Choreographer Vladimir Vasilyev has always been distinguished by a fresh look even at classical works and a unique work ethic.
Vasiliev himself also starred in ballet films. It can be seen in the color TV ballet "Trapeze", TV ballets "Spartacus", "Gigolo and Gigoletta".
Work as a choreographer
When Vasiliev realized that his stage career was coming to an end, he did not want to leave the ballet. To do this, in 1982 he received a diploma from the State Institute of Theater Arts (GITIS) at the choreographer's department.
At the same time, he began to teach at this university himself, sharing the secrets of his mastery with students. Ballet master Vasilyev worked as a teacher until 1995. At the same time, he has been in charge of the department of choreography for ten years. In 1989 he received the title of professor.
At the head of the Bolshoi Theater
Until 1995, Vladimir Vasiliev was a first-class choreographer. He staged more than one ballet, which is still successfully performed on the stage of the Bolshoi Theater.
In 1995, a new stage begins in his career. He receives the post of artistic director of the Bolshoi Theater, which he simultaneously combines with the position of director of this cultural institution. He served in this position for five years. The Bolshoi Theater is associated with Vladimir Vasiliev today by many domestic and foreign viewers.
At the head of the Bolshoi, he is remembered not only for the appearance of new productions, but also for the fact that in 1999 he founded the Bolshoi Ballet School in the distant city of Joinville, located in Brazil.
In recent years, the name of Vladimir Vasilyev, the choreographer, has become less and less common in the media. He came into the spotlight in 2003, when he was on the jury of the prestigious Eurovision Song Contest for Young Dancers in the Dutch capital of Amsterdam.
In 2014, Vasiliev returned to the stage for a while. In the mini-ballet "The First Ball of Natasha Rostova" he played the role of Ilya Andreevich, the heroine's father. This work was demonstrated to the audience as part of the Winter Olympic Games, which took place on the territory of Russia, in Sochi.
Personal life
Vladimir Viktorovich Vasiliev was married only once. The artist's personal life is a vivid example of strong and selfless love. Ekaterina Maksimova became his chosen one. She was a ballerina, for many years they appeared on the stage of the Bolshoi Theater together.
Ekaterina Maksimova and Vladimir Vasilyeva were not only spouses, but also colleagues, friends and partners. True, in a life entirely dedicated to creativity, something had to be sacrificed. The couple never had children.
Despite this, Ekaterina Maksimova and Vladimir Vasiliev lived a long and happy life together, full of joys and disappointments. But most importantly, they were together all the time.
Maksimova passed away in 2009. She was 70 years old. Since then, Vasiliev lives alone. In his own words, he lost a piece of his soul and constantly mourns for his beloved. All the latest productions on which he works, the hero of our article invariably dedicates to the memory of his beloved woman.
Social activity
Vasiliev is known not only for his stage career, but also for his social activities. In addition, Vladimir Vasilyev received awards from both the Soviet and Russian authorities. Everywhere he was appreciated and cherished.
One of the first significant achievements was the title of Honored Artist of the RSFSR, received in 1964. Vasiliev also had the Lenin Komsomol Prize, the Lenin Prize, the Order of Lenin. Since 1973, Vladimir Vasilyev has been a People's Artist.
In 1981, he received the Order of Friendship of Peoples, five years later, the Order of the Red Banner of Labor. Already in 2000, Russian President Vladimir Putin awarded him the Order of Merit for the Fatherland, fourth degree, with the wording for his invaluable contribution to the development of the Russian art of choreography. In 2008, Vasiliev received the same order and the third degree. This time for many years of bright public and creative activity.
Vasilyev also has many foreign awards. In France, he became the owner of the Order of Merit, in Brazil, the Order of Rio Branco, in Italy, the Order of the Star of Italy, in Japan, the Order of the Rising Sun.
Vasiliev has many merits in the pedagogical field. He is an honorary professor at Moscow State University, a member of the International Academy of Creativity, as well as the Academy of Russian Art. Until now, he is the deputy head of the executive committee of the national center of the International Dance Council at UNESCO. Member of the jury of the independent creative award "Triumph". For almost two decades, he has been managing the fund in memory of the ballerina Galina Ulanova.
Of great importance in the creative world is the competition of ballet dancers "Arabesque". Vasiliev headed the competition jury for five years, and since 1996 became its artistic director. This is an open competition for ballet dancers, which is held annually in Perm.
Vasiliev, together with his wife, made a lot of efforts to make this competition famous and famous all over the world.
A significant event took place in 2008. It coincided with the fiftieth anniversary of the creative activity of the legendary married couple. Therefore, the competition was dedicated to them. He became a benefit performance for Vasiliev and Maximova.
In the year of his seventieth birthday, Vasiliev danced in tandem with Daria Khokhlova at the Arabesque competition, and also acted as director-choreographer of the miniature Ballad, set to music by Frederic Chopin.
Now Vasiliev is 77 years old. Despite his age, he continues to be active in creative and social activities.
Friends and acquaintances about Vasiliev
Everyone who knew him and worked with him spoke with warmth and admiration about Vasiliev. Or at least seen on stage. Ballet master of the Bolshoi Theater Igor Moiseev recalls that Vasiliev's performance is poetry, a burst of spirit. He is an artist with phenomenal technique, he simply subjugates music and ballet.
Theatrical director and People's Artist of the RSFSR Boris Lvov-Anokhin claims that the hero of our article has a gift of stage and plastic transformation that is rare today. He personifies the Russian ballet.
One of his greatest successes, according to Lvov-Anokhin, was the role of the Nutcracker in the production of the same name.
Performer of the main roles in ballet performances Nutcracker/Prince ( Nutcracker), Pan ( Walpurgis Night), Poet ( Chopiniana), Danila ( Stone Flower), Prince, Stepmother (Cinderella), Batyr (Shurale), Andrey ( Page of life), Basil ( Don Quixote), Albert (Giselle), Frondoso ( Laurencia), Spartacus ( Spartacus), Majnun ( Leyli and Majnun), Ivanushka ( The Little Humpbacked Horse), Parsley( Parsley), Icarus ( Icarus), Macbeth ( Macbeth), Prin Desiree ( sleeping Beauty), Narcissus ( Narcissus), Lukasz ( forest song), Paganini ( Paganini), Paul the First ( Second Lieutenant Kizhe), Romeo ( Romeo and Juliet), Ivan groznyj ( Ivan groznyj), Sergey ( Angara), Baron ( Parisian fun), Zorba ( Zorba the Greek), Nijinsky ( Nijinsky), Balda ( The Tale of the Pope and his Worker Balda), Petr Leontievich ( Anyuta), Professor Unrath ( blue angel); Chaikovsky ( Long journey on Christmas night); Nijinsky-Diaghilev ( Diaghilev-Musaget)
Vasiliev's professional path began in the fall of 1958 on the stage of the country's first theater, where he was accepted immediately after graduating from college.
