his wife Sophia Magdalena of Denmark. Acting as a sexologist, he "arranged the production" of two heirs. Evil tongues, however, claimed that in the birth of the future Gustav IV Adolf, they managed to do without a king at all. Painfully, the prince looked like Munch. Giovanna Bassi also gave birth, but a girl.
It is not known whether Bassi was counting on a quiet family life with the count, but Munch was put on trial. He was accused of having engaged in counterfeiting Russian money on behalf of the king, and at the same time made some Swedish money. He would have been forgiven, but his patron, Gustav III, died at the hands of the conspirators. Death overtook the Swedish king at the opera during a masquerade. Munch was expelled from the country to Italy, the ballerina followed him. Bussy wanted him to marry her and acknowledge the daughter. The disgraced count refused her. Enraged, Bassi returned to her homeland. However, there is another version that in Italy the ballerina carried out a spy assignment from the Privy Council of Sweden.
4. Teresa Elsler
It may seem that the romantic relationship between a ballerina and an aristocrat must necessarily end in either an orgy or a tragedy. This is not entirely true, there are enough examples in history when everything is fine in the finale, that is, the happy bride is led down the aisle. For example, Teresa Elsler managed to become the wife of not even a count or a baron, but a real prince, the younger brother of the Prussian king Frederick William III - Adalbert of Prussia.
In the history of ballet, Elsler's younger sister, Francisca, or Fanny, is more noticeable. She has been called one of the most famous ballerinas of the 19th century. Strauss-son even wrote an operetta about her life "Dancer Fanny Elsler". Teresa was considered too tall and not so expressive. Nevertheless, it was she who managed to captivate Adalbert, who was already a far from enthusiastic young man - by that time he was 38 years old, and the ballerina, by the way, was several years older than him. Surprisingly, King Frederick William IV agreed to this morganatic marriage.
The younger, and more famous, sister Fanny was also the object of attention of persons close to the throne. For example, initially the sisters' career was helped by Fanny's connection with the Sicilian prince Leopoldo, who arranged ballerinas for the Naples opera and did not particularly hide his tender attitude towards the younger Elsler. It is believed that the couple even had a son.
5. Anna Pavlova
In the 20s of the 20th century, a whole wave of “Pavlov mania” swept through Europe and the USA. Cakes, tulips and newborns were named after the Russian ballerina. She performed a lot, toured to the point of exhaustion and received huge fees for that time. And next to her almost always was Victor Dandre, who served with the ballerina as a manager, companion and secret husband.
When Pavlova had just graduated from the Imperial Theater School, Victor Dandre seemed to her a fairy-tale prince. A rich baron, a handsome man, an important official ... Of course, Kshesinskaya actively brought her together with the Grand Duke Boris Vladimirovich, but the aspiring ballerina did not want to be just a kept woman. And next to Dandre, she hoped for an official marriage ...
Alas, Victor quickly made it clear that he could not agree to such a misalliance. The aristocrat punched her leading parties, gave her jewelry and fully provided, but that's all. In the end, a break followed and Pavlova left with Diaghilev for Paris, where she triumphantly participated in the Russian Seasons.
At that moment, Dandre's life changed dramatically: he went to prison on charges of embezzlement. He has no money to pay off the debt. Then Pavlova left Diaghilev, signed a bonded, but very financially profitable contract. In addition, she was immediately paid a rather impressive advance, which she immediately gave to her abandoned lover so that he could pay bail and get out of prison. Dandre illegally left Russia, came to her in England and asked for her hand. She agreed, but demanded that their marriage remain a secret.
6. Tamara Karsavina
Monographs are devoted to the phenomenon of Tamara Karsavina not only by ballet historians, but also by literary critics. Columbine of the Silver Age was the object of worship for a whole generation of Russian poets, starting with Blok.
There is nothing strange in this. Ballet stars all the time attract the attention of not only the rich and aristocrats, in their environment you can always find creative people: writers, artists and musicians. Surprisingly different. Karsavina refused many celebrities, influential and noble admirers, and married a quiet and modest nobleman Vasily Mukhin.
