Tickets for the anniversary evening of Lavrovsky. Concert anniversary evening of Mikhail Lavrovsky. From the biography of Mikhail Lavrovsky

Mimans artists and teacher-repetiteur Irina Anatolyevna Lazareva. Last preparations.

Premiere of Mikhail Lavrovsky's ballet "Fantasy on a Theme of Casanova" to music by V.A. Mozart took place on July 14, 1993. The first performer of the part of Casanova was the People's Artist of the Russian Federation Alexander Vetrov. It was with him that the current lead actor Igor Tsvirko rehearsed this part.

"This is my fantasy on the theme of Casanova. Or a fantasy on the theme of Casanova's love. And the main meaning of the ballet is the carnival of life, the carnival of people ...
The personality of Casanova interested me for a long time. I literally read his Memoirs with alacrity. Before me opened the tragedy of a bright man, multi-talented, but never fully realized his abilities.
In my ballet, I wanted to embody the theme of Casanova's love, and I have my own opinion on his love affairs, to some extent colored by the impressions of Federico Fellini's film," Mikhail Leonidovich said about his Casanova.

Lady of the Heart - Victoria Litvinova, Casanova - Igor Tsvirko.

Mikhail Leonidovich watched the performance attentively from backstage.

"The music of the ballet is a collage of Mozart's works, made by Vladimir Bogorad. Mozart and Casanova were not just contemporaries, their life paths intersected, so the impulse to create the libretto was given to me not only by my immediate hero, but also by Mozart."

Queen of the Ball - Maria Zharkova

In four scenes of the ballet, four episodes of Casanova's life from birth to death take place, united by the search for love. All her life, Casanova is accompanied by four companions - the characters of the Venetian carnival, including Harlequin, one of the characters in the commedia dell'arte. Casanova in her life is also a Harlequin, only unlike the canonical Harlequin, he has a sensitive, easily vulnerable soul.

In the role of Harlequin - Georgy Gusev.

Casanova is looking for his love ideal at the carnival, in the palace, women deceive him, he is disappointed and deceives women himself. In the carnival of life, the Venetian folk carnival and the palace carnival of people who hide their true face behind masks are combined ...

Ladies at the ball - Anna Proskurnina, Evgenia Savarskaya

Scene from the ballet.

Ballet finale.

Choreographer - Mikhail Lavrovsky

Loud ovations and long bows.

The second part featured concert performances and the Nijinsky ballet.

Amok. Duet from the opera-ballet of the same name, choreography by Mikhail Lavrovsky.
“We want to make a performance based on Zweig by a team of like-minded people, in which there are people of different ages. First of all, this is the famous ballet dancer and choreographer Mikhail Lavrovsky, whom I have known for a long time,” said composer Alexander Simonenko. , to work with my music. His son, theater director Leonid Lavrovsky-Garcia, advised me to pay attention to Stefan Zweig's novel "Amok". I read it, and it immediately captured me."

Doctor - Artur Mkrtchyan, She - Anita Pudikova

ADAGIO of Phrygia and Spartacus from the ballet "SPARTACUS", oreoography by Yuri Grigorovich
Phrygia - Marianna Ryzhkina, Spartacus - Mikhail Lobukhin

"Russian Ballerina", choreography by Mikhail Lavrovsky
Girls in a bar - Daria Lovtsova, Kristina Loseva, Anita Pudikova

She is Victoria Litvinova, The young man is Alan Kokaev

"Mikhail Leonidovich is one of the pioneers of male classical dance in the world" - these words belong to the soloist of the Bolshoi Ballet Vladislav Lantratov. His dance is always with great feeling, with vivid emotions. Otherwise, he believes, it makes no sense to go on stage. This is what he was trying to convey to me. I would like to wish the Teacher health, so that he does not lose faith in life, so that he pleases us with his presence. His advice is so important and dear to us."

Pas de deux from the ballet "Don Quixote" - Kitri - Ekaterina Krysanova, Basil - Vladislav Lantratov

The final highlight of the evening was the one-act ballet Nijinsky directed by Mikhail Lavrovsky. The premiere of this ballet to the music of S. Rachmaninoff took place in 2001.

Nijinsky - Ivan Vasiliev

MOSCOW, 5 May. /Corr. TASS Olga Svistunova/. On Thursday, a gala concert in honor of the 75th anniversary of the famous dancer and choreographer, People's Artist of the USSR Mikhail Lavrovsky was held on the Historical Stage of the Bolshoi Theater. The hero of the day also took part in the celebration dedicated to him. He performed in the ballet "Nijinsky" of his own composition. The hall gave a standing ovation.