Having entered the Bolshoi, he did not even think that he would become a classical dancer: he liked parties in which you can play a role, a character through dance. Therefore, he decided that his lot was characteristic and demi-character roles.
The first season in the theater began (if only for a couple of months) with work in the corps de ballet, the lessons of which Vasiliev always considered very useful in his development. Even then, his solo performance of ballet scenes in operas was noted: the lezginka in The Demon, the gypsy dance in The Mermaid. The latter with L. Trembovelskaya and I. Khmelnitsky had such a wild success with the audience that he had to be encore. Pan's performance in "Walpurgis Night" from Gounod's opera "Faust" (staged by L. Lavrovsky, 1958) next to his beloved ballerina Olga Lepeshinskaya struck with violent energy, furious, Bacchic frenzy: a brilliant grotesque dancer danced.
Until now, Vasilyev is perplexed why it was him, an inexperienced young man who came to the theater just a few months ago, that Galina Sergeevna Ulanova chose as her partner in the purely classical Chopiniana (1958). He himself, as often happened to him, was dissatisfied with his debut performance, but the honor and responsibility were great, and the beginning of the "classic" path was laid. It was Galina Sergeevna who would subsequently often direct him in the classical repertoire.
“Galina Sergeevna is a very demanding artist, very sensitive. With her work, what she once did, she left such an indelible mark on our perception that we treat every word that Galina Sergeevna says differently than the words of some other choreographer or dancer who reprimand us. Because her creative life passed before us, and the way she worked, how, what images she created on stage, she certainly affects our work. …. The most important thing that distinguishes Galina Sergeevna is an unusually complex inner world with a minimum of external expressive means. That's why her work is valuable to me personally. It has some kind of secrecy in the external plasticity and at the same time - an unusual internal fullness.
After "Chopiniana" there was an exquisite Prince in "Cinderella" by R. Zakharov (1959), a colorful Ali-Batyr in "Shural" by L. Yakobson (1960) and one of the most difficult, virtuoso parties - Paganini (1962) - to music by S. Rachmaninov in the production of the same name by L. Lavrovsky.
In 1959, together with a group of talented Soviet youth, Vladimir Vasiliev took part in the World Festival of Youth and Students in Vienna, where he received the 1st Prize and the Gold Medal.
In the senior class of the school, fate brought Vasilyev to a wonderful person and an interesting choreographer, an outstanding personality Kasyan Yaroslavovich Goleizovsky, who became Vasilyev's close friend and teacher, who opened so much new and beautiful to the inquisitive young man not only in the art of dance, but also in literature, history, painting, sculpture . Vasilyev had previously been friends with many artists, visited their workshops, studied painting with them, began to paint his own paintings, and thanks to Goleizovsky he also became interested in sculpture.
Friendship with this most interesting choreographer and person gave Vasiliev several unforgettable works, staged especially for him. With the famous “Narcissus” to the music of N. Cherepnin (1960), he performed at the first International Ballet Competition in Varna in 1964, where he and Katya were literally sent by order of the Ministry of Culture in the person of E. Furtseva (Vasiliev never again participated in ballet competitions). participated), and although he pulled out the number 13 during the draw at the competition, he won the Grand Prix. Since then, the Grand Prix at this most prestigious world show has not been awarded to anyone for more than half a century.
In the same 1964, the Paris Academy of Dance presented him with the Vaslav Nijinsky Prize "The Best Dancer in the World".
And “Narcissus” was later performed by other artists to whom Vasilyev gave this number, but no one else managed to create that image of primordial nature, the “childhood of mankind”, the complete merging of man with nature, which the choreographer sought, with such expressive power.
Other works with Goleizovsky are the lyrical Fantasia (1960) to the music of S. Vasilenko, the grotesque part of the Jester in a scene from the ballet A Tale for the Jester Who Outsmarted the Seven Jesters in a documentary film about Sergei Prokofiev (1960), and, of course, a unique image Kais/Majnun in the oriental tale-legend about extraordinary and tragic love "Leyli and Majnun" by composer S. Balasanyan (1964). In this ballet, two scenes "Majnun's Monologue in the Desert" and an adagio with Layla became especially dear to Vasiliev. And today, many decades later, in these scenes, accidentally captured on film, the beauty of the “singing” human body, the flow of freely flowing plastic melodies and the “oriental flavor” of Vasilyev’s dance are striking. It contains an amazing combination of agonizing bliss and refinement with sudden outbursts of despair that tear apart the body. The dance is performed at such a crazy pace that the viewer invariably has a question: “Is this a speeded up shooting?”. Indeed, it is hard to believe that such perfection is possible in the dancer's comprehension of the sophisticated plastic form and complex, peculiar style proposed by the choreographer.
Goleizovsky often recalled the ballet idols of his time, and, above all, the legendary Nijinsky, whom he knew and loved well. Comparing Vasiliev with them, he nevertheless put him above everyone else, marveling at his originality and the scale of his talent.
In his article about K.Ya. Goleizovsky, Vasiliev noted: “ I am indebted to many people with whom my creative destiny has brought me together. But there were two people who had a huge impact on my creative outlook. These are choreographers Kasyan Goleizovsky and Yuri Grigorovich».
The meeting at the end of the fifties of the outstanding choreographer Yuri Grigorovich and the unique dancer Vladimir Vasilyev is probably one of the lucky destinies of the fate of both Masters. Grigorovich immediately noticed what an immense range of possibilities, equal in both technique and artistic embodiment, this performer is endowed with. And in his very first production at the Bolshoi Theater - the ballet "Stone Flower" by S. Prokofiev (1959), the choreographer gives Vasilyev the main role. His Danila's partners were E. Maksimova (Katerina) and M. Plisetskaya (Mistress of the Copper Mountain). The Bolshoi included this performance in the program of his first tour to the USA in 1959. For the 19-year-old artist, they also became the first - in life. And, although there were many of the most eminent masters on the tour, New York noted his extraordinary talent and charm from the very first performances.