After the Diaghilev seasons in Paris, Karsavina became a world celebrity, she was literally besieged by admirers, but for a long time this did not affect her marriage to Mukhin. Crossed out all the meeting in 1913 with Henry Bruce. An English professional diplomat, an Eton graduate, the youngest son of a wealthy landowner, saw her during a reception at the British Embassy and immediately fell in love. He immediately recaptured her from her husband, and after the revolution he took her away from Russia.
Unlike many similar stories, Henry Bruce did not demand that Karsavina leave the ballet. Vice versa! He himself left the service, carrying out, however, some assignments, and for a long time traveled with her around Europe. At first they lived in France, in 1929 they moved to London, but Bruce returned to the Foreign Office only during the Second World War.
"Amateur" decided to tell about the legends of the ballet art of the XX century.
Olga Preobrazhenskaya
In 1879 she enteredwhere she studied with teachers Nicholas Legat and Enrico Cecchetti . After graduation, she was accepted intoMariinskii Opera House, where she became her main rivalMatilda Kshesinskaya. Since 1895, she toured Europe and South America, successfully performed in the theater La Scala. In 1900 became a prima ballerina. She left the stage in 1920.
In 1914 she began her teaching career, from 1917 to 1921 she led a plastic class at the Mariinsky Opera Company, taught at the Petrograd Choreographic School, at the School of Russian Ballet A. L. Volynsky.
In 1921 she emigrated, since 1923 she lived in paris , where she opened a ballet studio and continued teaching for almost 40 years. Also taught at Milan, London, Buenos Aires, Berlin . She left teaching in 1960. Among her students were Tamara Tumanova, Irina Baronova, Tatiana Ryabushinskaya, Nina Vyrubova , Margo Fonteyn , Igor Yushkevich , Serge Golovin and others.
Olga Iosifovna died in 1962 and buried on(some sources erroneously indicateMontmartre cemetery).
Matilda Kshesinskaya
Born into a family of ballet dancersMariinsky Theater: daughter of a Russian PoleFelix Kshesinsky(1823-1905) and Yulia Dominskaya (widow of the ballet dancer Lede, she had five children from her first marriage). Sister of the ballerina Yulia Kshesinskaya ("Kshesinskaya 1st"; married Zeddeler, husband Zeddeler, Alexander Logginovich) And Joseph Kshesinsky(1868-1942) - dancer, choreographer, director, Honored Artist of the RSFSR (1927).
In 1896, Preobrazhenskaya received the status of prima ballerina.
In 1890 she graduated Imperial Theater Schoolwhere her teachers were Lev Ivanov, Christian Ioganson and Ekaterina Vazem . After graduation, she was accepted into the ballet troupe.Mariinsky Theater, where at first she danced as Kshesinskaya 2nd (Kshesinskaya 1st was officially called her older sister Julia ). Danced on the imperial stage with 1890 to 1917.
In 1896 received the status prima ballerinas imperial theaters (probably largely due to his connections at court, since the chief choreographer Petipa did not support her promotion to the very top of the ballet hierarchy).
In 1929 opened her own ballet studio in paris . Kshesinskaya's student was a "baby ballerina"Tatiana Ryabushinskaya.
In exile, with the participation of her husband, she wrote memoirs , originally published in 1960 in Paris in French. The first Russian edition in Russian was realized only in 1992 .
Matilda Feliksovna lived a long life and died December 5, 1971 a few months before his centenary. Buried atSainte-Genevieve-des-Bois cemeterynear Paris in the same grave with her husband and son. On the monument epitaph : "The Most Serene Princess Maria Feliksovna Romanovskaya-Krasinskaya, Honored Artist of the Imperial Theaters of KShesinskaya».
Vera Trefilova
Vera Trefilova was born into an artistic family. N. P. Trefilov's mother, a non-commissioned officer's widow, was a dramatic actress, never married. An outstanding dramatic actress became a godmother M. G. Savina.
Apart from In addition to the fact that the sources give the ballerina the surname Ivanova, she bore three more surnames for her husbands: for the 1st husband - Butler, for the 2nd - Solovyov, for the 3rd - Svetlova.