“Honouring our outstanding masters, we invite them to take a place of honor in the central box,” said Mahar Vaziev, head of the Bolshoi Ballet Company, “but Mikhail Leonidovich Lavrovsky refused. He will appear as a dancer.” After these words, the head of the ballet of the Bolshoi Theater invited the main hero of the holiday to the stage.

"The most valuable thing for an artist is the recognition of the public," Lavrovsky said. "So, I'm still in demand," he added, promising that "the evening will not be tiring."

Evening in an atmosphere of delight

The two-act concert really passed in one breath. The program included ballets staged in different years by the hero of the day himself, as well as fragments of performances in which he once shone as a dancer. The audience enthusiastically accepted a fragment from the ballet "Spartacus", where the main part was performed by the Premier of the Bolshoi Theater Mikhail Lobukhin. A stormy reaction from the audience was accompanied by a luxurious Grand Pas from Don Quixote, in which the leading soloists of the Bolshoi Ekaterina Krysanova and Vladislav Lantratov performed.

However, the main content of the evening was the ballets in the choreography of the hero of the day. In the first part, "Fantasy on a Theme of Casanova" to the music of Mozart was shown. In the second - the number "Russian Ballerina" from the ballet "Peacock Tree". The public was also interested in the presented episode from the opera-ballet "Amok", which Mikhail Lavrovsky is currently working on.

The evening ended with the one-act ballet "Nijinsky" to music by Sergei Rachmaninov, choreographed by Mikhail Lavrovsky, who himself acted as Diaghilev. The part of Nijinsky was performed by the virtuoso dancer Ivan Vasiliev. The success of the concert was confirmed by the final standing ovation, which lasted more than 15 minutes.

From the biography of Mikhail Lavrovsky

The whole life of Mikhail Lavrovsky is connected with the Bolshoi Theater, where he has been serving for 56 years. Entering the famous troupe in 1961, he immediately became a prominent representative of an outstanding generation of ballet dancers, including Vladimir Vasiliev, Ekaterina Maksimova, Natalia Bessmertnova, Maris Liepa. It was they, first of all, who were his comrades, colleagues and stage partners.

However, such a path is destined for Mikhail Lavrovsky by fate itself. His father is the famous choreographer Leonid Lavrovsky, the one who staged the choreographic masterpiece - the ballet "Romeo and Juliet", where the main female part was danced by the great Galina Ulanova. The son not only continued the family tradition, but also managed to prove that nature does not always rest on the children of prominent people. While still a student at the Moscow Choreographic School, he gained international recognition, impressing audiences and critics with his performance at the Parma Festival in Italy.

Soon people started talking about Mikhail Lavrovsky as a dancer of virtuoso technique, great charm and unbridled temperament. At the Bolshoi Theater, where he served as a soloist for over a quarter of a century (1961-1988), Lavrovsky was a star of the first magnitude. He danced the main roles in Don Quixote, Swan Lake, The Nutcracker, Sleeping Beauty, Giselle, Flames of Paris.

For the performance of the role of Spartacus in the ballet of the same name, Lavrovsky was awarded in 1970 the highest national award for those times - the Lenin Prize. And a few years later, his artistic gift was awarded the State Prize of the USSR. Mikhail Lavrovsky firmly entrenched the title of one of the best classical dancers of our time.

Having completed his artistic career, he did not part with ballet, taking the post of teacher-repetiteur at the Bolshoi Theater. He is also the artistic director of the Moscow State Academy of Choreography. In addition, he opened his own choreographic school, and also proved himself in the choreographer's field. Mikhail Lavrovsky has more than ten original ballets created by him, including "Porgy and Bess", "Nijinsky", "Fantasy on a Theme of Casanova", "Richard III. Epilogue".

At present he is a choreographer-repetiteur of the Bolshoi Theatre, professor of the department of choreography at GITIS, artistic director of the Moscow State Academy of Choreography. He staged several ballets, ballet films and choreographic numbers in dramatic performances.

MS: Mikhail Leonidovich, you are a happy person. Do you know why?

MS: Because you have an anniversary - 75 years, and we are not going to remember what happened, but to discuss your plans! Not everyone can boast that such an anniversary meets with an active life position.

ML: You can't do without it! If it doesn't, you're dead! Of course, we all grow old, this is the law of nature, the law of the Lord. Generations pass. What does "a generation has passed" mean? Gone are ideals, tastes, morals. This does not mean that we are better, it means that we are just different, since a lot of time has passed. Look (I’m philosophizing, but I’ll explain), for example, an apple tree: spring, summer, autumn, winter - winter closes everything, everything dies, and the apple tree that gives apples also lives and dies. Next spring - all over again, but apples can be more bitter, sweeter, better or worse - like our children; it's the same apple tree. Our genes are our children, just slightly different people.