The role of the folk craftsman and artist Danila in The Stone Flower, as well as the role of Ivanushka in R. Shchedrin's subsequent ballet The Little Humpbacked Horse staged by A. Radunsky (1960), of course, was close to Vasiliev in its Russian style and character. His "Yesenin" appearance, "typification" perfectly matched the image of the hero of Russian fairy tales and legends. But, if in the role of Ivanushka the dancer bathed in the elements of humor, mischief, the bright colors of the Russian popular print, then in the role of Danila Vasiliev danced his selfless devotion, his ardent love for art. Surprisingly sensitively, Vasiliev captured the plastic Russian intonations in classical dance, which was especially clearly manifested in his Petrushka (1964). This “Russianness”, or rather natural breadth and unique national thoroughbredness, really marked the performing style of the first dancer of the 20th century. But very soon it became obvious that "Russianness", without losing its leading, main place in its individual characteristics, bloodlessly and naturally converged with artistic cosmopolitanism. In each new performance, Vasilyev presented on stage the truth that transcended temporal and national boundaries, lived above the limits of roles, swept away all genre restrictions and the boundaries of plastic systems. The patriarch of Russian ballet Fyodor Lopukhov wrote very emotionally about this: “ Speaking of the word "God" in relation to Vasiliev, I mean ... a miracle in art, perfection ... In terms of diversity, he cannot be compared with anyone ... He is both a tenor and a baritone, and if you want, a bass.". Later, Serge Lifar echoes this quote by Lopukhov, calling Vasiliev " magician of Russian ballet».
In 1966, Grigorovich invited Vasiliev to play the lead role in his production of The Nutcracker. Vasiliev's childhood and youth, his growing up in the choreographic school, were connected with this ballet by another choreographer V. Vainonen. He started in it with soldiers, then performed in all folk dances, and only at graduation he was entrusted to dance the main part with the charming Katya Maximova.
The joint creative life of these two young talents in the theater began to develop with the ballets of Yuri Grigorovich, an innovative choreographer, whose arrival they both warmly welcomed at the Bolshoi, and with whom they were close friends and like-minded people for a long time. Vasiliev always felt subtly what the choreographer wanted from him, rethinking what the director offered him and constantly being with him in a creative search, constantly improvising and trying and suggesting new movements, shades and strokes of the role.
The improvisational impression of Vasiliev's dance has always been one of his most important traits as a performer, one of the "secrets" of his influence on the audience.
With Grigorovich of that "golden" time of the Bolshoi, he felt a spiritual and creative community. The Nutcracker was probably the brightest performance in the work of both the choreographer and its main performers: the fragile and tender atmosphere of a Christmas fairy tale created by them is so tangible in it. The Nutcracker Vasiliev, according to the choreographer, is “an ideal fairy-tale hero – a touching doll and a poetic prince, courageous and courageous, and, as befits a true prince, truly elegant.”
It was The Nutcracker with Maximova and Vasiliev in the main roles on tour of the Bolshoi Theater in 1966 that closed the old building of the Metropolitan Opera in New York.
In The Nutcracker, Vasilyev twice received a severe back burn: first at the Bolshoi in 1968 during a steam effect, and then in the same scene at the Metropolitan Opera, but with the use of chemicals. Both times Vasiliev brought the performance to the end, and in the auditorium no one suspected what it cost him!
However, in Vasiliev's professional life there were other stories as examples of the endurance and courage of the first soloist of the Bolshoi, which he had to show more than once during his performing career. Periostitis of the bones manifested itself in him from the first steps in the theater, when every movement was given with incredible pain Vasilyev overcame it only through patience and perseverance. A torn minisk, when only thanks to strong muscles he danced "Giselle" with A. Alonso and three "Don Quixote". Already on the operating table, the doctors could not believe that this was possible. And the torn ligaments on the encores in France, when he fell on the stage like a wreck. - these are just a few of the difficulties of the ballet profession that this audience favorite overcame day after day, often dancing through incredible pain that no one should have seen. Even with the most difficult injuries, he went on stage and danced, not daring to deceive the audience's expectations.
A new version of The Sleeping Beauty was staged by Grigorovich for this duet in 1973. Again - an unexpected turn, because, it would seem, the party of the gallant French prince is far from Vasiliev's individuality. He generally disliked the "blue" princes: the sphere of ceremonial pantomime gestures was far from his creative aspirations. In addition, he always believed that his physical data was not very suitable for such roles. His figure, built rather according to Leonardo's scheme - proportional, with developed male muscles, is seen in the sculptural works of old Italian masters or in ancient images of dancing gods. Fedor Lopukhov wrote about it this way: Vasiliev remains a man in his dances, .. graceful like a man and graceful like a man ... He is powerfully beautiful in dance, like the creations of Michelangelo».
So it was in this version of Sleeping Beauty, where a joint search for a choreographer and a dancer led to the creation of an innovative image of the Prince - a lively young man who differed from the prim and palace stamp and at the same time organically fit into the drawing of the role.
In "Giselle" (1964), Vasiliev did not immediately come to the solution of the image of the protagonist. His Albert did not become a scoundrel, as he was seen by other performers of that time - rather, an unreasonable, inexperienced young man who did not think about the consequences of his actions. His interpretation of this role, shown in 1968 in Rome, made a splash. It was this version that later spread widely in the world.
G.S.Ulanova persuaded Vasilyev to dance Romeo in Lavrovsky's play (1973). The legendary Juliet of the ballet stage and Maximova's teacher helped him to prepare the performance. The nuances of the acting and plastic performance of this part, found by them together, presented the viewer not only with a boy in love, but also showed the process of his spiritual growth and maturation, the versatility of his nature.
« Then there was an absolutely marvelous teacher, tutor and himself - a terrific actor, the initiator of a heroic dance on the Soviet ballet stage - Alexei Nikolaevich Ermolaev.
Aleksey Nikolaevich Ermolaev was distinguished by one quality - he was not interested in whether we would do the pirouette accurately or not. Or rather, he ... believed that every dancer, a professional dancer, is simply obliged to do two rounds or three, if necessary, from fifth position to fifth. It goes without saying. But he always paid attention at his rehearsals - and it was very interesting - to the circumstances, everyday details and the meaning of what we are doing. That was very valuable." (from the memoirs of V.V. Vasiliev)
And yet the most revolutionary in the work of this remarkable artist was destined to be the ballet Don Quixote (1962), prepared together with his teacher, the famous dancer of the Bolshoi Theater Alexei Ermolaev. Vasiliev's performance of the part of Basil presented the ballet world with a new, revised edition, with newly invented movements and mise-en-scenes. This choreographic version of the role so successfully and firmly entered the fabric of this already “middle-aged” performance that it began to be considered canonical all over the world. In his article about Vladimir Vasiliev, Yuri Grigorovich described this event as follows:
« 1962 ... Everyone who is somehow connected with ballet, with the art of choreography, remembered him. In May of this year, Vladimir Vasiliev performed for the first time in the ballet Don Quixote, and I will not be mistaken if I say that he opened a new era in the history of male classical dance ... He created a new standard, which has become a classic in our country, and in everything the world. Basil Vasilieva created completely new criteria not only for Don Quixote, but also for male dance in general».