Trefilova was an adherent of classical ballet
In 1894 she graduatedPetersburg Theater School, teachers Ekaterina Vazem and Pavel Gerdt , and was immediately taken to the stage in the imperialMariinskii Opera House in the corps de ballet with the promise that in a few years it will take Role soloists - which happened in 1906 after she, already working on stage, continued to take lessons, her teachers were:Katharina Beretta, Enrico Cecchetti , Mori in Paris, Evgenia Sokolova, Nicholas Legat . In 1898, at the premiere of The Mikado's Daughter, choreographer She replaced L.I. Ivanov Ekaterina Geltser, but the exit was unsuccessful, leaving the ballerina for a few more years in the corps de ballet. Nevertheless, she performed in small solo parts. And when she finally became a soloist, she already felt confident in the difficult first parts.
Trefilova was an adherent of classical ballet, denying innovation. But she became a master of academic ballet.
V. Trefilova worked at the Mariinsky Theater from 1894-1910.
Julia Sedova
Graduated St. Petersburg Choreographic Schoolin 1898. Lead teacher Enrico Cecchetti set for her and another of his students Lyubov Egorova a special graduation performance "Dance Lesson in a Hotel", designed to demonstrate a good command of performance technique.
Although from the first years of her stay at the Mariinsky Theater, she was entrusted with significant parties, her service career was far from successful, only in 1916, before retiring, she received the highest title of ballerina in her ballet career. There were subjective reasons for this, the director frankly did not like herimperial theatersV. A. Telyakovsky, who left many unflattering reviews about her in his diaries. She was accused of squabbles and intrigue. Now it is impossible to judge the objectivity of these statements, especially if we take into account the specific atmosphere of relations in the St.Matilda Kshesinskaya.
Sedova had a large build, broad shoulders, strong muscular legs
Objectively, we can say that the artist had an enterprising, active nature and apparently got along with her colleagues, as evidenced by the numerous tours that she led. However, in addition to subjective reasons for a not entirely successful career, there were also quite objective ones. She had a large-boned build, broad shoulders, strong muscular legs with large feet, therefore, achieving very good results in complex jumps and spins, she lost in plastic poses. Thus, her external data did not suit the spoiled Petersburg ballet audience in any way.
By 1911, the repertoire of the Mariinsky Theater relied heavily on her, as a number of artists, for example Anna Pavlova and Vera Trefilova left the theater, and Kshesinskaya andTamara Karsavinaappeared on stage in limited numbers. Nevertheless, she did not receive the long-deserved title of ballerina and, probably in protest, she submitted her resignation when Karsavina's salary was increased. The resignation was accepted.
Left without work, the artist led a big tour of USA , her partner on the trip was Mikhail Mordkin . The soloists of the troupe were Lidia Lopukhova, Bronislava Pozhitskaya, Alexander Volinin And Nikolai Solyannikovlike a mimic dancer. The corps de ballet consisted of six to ten people. The scenery was painted by the artistKonstantin Korovin. The tours are over. The American public, seeing classical ballet of such a level for the first time, received it well. The schedule of performances was very busy, performances were given almost every day. The troupe performed in 52 cities. Sedova performed 38 times in "swan lake”, 27 times in “Coppelia ” and 10 times in “Russian Wedding”, a small ballet staged by M. Mordkin. The production of Giselle had to be canceled due to Mordkin's illness. The Petersburg press followed the tour and reported on the enthusiasm of the Americans.
After returning from America, negotiations followed about returning to the Mariinsky Theater, which did not lead to anything. March 6, 1912, the actress gave "Farewell Party" on stagePetersburg Conservatory. In 1912-1914, the actress toured in Western Europe . Only in 1914 was she able to return to the Mariinsky Theatre. On November 9, 1916, her farewell benefit performance took place, at which she first performed the role of Aspicia in " Pharaoh's daughters ". At the age of 36, she left the stage for good.