MS: The reason for our meeting was your production of "" in Naples. But it was not possible to meet in the summer, and now I am very glad that I have the opportunity not only to talk about the production, but also personally congratulate you on your anniversary.

ML: Thank you.

MS: Anyway, let's talk about this production. How did it pass under the watchful eye of the Italian trade unions?

ML: The play went well. A very annoying, tough and, in my opinion, very wrong working union in Italy. Yes, he protects people, but it’s impossible: I can’t take the actor I want exactly when I need him - I must warn in advance. And how can I know in a week who I will need today, it still depends on the rehearsal process, on how someone turns out this or that scene. And they say: "No, take it now." Or here's another example: my assistant is rehearsing a scene with the soloists, which they do quite well. Then the tutor wants to go to another stage with the same soloists, but this is forbidden by the union! And you have to repeat several times what is already clear, and there is less time for complex things. That's such stupidity. Maybe they are right in their own way. But it doesn't suit me. I'm used to working, as it is customary in Russia, let's say, how I worked. I take what I need, when I need it and the one I see in this part, let him be the prime minister or a corps de ballet dancer. You can not demand from the director what is not in his plans. Or here's another one: the orchestra's working day ends at 22:00 - and that's it. And they are not interested that the performance is not over, that the music still has to play. Well, Aleksey Bogorad managed to agree, and they settled this issue, otherwise they didn’t know what to do. There are such prohibitions that hit creativity very hard. Although I can't say anything bad about the Italians. The artists did an excellent job.

MS: Did you stage a production by Leonid Lavrovsky in Naples?

ML: I did Lavrovsky. But you understand what's the matter: only the Bolshoi Theater and the Mariinsky Theater can pull it off and stage it the way it was, one on one. And the troupes are smaller - there the actors, in general, are different in terms of their emotional richness. But the Italians did it. In the West, after all, everyone is a little dry: the back is set correctly and the technique is wonderful, but that plasticity, spirituality and that truth of emotions, the meaning of what they do on stage, are very often absent. In the ballets "modern" - wonderful, in the classics - I have not seen. Well, I saw only Natalia Makarova,.

MS: Did you have to cut a lot?

ML: Of course! We did almost two acts there. The main pieces were left, although much had to be removed. But, I will tell you that despite all the genius, more than 70 years have passed since 1940 - and Lavrovsky himself made changes when I worked with him. Of course, some things need to be changed, according to the new time, but you can’t lose the style of the performance and the meaning of what the choreographer wanted to do, in this case -. And the technique, of course, can change: time moves forward, and you can’t stand still like that. If there is a solution to the performance and a person does not violate it (and for this you need to have taste), then you can do it.

MS: You raised an interesting topic. And how do you feel about the reconstruction of ballets?

ML: You know what's the matter: restoration is probably needed, but one must have taste - this is the edge of talent. To restore ballets, you need to feel them and be able to do it. This was done by Leonid Lavrovsky, who made "". The performance he restored was considered the best production in the world. Or "" - well done, I can’t say anything, very good, wonderful. He has understanding. And when they leave the same, the classic solution, but for some reason change the number of swans, this is wrong. It's like making one Art Nouveau instead of eight columns at the Bolshoi Theatre. This is stupidity, it means that the taste is not enough. Build a new theater - and please, no one bothers you. Taste is also a talent. Here Grigorovich knows how to do it. He restored the "Sleeping Beauty", we called it "White Sleeping" - she did not pass. Later, he redid everything, and with Simon Virsaladze they got a brilliant performance.

If we are talking about the old ballet, then they have their own laws - they may be a little naive, devoid of real logical thinking on stage, but they conquer you with their naivety (like children when they say something). And if the child spoke in a sober, set voice, then it would be completely different. Therefore, it must be taken into account that the productions of a hundred years ago are masterpieces of classical, romantic ballet, and it is pointless to make philosophical works out of them, such as Kant's works. There are other performances for this. A ballet that is a hundred years old or more needs to be restored, something removed, something added, but the spirit of that performance must be preserved. And, of course, be able to dance well. There is a bad tendency among actors to oversimplify. The same "Giselle": let's say, why make a double cabriole in Albert's variation, if you say that before, when you staged, you did only one. This, in my opinion, is wrong. The technology is developing. And then, as in Aesop's fable "The Fox and the Grapes", it turns out: she could not pick the grapes and said that he had not ripened. So it is with artists: one must be able to make a double cabriole well. Yes, before it was a single, and tomorrow someone will make a triple - this will only be a plus.