A year after Vasiliev's premiere in Don Quixote, another famous destroyer of the old canons in the ballet, Vakhtang Chabukiani, gave him one of his favorite parts - Frondoso in the ballet Laurencia (1963).
Of course, the revolution made by Vasiliev in the male dance of the second half of the last century cannot be called a single act: there were predecessors, and comrades-in-arms, and “followers” who independently manifested themselves. But it was Vasilyev who was recorded in the history of ballet as the first and main innovator: he rethought everything new that happened on the territory of the dance of that time in accordance with his ideas about the choreographic theater; I believed everything by my own attitude to art.
By the mid-60s, Vasiliev's God-given talent had already acquired a magnificent facet, turning his dance into a celebration of human plasticity in all its diversity. It had everything: irresistible charm, organicity, musicality, expressiveness combined with virtuoso technique, striking with an incredible soaring jump with an instant take-off and inaudible softness of landings, the beauty of pirouettes and the ease of the most complex lifts. Is it really possible to describe Vasiliev's "borderless dance" in words?!! Pavel Gusev, the most authoritative in the ballet world, drew his conclusion: “ A bright and powerful master, Vladimir Vasilyev "rules the ball" at the Bolshoi Theater. It is impossible to dance better than him, just like him it is difficult, and worse, it is pointless!»
The special, unique plastic expressiveness of Vasiliev's hands, in which either incredible masculine strength and power, or almost childish tenderness and timidity, will remain unforgettable! It was as if they were sung about in a song: “like two big birds” - their swing was such a bewitching sight. Vasiliev soared over the stage with his arms wide open, and it seemed that he could embrace all of humanity with them. Ballet critics called these hands "Versailles", and in form they are an exact cast of the father's large working hands. But their endless cantilena created the feeling of incredibly long, boundless lines. The audience saw the artist covering the huge stage of the Bolshoi, although in life Vasiliev was not a giant. But it is the illusion, in which one unconditionally believes, that creates real art, the art of theater in particular.
Vasiliev gave this illusion to his audience in many bright and unique roles. And yet the world still associates his name with the image of the rebellious Roman gladiator in Yuri Grigorovich's ballet "Spartacus" (1968), which has become, without exaggeration, a cult. The choice of the main character was apparently not an easy task for the choreographer. For Vasiliev himself, this proposal was unexpected: in previous productions by I. Moiseev and L. Yakobson, the role of Spartacus was played by tall and stately artists of a heroic role, to which he himself was not very suitable. But the dancer was instantly carried away by the idea proposed by the choreographer, and this choice became truly historic. According to the definition of A. Messerer: “ at the age of twenty-eight, Vasiliev made a role that immediately got into the "selected series, which has general cultural and timeless significance.". For many generations of ballet lovers in Russia, Vasiliev became “our Spartacus” not only on stage: the will and desire to win, courage and perseverance in the name of justice and happiness, embodied by him in the performance, inspired people in life to overcome any obstacles and difficulties for the sake of cherished goal. The legendary Italian ballerina, also a partner of Vasiliev, Carla Fracci wrote about him: “ Vladimir Vasiliev is a symbol for the generation that grew up with him. The embodiment of a beautiful dream».
Ironically, it was Spartak that became the apogee in the creative community of Yuri Grigorovich and Vladimir Vasiliev. As is often the case, having reached the highest point, their relationship, both in creativity and in life, began to decline. Vasiliev has always been a principled and straightforward person. Straightforwardness was a natural state for Vasiliev. The fact that he criticized several of Grigorovich's "post-Spartak" works at the Artistic Council of the theater had no ulterior motive or built-in strategy. He then sincerely believed that it was not only possible, but also necessary, without hiding, to speak openly the truth “in the eyes” of everyone, even the chief choreographer and especially a friend. Such criticism, in his simple-hearted conviction, should have helped and benefited the common cause. Naturally, she strongly touched Grigorovich to the quick. He perceived and regarded it differently, and after the production of Ivan the Terrible, the part of which Vasilyev had already prepared with Galina Ulanova (1975), and the ballet on the Soviet theme Angara (1976), there was a final break, painful for both: their paths diverged forever .
Fate decreed that Vasiliev never had a “creative void”. In 1977, a master appeared in his life, whom he had always admired. The famous choreographer Maurice Bejart staged "Petrushka" on it in his troupe "Ballet of the 20th century". Working with Bejart carried a lot of new and interesting things. The original artistic vision of this unique choreographer opened up new horizons for Vasiliev in the art of choreography. In 1979, Bejart gave him and Katya a duet of extraordinary beauty and plasticity from his ballet "Romeo and Julia" to the music of G. Berlioz, which they performed on the set of the film "White Nights". The great choreographer admitted in an interview that he had never met such a dancer before, who “ combines everything: virtuosity, technique, dramatic talent, versatility and power».
Each performance of Vasiliev, regardless of its geographical location, was unique and unforgettable, each invariably gave birth to an increasing number of fans around the world, many of whom followed him on all his foreign trips. From role to role, from ballet to ballet, Vasiliev created the image of a dancer of the world, which no one will be able to repeat or recreate after he left the stage for a long time to come.
Short, but interesting and fruitful was the work of Vasiliev and Maximova with the famous Italian director, a student of Visconti, Franco Zeffirelli in 1982 in the film-opera La Traviata. Their meeting took place thanks to a friend - the English lady Saint Just, nee Princess Obolenskaya. To the question of her friend Zeffirelli, whom he could invite as the best ballet couple in the world, she exclaimed: "How, don't you know? Of course, Katya and Volodya! True, Vasilyev did not like the choreography originally proposed for the film, and he decided to abandon filming. But, having received "carte blanche" from Zeffirelli, he changed the choreographic pattern of the Spanish dance, staging it in his own way, and together with Maximova brilliantly performed to the pleasure of the exacting Italian master. The applause and enthusiastic exclamations of the choir and mimams on the set after their performance is not a specially invented scene built by the director, but just a spontaneous, sincere reaction of the audience, successfully included in the film.
In 1987 Vasiliev was invited by Roland Petit to play the lead role in The Blue Angel with the Marseille Ballet Company. The performances in Paris were a great success.
The premiere of Lorca Massine's production of Zorba the Greek (1988) to the music of M. Theodorakis with Vasiliev in the title role at the grandiose Verona Arena made a splash. The audience, who filled the square near the walls of the ancient Arena after the performance, chanted “Zorba!” to him. For Italy, which for more than thirty years provided Vasilyev with its best stages and arenas, Vasilyev forever remained "Il Dio della Danza". He was recognized everywhere, bowed in the streets, held photo exhibitions, vied with each other invited to participate in a variety of events and projects.