Agrippina Vaganova
Agrippina Vaganova was born on 14 ( June 26) 1879 St. Petersburg, in the family of the attendant Mariinsky Theatre. Her father - Akop (Yakov Timofeevich) Vaganov - moved to St. Petersburg from Astrakhan, where since the time of Ivan the Terrible there has been Armenian community; however, he himself was from the Persian Armenians and did not make any capital in Astrakhan; served as a non-commissioned officer, and after his resignation he moved to St. Petersburg.
In 1888 she was admitted toImperial Theater School. Among the teachers of Vaganova wereEvgenia Sokolova, Alexander Oblakov, Anna Ioganson , Pavel Gerdt , Vladimir Stepanov. In the lower grades for two years she studied with Lev Ivanov , calling this time "two years of idleness", then moved to the class Ekaterina Vazem . The first role of Vaganova was the mother of Lisa, the main character, in the school play "magical flute”, staged by Lev Ivanov for middle school students.
In 1897, after graduating from college, she was accepted into the ballet troupe of the Mariinsky Theater, a few years later received the status soloists . Vaganova brilliantly succeeded in individual solo variations, for example, in ballet Delibes "Coppelia" ”, for which she was nicknamed the “queen of variations”.
She made some changes to the choreographic techniques, which at first might seem inappropriate to strict adherents of academism, but later occupied a worthy place in the technique of the leading dancers.
Vaganova made some changes to the choreographic techniques
Leaving the stage in 1916 took up teaching. At first she taught at various private schools and studios, then, after the revolution, she was invited A. A. Oblakov to work in Petrograd Theater School. Its first release, which included Nina Stukolkina, Olga Mungalova and Nina Mlodzinskayaprepared in 1922. In 1924 she graduated from the class, which she began to teach in 1921. Taking Pre-Graduation Women's Classes prepared by educators such as E. P. Snetkova , M. A. Kozhukhova , M. F. Romanova , released a year later, sometimes annually. She developed her own pedagogical system based on the clarity and meaningfulness of technique, the severity of body positioning, the positions of arms and legs. "Vaganova system"played a decisive role in the development of ballet art of the 20th century.
From 1931 to 1937 Vaganova was the artistic director of the ballet troupe.LATOB named after S. M. Kirov.
Agrippina Yakovlevna died in Leningrad November 5, 1951. Buried at literary bridgesVolkovsky cemetery
The best representatives of Russian ballet are Anna Pavlova and Galina Ulanova.
Ballet is called an integral part of the art of our country. Russian ballet is considered the most authoritative in the world, the standard. This review contains the success stories of five great Russian ballerinas, whom they still look up to.
Anna Pavlova 
Anna Pavlova is an outstanding Russian ballerina.
The outstanding ballerina Anna Pavlova was born into a family far from art. The desire to dance appeared in her at the age of 8 after the girl saw the ballet performance of Sleeping Beauty. At the age of 10, Anna Pavlova was accepted into the Imperial Theater School, and after graduation, into the troupe of the Mariinsky Theater.
Curiously, the aspiring ballerina was not put into the corps de ballet, but immediately began to give her responsible roles in productions. Anna Pavlova danced under the guidance of several choreographers, but the most successful and fruitful tandem, which had a fundamental influence on her style of performance, turned out with Mikhail Fokin. 
Anna Pavlova as a dying swan.
Anna Pavlova supported the bold ideas of the choreographer and readily agreed to experiments. The miniature "The Dying Swan", which later became the hallmark of the Russian ballet, was almost impromptu. In this production, Fokine gave the ballerina more freedom, allowed her to feel the mood of The Swan on her own, to improvise. In one of the first reviews, the critic admired what he saw: “If it is possible for a ballerina on stage to imitate the movements of the noblest of birds, then this has been achieved: in front of you is a swan.”
Galina Ulanova 
Galina Ulanova is an outstanding ballerina, who was given monuments during her lifetime.
The fate of Galina Ulanova was predetermined from the very beginning. The girl's mother worked as a ballet teacher, so Galina, even if she really wanted to, she could not bypass the ballet barre. Years of grueling training led to the fact that Galina Ulanova became the most titled artist of the Soviet Union.