Here's an example: I love Italian neorealism in cinema - Giuseppe de Santis, Roberto Rossellini, Federico Fellini, of course, Vittorio de Sica; this is what we watched in the 1950s - brilliant! But, of course, now the pace of films is different, and it is already more difficult to watch those films. But you will never say that this is a set of shots: this is a finished highly artistic work, it's just that time has passed, now the rhythm is different. The same is true in our art. We can change something in the ballet, and this is a plus - plus the momentary impact of the actor’s energy on the auditorium and the plus is that it is possible, if there is a taste, to “cleanse” the performance, make it watchable for contemporaries, but not lose that spirit which was laid down by the director - plasticity, relationships between characters, brilliantly staged variations. And, of course, you always have to dance better and better (technically, I mean).

MS: It is obvious that the technique is different now, demanded by our time. But sometimes, when restoring a ballet, choreographers try to return the dancers to the style of performance that existed at the time of its creation...

ML: I can't agree. I always associate this with a good icon or a good picture: we got an icon or a picture out of the ground - and we should be delighted! But as? It's all in the ground, but I don't see its face... Skillfully cleaning it, not spoiling it, is another matter. Clean up skillfully and restore those colors - then she will be admired. We have the same thing: it is impossible now, in the 21st century, to perceive the performance as it was staged at the beginning of the 19th or at the end of the 18th century. Someone might be excited. But the main thing is not to be bored. And here Yuri Nikolayevich Grigorovich is right that there should not be more than five minutes of boredom at the performance, this cannot be done. A person needs an emotional blow, an emotional shock. Then you can sort out at home what was right, what was wrong ... If you are emotionally affected, then yes! And from the fact that everything is correct, you can fall asleep at the performance. The meaning of art is to subconsciously influence the viewer, to excite him so that he has vivid emotions; negative moments can even occur on the stage, for example, a tragedy, but the emotion should greatly excite.

You see, what's the matter: I love drama theatre, ballet, choreographic, opera theater - it's interesting. Technique must be strong, powerful. It's like in an opera - you can't help but take the note that is written in the score. So it is in ballet - in dance, take-off must be mandatory. Spiritual together with the physical, the performance of a powerful movement, masculine, strong, airy - this gives emotion to the viewer. And this raises the mood of people: the viewer is not aware of it, but his strength wakes up: “I am a man, I can do it too!” And when you are calm, beautiful, in a good suit, but zero emotions - this is such a well-worked robot.

MS: The balcony stage is just worth it...

ML: The scene is wonderful, but now it is often danced incorrectly. The meaning of this scene, as Lavrovsky and Zhdanov once said, is that the artist must not stop. The whole point is in excitement: she is 13 years old, he is 17, and only at the end, when the variation explosion, they have to rush. Like Michelangelo's fresco "The Last Judgment" in the Sistine Chapel: not a single figure is static, all the figures are in an inclined position - they fly, clothes fly from them, and the figures themselves, although they are powerful, are all in flight - this is how the sixth scene of the ballet goes . And at the end, only when he kneels in front of her, there is calmness, and the curtain falls - the end of the first act. To convey meaning is the difficulty of execution.

Those who follow the development of ballet art in our country and visit the Bolshoi Theater are probably familiar with the work of Mikhail Lavrovsky. This outstanding choreographer, ballet dancer and teacher has made a significant contribution to the arts, and the Bolshoi Theater organizes a gala evening in his honor. The anniversary evening of People's Artist of the USSR Mikhail Lavrovsky will be filled with a special atmosphere, because Lavrovsky will be congratulated by students and colleagues, also famous artists of the Bolshoi Theater. Scenes from various ballets, live music performed by the orchestra and positive emotions are waiting for you. Tickets for the Anniversary Evening of People's Artist of the USSR Mikhail Lavrovsky will delight fans of the artist, as well as those who are interested in ballet.

Lavrovsky grew up in a creative family, his mother was a ballerina, and his father was a choreographer. It is not surprising that he followed in the footsteps of his parents, and immediately after the choreographic school, Lavrovsky was accepted into the Bolshoi Theater. Two years later, he became a soloist, and world fame came to him in the late 1960s, when Lavrovsky performed the part of Spartacus. Mikhail Leonidovich left the stage in 1988, devoting himself to teaching, first at the Bolshoi Theater and then he opened his own school.

You can buy tickets for the Anniversary Evening of People's Artist of the USSR Mikhail Lavrovsky on our website online. Delivery of tickets in Moscow is free.