In addition to his constant partner, Vasiliev danced with other outstanding ballerinas, such as Maya Plisetskaya, Raisa Struchkova, Marina Kondratieva, Nina Timofeeva, Irina Kolpakova, Alicia Alonso, Carla Fracci, Noella Pontois, Josephine Mendez and others. It was easy and reliable for his partners on stage - they loved to perform with him - there were legends about his ability to "hold" a ballerina. With Alicia Alonso, he danced only once at the request of the ballerina herself. It was Giselle at the Grand Theater of Havana (1980). Despite Vasiliev's injury, which, of course, was known only behind the scenes, his performance shocked the Cuban public. With the wonderful Italian ballerina Carla Fracci, Vasiliev danced Giselle a lot throughout Italy. In a gala performance at La Scala in honor of the great Charlie Chaplin, they danced the pas de deux from Giselle. Later, with Carla Fracci, they performed together in the play Nijinsky (1984) at the San Carlo Theater and Diaghilev-Musagete at the Rome Opera (2009) directed by B. Menegatti.
Unemployed, and in 1988 completely dismissed from the Bolshoi Theater, Maksimova and Vasiliev toured extensively in the USA, France, Italy, Argentina with a group organized and for which the choreographer V. Vasiliev created his repertoire. As a guest star, he performed with the Kirov Theater and MALEGOT, the Perm Theatre, the Polish Ballet, as well as the Kremlin Ballet, the formation of which Vasiliev significantly contributed to by staging for him, with the support of the French company Nina Ricci, the lyrical, full of humor ballet Cinderella ( 1991), where he performed for the first time in the female part of the Stepmother (Cinderella was brilliantly performed by Ekaterina Maksimova).
Ironically, this Russian dancer, who glorified the art of his homeland, performed his last classical performance on the American stage of the Metropolitan Opera in 1990 with the troupe of the American Ballet Theater. About this last "Giselle" by Vasiliev and Maximova, the New York Times wrote: heartfelt and emotional performance... Their performance, filled with deep romanticism, became a real event».
On April 18, 2000, a grandiose gala concert was held at the Bolshoi Theater in honor of Vasiliev's anniversary, which brought together the entire cultural elite of Moscow, and foreign guests arrived. For this event, an exhibition of his paintings was arranged in the White Foyer of the theatre, commemorative silver and bronze medals depicting the legendary flying Spartak-Vasilyev (sculptor F. Feveysky), a collection of his poems "The Chain of Days" and "Encyclopedia of a Creative Personality - Vladimir Vasiliev" were issued . The idol of many generations of ballet lovers performed for the last time on his native stage as an artist - he danced Sirtaki from the ballet Zorba the Greek, which has never been seen in Moscow. At 60 years old, he was still the same great dancer and artist, able to capture and captivate any audience.
But he will still take the stage as a dancer and dramatic actor. This opportunity will be given to him by the Rome Opera and director Beppe Menegatti in the performances "A Long Journey into Christmas Night" in 2000 (the role of Maestro-Tchaikovsky) and "Diaghilev-Musaget" (double role of Nijinsky and Diaghilev) in 2009. After the departure of Katya Maximova from life confessional and tragic will be his performance of Chopin's "Ballad" dedicated to her in his own production in the New York City Center, and then in Perm, Voronezh and Donetsk in 2010.
Here is how the well-known theater critic S. Korobkov wrote about this performance of Vasiliev's "Ballads" (with D. Khokhlova):
“A handsome and flexible man, in whom nature has preserved both his posture and habit, by the power of his gift and the flight of his thought, he expanded the space of the theater to cosmic expanse. Lightly supporting the young ballerina and barely touching her face, he prolonged the moments of important dialogue, as Chopin prolonged his pianisticbrio, dreaming of penetrating the secrets of the universe and accepting new souls into their world of ever-elusive beauty. The magic of Vasiliev's confession snatched from memory the great artistic images of the century in which he was formed as an artist, and confirmed the commonality - personal and artistic - of great artistic natures. Here, in addition to the world of Vasilyev, there was also a parallel world: from the mysteries of Hamlet by John Gielgud, from the piercing glances of Othello Laurence Olivier, from the subtle spiritual movements of Marlon Brando, from the melody of the paintings of Bergman and Fellini. All those who sooner or later stopped hiding themselves behind the character and dared to speak for themselves, who dared to confess their era.
Vasiliev was remembered for the same heartfelt performance in the second issue dedicated to Maximova “Smile” for the song by Ch. Chaplin (in Spanish by M. Jackson) at the gala evening at the Bolshoi Theater “And all that is done by you. Dedicated to Ekaterina Maksimova" in 2014.
Ballet lovers still called Vasilyev wonderful when he appeared as Natasha Rostova's father in a short miniature "Natasha Rostova's First Ball" at the opening ceremony of the Winter Olympic Games in Sochi in 2014 (choreographer R. Poklitaru).
Vladimir Vasiliev has become a truly man-epoch in Russian ballet. Meanwhile, the beginning of the life of the future dancer, it would seem, did not portend a ballet career.
The future famous dancer was born in 1940 in Moscow. His parents were not connected with art in general and with ballet in particular: his father was a driver, his mother was a sales manager. The family was happy, despite ideological differences (the father was a staunch atheist, and the mother was an Orthodox Christian). Vladimir's early childhood fell on the difficult years of the war - the boy's father was at the front, his mother worked in three shifts at the factory.
As a child, Vladimir had many friends, and one of them invited him to a choreographic circle at the House of Pioneers, where he studied himself. Teacher E. R. Rosse saw his talent, and seven-year-old Vladimir began to learn the art of dance. In the circle, he quickly became the best student - so much so that other guys learned the movements by his example. In 1948, the children's choreographic ensemble performed on the stage of the Bolshoi Theater, Vladimir participated in the performance of Ukrainian and Russian dances - and it was then that he fully realized his desire to connect life with ballet.
In 1949, Vladimir Vasiliev entered the Moscow Choreographic School, where he also became one of the best. Already in his student years, those qualities are manifested that later will be the hallmarks of a dancer: expression, ease of jumping, strength and masculinity of dance, acting data. He learns from Mikhail Gabovich, who characterized his student as follows: "Volodya Vasiliev dances not only with his whole body, but with every cell of it, with a pulsating rhythm." T. Tkachenko spoke even more definitely about him after his performance in the ballet Francesca da Rimini, where the young man convincingly revealed the deeply tragic image of the heroine’s old husband: “We are present at the birth of a genius!”