After graduating from the choreographic college in 1928, Ulanova was accepted into the ballet troupe of the Leningrad Opera and Ballet Theatre. From the very first performances, the young ballerina attracted the attention of viewers and critics. A year later, Ulanova was entrusted to perform the leading part of Odette-Odile in Swan Lake. Giselle is considered one of the triumphant roles of the ballerina. Performing the scene of the heroine's madness, Galina Ulanova did it so soulfully and selflessly that even the men in the hall could not hold back their tears. 
Galina Ulanova sings the part of Giselle.
Galina Ulanova has reached unprecedented heights in performance. She was imitated, the teachers of the leading ballet schools of the world demanded that the students do steps “like Ulanova”. The famous ballerina is the only one in the world to whom monuments were erected during her lifetime.
Galina Ulanova danced on stage until the age of 50. She has always been strict and demanding of herself. Even in old age, the ballerina started every morning with classes and weighed 49 kg.
Olga Lepeshinskaya 
Olga Lepeshinskaya - ballet dancer and ballet teacher.
For her passionate temperament, sparkling technique and precision of movements, Olga Lepeshinskaya was nicknamed the “Dragonfly Jumper”. The ballerina was born into a family of engineers. From early childhood, the girl literally raved about dancing, so her parents had no choice but to send her to the ballet school at the Bolshoi Theater.
Olga Lepeshinskaya easily coped both with the classics of ballet ("Swan Lake", "Sleeping Beauty"), and with modern productions ("The Red Poppy", "The Flame of Paris".) During the Great Patriotic War, Lepeshinskaya fearlessly performed at the front, raising her combat soldier spirit. 
Olga Lepeshinskaya - a ballerina with a passionate temperament
Despite the fact that the ballerina was Stalin's favorite and had many awards, she was very demanding of herself. Already at an advanced age, Olga Lepeshinskaya said that her choreography could not be called outstanding, but "natural technique and fiery temperament" made her inimitable.
Maya Plisetskaya 
Maya Plisetskaya - Russian and Soviet ballet dancer
Maya Plisetskaya is another outstanding ballerina whose name is inscribed in golden letters in the history of Russian ballet. When the future artist was 12 years old, she was adopted by her aunt Shulamith Messerer. Plisetskaya's father was shot, and her mother and little brother were sent to Kazakhstan to a camp for the wives of traitors to the Motherland.
Aunt Plisetskaya was a Bolshoi ballerina, so Maya also began attending choreography classes. The girl achieved great success in this field and after graduating from college she was accepted into the troupe of the Bolshoi Theater. 
Maya Plisetskaya is an outstanding ballerina.
Inborn artistry, expressive plasticity, Plisetskaya's phenomenal jumps made her a prima ballerina. Maya Plisetskaya performed leading roles in all classical productions. She especially succeeded in tragic images. Also, the ballerina was not afraid of experiments in modern choreography.
After the ballerina was fired from the Bolshoi Theater in 1990, she did not despair and continued to give solo performances. Overflowing energy and incredible love for her profession allowed Plisetskaya to make her debut in the production of Ave Maya on her 70th birthday.
Ludmila Semenyaka 
Lyudmila Semenyaka is a Russian and Soviet ballerina.
The beautiful ballerina Lyudmila Semenyaka performed at the Mariinsky Theater when she was only 12 years old. A talented talent could not go unnoticed, so after some time Lyudmila Semenyaka was invited to the Bolshoi Theater. Galina Ulanova, who became her mentor, had a significant influence on the ballerina's work.
Semenyaka coped with any part so naturally and naturally that from the outside it seemed as if she was not making any effort, but simply enjoying the dance. In 1976, Lyudmila Ivanovna was awarded the Anna Pavlova Prize from the Paris Academy of Dance. 
Lyudmila Semenyaka, Andris Liepa and Galina Ulanova at the rehearsal.
In the late 1990s, Lyudmila Semenyaka announced her retirement as a ballerina, but continued her activities as a teacher. Since 2002, Lyudmila Ivanovna has been a teacher-repetiteur at the Bolshoi Theater.