In 1958, having completed his studies, Vladimir Vasilyev became an artist at the Bolshoi Theatre. He performs in characteristic images in operatic choreographic scenes - a gypsy dance in "Mermaid" by A. Dargomyzhsky, a lezginka in "Demon" by N. Rubinshtein. His performance of the role of Pan in "Walpurgis Night" in "Faust" by C. Gounod attracted attention to him, and with her he performed his first classical part at the Bolshoi Theater - a soloist in the ballet "".
Truly triumphant was the performance of Vladimir Vasiliev in the ballet "" in 1959 staged. The choreographer entrusted him with the main role - Danila. This success opened the way for the young dancer to various central roles: the Prince in "", Batyr in "Shural", Frondoso in "", title roles in the ballets "Paganini" and "" and others.
For some parts, Vladimir Vasiliev became the first performer: soloist in A. Varlamov's "Dance Suite" to music, Lukash in the ballet by O. Tarasova and A. Lapauri to the music of M. Skorulsky "Forest Song", Ivanushka in "" R. Shchedrin directed by A Radunsky. The dancer participated in the first performance of two choreographic versions of A. Khachaturian's ballet "": in the production he played the role of a slave, and in the production he played the title role. He took part in the first performance and other ballets staged: the main role in "", Prince Desire in "The Sleeping Beauty", in the ballet of the same name to music, Sergei in "Angara" to the music of A. Eshpay. He was the first dancer to perform the role of Romeo in the USSR in M. Bejart's ballet to the music of G. Berlioz "". The dancer was also appreciated by another choreographer - K. Goleizovsky, who created for him the miniature "Narcissus" and the part of Majnun in the ballet "Leyli and Majnun" to the music of S. Balasanyan.
An outstanding domestic dancer called V. Vasiliev "a brilliant exception to the rule", referring to his exceptional ability to transform. He was equally convincing in the image of the lyrical Nutcracker Prince, the heroic Spartacus, the passionate Basil in "". Choreographer F. Lopukhov, comparing ballet images with operatic voices, said that V. Vasiliev is “both tenor, and baritone, and bass.” V. Vasiliev's performances abroad were as successful as at home: he was called the "god of dance" in France, he was awarded the title of honorary citizen of the American city of Tucson and Buenos Aires. His talent was appreciated by such a famous Italian director as Franco Zefirelli - in his film-opera "" V. Vasilyev staged and performed a Spanish dance.
Even in his student years, a feeling arose between Vladimir Vasilyev and the ballerina. In 1961, they became spouses, and became not only a wife for the dancer, but also a constant partner, whom he called his muse. to the music of V. Gavrilin based on the story by A.P. Chekhov "Anna on the neck", "Macbeth" to the music of K. Molchanov. He also staged plotless ballets, in which the main "characters" were music and the dance that reveals it: "These enchanting sounds" to the music of A. Corelli, J. F. Rameau and V. A. Mozart, "Nostalgia" to Russian piano music composites, "Fragments of one biography" to the music of Argentine composers. In 2015, V. Vasiliev created a unique production to the music of the Mass in B minor "Give Us Peace", which combines elements of oratorio, ballet and dramatic action.
Ballet is the main, but not the only area of creativity of Vladimir Vasiliev: he is engaged in painting and writing poetry.
Music Seasons
In this film, Vladimir Vasiliev tells how he, a boy from a working-class family, first touched the wonderful world of ballet. He recalls his first teacher Elena Romanovna Ross, the first years of his studies at the choreographic school, the teachers of the Bolshoi Theater - Mikhail Gabovich, Olga Lepeshinskaya, Galina Ulanova, Vyacheslav Golubin, Elizaveta Gerdt, Alexei Ermolaev. In the film in included fragments of ballets with the participation of dancers of the Bolshoi Theater, recordings of lessons at the choreographic school.
Film one
The work of Vladimir Vasiliev coincided with the two best eras of the Bolshoi Ballet - the era of L. Lavrovsky and the era of Yu. Grigorovich. He came to the theater when the great creator of "Romeo and Juliet" Leonid Lavrovsky headed the Bolshoi Ballet. It was the era of Lavrovsky, "the era of drama ballet", as historians called it, that put the Bolshoi Ballet in the positions in the world that it has occupied for several decades now.
Film second.
Leonid Lavrovsky was distinguished by an amazing quality - he was not a dictator in those difficult times. Together with him, choreographers R. Zakharov, V. Vainonen, V. Chabukiani, A. Messerer, K. Goleizovsky, L. Yakobson created their great canvases. V. Vasiliev met everyone in his work. Vasiliev's story is complemented by a panorama of the chronicle - fragments of ballets and rehearsals of great masters, which only film has preserved for history.
Film three
Ballet stamps are what ruins the art of ballet. Musical clichés harm not only music, but also violate the meaning of the ballet language. Yuri Grigorovich was the one who declared an irreconcilable war on ballet clichés, including musical ones. With his arrival at the Bolshoi Theater came a new aesthetics, a new ballet language, a new era. He staged the ballets The Nutcracker, Spartacus, Ivan the Terrible, Romeo and Juliet, The Legend of Love, The Golden Age. The Bolshoi ballet troupe went on tour abroad with Grigorovich 96 times. A special place is occupied by the ballet "Spartacus". The image of Spartacus Vasilyev was included in the same series of immortal creations in the ballet as Galina Ulanova's Juliet, Anna Pavlova's Swan. Vladimir Vasiliev calls the years of work with Yuri Grigorovich the best pages of his biography. There are records of performances and fragments of rehearsals that can give an idea of the amazing atmosphere in which Grigorovich's ballets were created.
Film Four
short biography
Vladimir Vasiliev is an outstanding dancer, who amazed more than one generation of spectators with his artistry and technical performance. In addition, Vladimir Viktorovich is a member of the Russian Academy of Arts and the International Creative Academy. However, few people know that the creative heritage of the ballet genius is not limited to dancing.
Vladimir Vasiliev was born in Moscow on April 18, 1940. The father of the future star, Viktor Ivanovich, worked as a driver. Mother, Tatyana Yakovlevna, worked as the head of the sales department at a felt factory.
At the age of seven, the boy accidentally got into a dance club at the Pioneer House. Choreographer Elena Rosse, who worked with children, immediately drew attention to the talent of little Volodya and invited the boy to study. So, a year later, Vladimir Vasilyev first appeared on the stage of the Bolshoi Theater with Ukrainian and Russian dances.
The creative biography of Vladimir Vasiliev continued within the walls of the Moscow Choreographic School. The teachers noted not only Vladimir's undoubted talent, but also his acting abilities: the young man, in addition to perfect technical performance, put emotions and expression into the dance, easily transforming into the heroes of the productions like a real artist.
In 1958, Vasiliev, after graduating, began serving at the Bolshoi Theater, becoming an official member of the ballet troupe. At first, Vladimir Viktorovich got characteristic roles: in "Mermaid" the dancer performed a gypsy dance, in "Demon" - a lezginka. But soon the inimitable Galina Ulanova drew attention to the novice dancer, offering Vasiliev the role in the classical ballet production of Chopiniana. It was not just a party, but a duet with Ulanova herself. After that, Galina Sergeevna will remain a friend and mentor of Vladimir Vasiliev.
I drew attention to Vasilyev and Yuri Grigorovich, the theater choreographer. Vladimir seemed to Grigorovich a very promising dancer. Soon Vasiliev received the main role in the ballet "Stone Flower". This performance gave the dancer the first admirers and admirers who were not alien to art. Following this, Vladimir Viktorovich performed the main roles in Cinderella (the part of the prince), Don Quixote (Basil), Giselle (the part of Albert) and Romeo and Juliet (young Romeo).
For a long 30 years, Vladimir Vasiliev devoted the Bolshoi to the stage. From 1958 to 1988, the dancer was listed as the leading ballet soloist of the theater. Ballerina Ekaterina Maksimova, the wife of Vladimir Vasiliev, became a permanent partner of a talented ballerina.
Vasiliev's dancing success was seen not only by the walls of his native Bolshoi Theater. The dancer went on tour at the Paris Grand Opera, the Italian theater La Scala, the New York Metropolitan Opera, London's Covent Garden.
In 1988, Vladimir Vasiliev and his permanent partner and wife Ekaterina Maksimova left the Bolshoi. The reason was a creative dispute with Yuri Grigorovich. Vladimir Viktorovich continued his creative career as artistic director of the State Academic Bolshoi Theater, this position will remain with the dancer until 2000.
In the 1990s, Vasilyev worked on productions of Tahir and Zuhra, Oh, Mozart! Mozart...”, “La Traviata”, “Khovanshchina”, “Aida”, “Cinderella”. After a break, in 2010, Vasiliev presented the ballet The Red Poppy in Krasnoyarsk. 2011 was marked by the production of the Balda ballet for children.
In 2014, Vasiliev had the honor of personally performing in the ballet Natasha Rostova's First Ball. This mini-production was prepared specifically for the concert on the occasion of the opening of the Sochi Olympic Games. Vladimir Viktorovich got the part of Ilya Andreevich Rostov. In the same year, Vasiliev presented to the audience a project based on the works of Viktor Astafiev. The performance consisted of six dance miniatures.
In 2015, in honor of the dancer's 75th birthday, the premiere of the ballet performance "Donna nobis pasem" to the music of Bach took place. The hero of the day acted as a director of the ballet, while the dancers of the Tatar Academic Theater named after Musa Jalil performed the parts.
Vasiliev, Plisetskaya. "Don Quixote"
Vasiliev, Maksimova. "Don Quixote"
Vasiliev, Liepa. "Spartacus"
Art is a difficult path. The external harmony, refinement and elegance of the lines are fraught with hard work not even for years, but for whole decades. If the great choreographer Vasiliev was involved in staging the dance, then there is no doubt about the quality of the final result. He is a star, with reflections of which both young and eminent artists strive to come into contact. Man-epoch, man-legend - choreographer Vladimir Vasiliev. His biography is filled with constant work, creativity and love for a single woman.
On the eve of the war
In the family of felt factory workers back in 1940, on April 18, a boy was born. Mom held the responsible post of head of sales, and her father was a simple driver. The sincere love that united their hearts gave birth to a talented person who never ceases to be admired by the whole world on both sides of the ocean.
The difficult, tragic events that began on June 22, 1941, separated the family. Vladimir Viktorovich's father went to the front, and his mother worked at her native factory in 3 shifts, torn between her one-year-old son and work. The salvation was six older mother's sisters - native aunts, for whom the little boy was the meaning not to lose his mind in that terrible and difficult time. Warm soulful gatherings in the evening over a cup of hot tea, unhurried conversations over the preparation of the next pie and cheerful celebrations of the New Year remained the best memories of childhood.
Tempering character
Vladimir Viktorovich Vasiliev, a choreographer in the future, survived the hungry years that the war brought. Destruction, ruins of houses, death and an irresistible thirst for life in an unformed personality left an imprint forever. The trials that are littered with a person's path purify his soul, and those that have fallen on his childhood make him honest, noble and generous for good deeds.
In 1945, his father returned from the front, and the family began to live in full force. Some disagreements in the life positions of the parents (my mother attended the temple, and my father was an ideological communist) did not prevent the couple from being happy. While the adults were reviving the country from the ashes, the future choreographer Vasiliev played ball, deftly jumped on the roofs and was not inferior in courage and fearlessness to his older comrades, which earned him the respect of the entire court.
First steps to dance
The choreographer in the future, since childhood, was surrounded by a huge number of friends. And then one of the many friends, and part-time neighbor invited him to a dance club, located in the Kirov House of Pioneers. At first glance, the sensitive teacher Elena Romanovna Rosse saw in the blond tomboy a love of dance. Eight-year-old Vladimir Vasilyev was a born choreographer. He played the new material the first time. On his example, they learned the movements and considered the best student.
Once on the stage of the Bolshoi Theater with a solo performance of folk dances, he realized that his fate was finally sealed. Chiseled and flexible ballerinas, amazing jumps, lifts captured the boy's thoughts. Natural determination and devotion to his dream allowed him to enter the choreographic school of the Bolshoi Theater in 1949, and a year later to achieve superiority among classmates.
Master's handwriting
Vladimir Vasiliev, a choreographer-student, early formed his own unique style. His teacher Mikhail Markovich Gabovich noted the inner fire of a young student, reflected in his every movement. Light virtuoso jumps, filigree lines, a force that captivates from the first movements, that expression and irresistible energy that fills the entire space of the stage on which the future great choreographer Vasiliev performed ... Acting inclinations and incredible charisma made it possible to convey to the viewer the whole gamut of his feelings and thoughts heroes.
Debut
In 1958, he was accepted into the troupe of the Bolshoi Theater, where he immediately established himself as a dancer of characteristic images. The future choreographer Vasiliev Vladimir Viktorovich began with the performance of bright, colorful images in the operas "Mermaid" and "Demon". The solo part in "Walpurgis Night" became for him. It was in the role of Pan that he attracted the attention of a meeting with which influenced his whole future life.
The great ballerina has become one of the most important chapters in the book of life called “Vasiliev - choreographer. Biography, written by fate itself. Her pedagogical talent, friendship and faith in the professional future of the young man helped shape the personality of the great director, director and dancer. Joint work in "Chopiniana" became an invaluable experience and opened Vladimir Viktorovich as an excellent performer of classical parts.
Rapid takeoff
After joining the Bolshoi Theater Yu.N. Grigorovich, the young dancer took part in his production of "Stone Flower", which won the favor of not only the choreographer, but also the love of the most fastidious critic - the spectator. After such a triumph, Vladimir Viktorovich was involved in the main roles of the entire diverse repertoire of the Bolshoi Theater: Cinderella, Pages of Life, Don Quixote, Paganini in the production of the same name, Laurencia, Giselle, Romeo and Juliet.
minion of fate
He was not yet 25 years old when the solo part in the “Dance Suite” was embodied on stage (staged by Ivanushka in the ballet by R. K. Shchedrin “The Little Humpbacked Horse” (staged by A. I. Radunsky, 1960), Slave in “Spartacus” A. I. Khachaturian (staged by L. V. Yakobson), Lukash in “The Forest Song” by G. L. Zhukovsky (staged by O. G. Tarasova and A. A. Lapauri). the best, and this is not the limit of your possibilities.
The perseverance that helped in childhood not to give in to the older guys, self-confidence, the thread of Ariadne leading through the prairie of backstage life, and love for dance allowed me to prove my skills again and again by deed. The exact understanding of the musical material, the perfect mastery of every cell of the flexible body, the organicity of the embodied image delighted and surprised not only the audience, but also eminent masters of ballet art. Vladimir Vasiliev (choreographer) easily immersed himself in the kind, sincere Ivanushka, the passionate Basil, the cruel, blood-soaked tyrant.
One for life
A beautiful first touching affection filled the heart of Vladimir Viktorovich during the years of study at the dance school. Ekaterina Maksimova was notable for her special adherence to principles, sometimes turning into stubbornness, which interfered with her subject teaching, but was decisive in mastering the dance. The strength contained in such a fragile girl attracted and at the same time frightened Vladimir Vasilyev. But Maksimova's unexpected illness brought them closer, and the nascent feelings helped to overcome the terrible migraines that had tormented the girl for a year.
Quarrels characteristic of this age separated young people for three whole years. Everyone used this time for their professional growth, and both managed to be invited to work at the Bolshoi Theater without any support.
One love story
Vladimir Viktorovich Vasiliev is a choreographer whose personal life has always been associated with one woman. Three years apart - and fate gave them a meeting with mutual friends, after which the couple did not part. In the summer of 1961, young people legalized their relationship, and the honeymoon took place in the most romantic city on the planet - Paris.
This is a unique case, because in the Soviet Union spouses were not allowed to go abroad together. There was presented a picture in which, by a mystical coincidence, Maksimova and Vasiliev played lovers. The "USSR with an open heart" allowed the newlyweds to enjoy the intoxicating air of France, even if under the close supervision of officials.
Life ups and downs
The great Vladimir Vasiliev is a choreographer whose family and work were closely intertwined in his life. A beloved woman, an invaluable Muse, a wonderful partner was always there, she understood all the subtleties and aspects of such a difficult art.
In 1971, the couple were in a car accident. Suddenly, an elk ran out onto the track, and a foreign car racing at high speed miraculously did not turn into a pressed tin can. Ekaterina Maksimova received a serious health problem. The next health problems manifested themselves during a rehearsal, five years after the accident on the road. The injury was so serious that the ballerina could remain in a wheelchair. Vladimir Vasiliev was ready to move mountains, and he turned, having achieved treatment for his wife in the Kremlin hospital, where she quickly recovered and was able to dance again.
Unfortunately, the family always consisted of two people, and children's laughter never visited their house. But talented teachers invested their hearts in their numerous students, for whom they became creative parents.
Worldwide recognition
Stunning plasticity and acting talent were highly valued abroad, where the pearl of Russian ballet was always greeted with applause. Vladimir Vasiliev actively collaborated with many outstanding choreographers. Maurice Bejart, Roland Petit, Lorca Massine invited him to their productions for the main roles. The love of the public knew no bounds - the French idolized the Russian legend, the Argentines proclaimed it a national hero, and in the USA, despite the difficult political situation, Vasilyev became an honorary citizen of one of the cities. Special relations have developed with hospitable Italy. The Roman Opera, La Scala, San Carlo more than once received the choreographer on their stages, where the audience enjoyed his virtuoso playing and perfect plasticity.
creative search
The seething energy did not fit within the framework of the performer, even such a brilliant one. The choreographer Vasilyev staged his first own work in 1971, it was the ballet Icarus. The storylines, the genre did not interest the creator, he was attracted by the development of the image through music, the versatility transmitted by dance. The master embodied his worldview in Fragments of a Biography, Nostalgia, Swan Lake and many other works.
Acting talent is captured in such films as "Fuete", "Gigalo and Gigolette". Huge work as a director and director was done by Vasilyev in Anyuta, Road House, Gospel for the Evil One, The Princess and the Woodcutter, Juno and Avos. The diversity of the works is once again revealed by the multifaceted choreographer Vasiliev, without looking back, opens to his beloved viewer.
After graduating from GITIS in 1982, he began teaching as a choreographer, and a few years later became a professor and head of the department of choreography. In the mid-1990s, he was appointed artistic director of his native Bolshoi Theatre. In this crisis period for art, V.V. Vasiliev manages not only to save, but also to revive the temple of Melpomene, attracting the viewer's attention through television, the Internet, and print media. Carrying out charity events and concerts, the great choreographer increased the former glory of the Bolshoi Theater.
Since the beginning of the new century, the people's artist, winner of many awards, has been actively working around the world, giving master classes, staging performances, participating in charity concerts. Passion for literature pours out on paper with a whole collection of poems. Inspired by painting, Viktor Vladimirovich paints his native landscapes, which are successfully exhibited.
In 2009, the main person for the famous choreographer, Ekaterina Maksimova, who for half a century shared successes and falls, all joys and sorrows, passed away, was his inspiration and like-minded person. For a strong, energetic Vasiliev, surrounded by the love of friends and students, this is an irreparable loss, but the strength of the spirit of such a perfect divine work makes him wake up every day and create new masterpieces that make people feel, realize the harmony of the world around.
Victor Vasiliev is a choreographer, whose photos are always heartfelt. The look of beautiful wise eyes hides a whole universe of emotions that a great man so talentedly shares with his beloved viewer.
