Today, the soloist of the Bolshoi and Mikhailovsky theaters, Ivan Vladimirovich Vasiliev, despite his youth, is known throughout the world. Every day there is a new achievement, and all thanks to hard work and determination. However, 2015 was truly a landmark year for him. He married his stage partner, the incredibly beautiful ballerina Maria Vinogradova, and also made his debut as a choreographer, staging his first performance “Ballet No. 1” in the Barvikha Luxury Village hall. In this article we will tell you about the early period of life, about becoming a ballet dancer and about what kind of person the talented dancer and choreographer Ivan Vasiliev is off the stage.

Biography

The future star of the Bolshoi and St. Petersburg Mikhailovsky Theaters was born in the village of Tavrichanka (Primorsky Territory), in a family that had nothing to do with art. His father, Vladimir Viktorovich Vasiliev, by the way, the full namesake of the famous premiere of the Bolshoi Theater of the 60-70s, was a military officer, and his mother did not work anywhere, remaining his faithful companion, who was everywhere, from one republic to another, from military unit to unit , followed him, ran the household and raised their sons. When Vanya was 4 years old, the family moved to Ukraine, Dnepropetrovsk. Soon after this, my mother decided to send her eldest son to a children's folk ensemble. Vanya was still very young, but he liked it so much in the dance hall, and he began to do such things there that the leader of the ensemble became interested in the musical and flexible little one, and decided to make an exception for him, accepting him and his older brother into the group.

Introduction to ballet

It so happened in the life of a dancer that no matter where Ivan Vasiliev studied, he always found himself a couple of years younger than his classmates. At the age of 7, the boy and his mother went to ballet for the first time. Throughout the entire performance, he did not utter a word and only his enthusiastically sparkling eyes spoke better than any words about what was going on in his soul. He left the theater completely in love with this form of high art. At home, he began to ask his parents to send him to ballet school. It was not easy for the military man to get used to the idea that his son wanted to connect his life with such a “non-male” occupation. However, the mother managed to convince the father that their son was probably born just for this, and the father gave in. Soon, Ivan Vasiliev was on the list of those admitted to the first class of the Dnepropetrovsk choreographic school. From that moment on, ballet became an integral part of his life. The boy did not particularly stand out for his physical characteristics; on the contrary, some choreographers thought that with this type of figure, not at all slender and short legs (the main “tool” of a dancer), he would not be able to achieve great heights in this type of dance art, but time has shown that they were wrong. In the meantime, the boy surprised everyone with his efficiency, incredible energy and determination.

Education

Then fate brought the family of the future soloist of the best theaters of the country to the Republic of Belarus, and here Ivan Vladimirovich Vasiliev entered the Belarusian State Choreographic College, where he began to study classical ballet under the guidance of the Honored Worker of the Republic of Belarus, choreographer A. Kolyadenko. By the way, despite his young age (12 years old), Vanya was accepted immediately into the 3rd year, because during the entrance exam he began to perform such complex elements that they began to teach in college only towards the end of the second year. Soon he was sent to a competition, where he performed variations that were part of the program for older dancers and, naturally, surprised the jury members.

External data

The dancer says that some teachers did not want to see the obvious and did not believe that something good would come of him, based on his physical parameters. They could not even imagine that Ivan Vasiliev would bring so many new things. Ballet, for which height is of great importance, is a rather conservative art. Ivan’s height, of course, was far from tall, and the choreographers doubted whether he could look beautiful on stage, and his legs were a bit short, and, as some teachers said, they betrayed his plebeian roots. But, as you can see, they were wrong. Ivan Vasiliev proved that to achieve heights in a dancer’s career, appearance is not the most important thing, although the young man worked on his body to the point of exhaustion, as a result of training, he, the word sculptor, sculpted something perfect out of it. It is impossible not to admire his torso; it is worthy of admiration, resembling an isosceles triangle with its apex turned towards the waist.

To Moscow

Having not yet graduated from college, Ivan Vasiliev, in whose life ballet played the most important role at that time, had an internship at the Belarusian Bolshoi Theater and performed solo parts in productions of Don Quixote and Corsair. However, all his thoughts were connected with Moscow - this is where he saw himself in the future. And so, having received his diploma, he took a train ticket and, at his own risk, went to the capital of the country, which he considered his homeland. He was, of course, dissuaded, but in Moscow, no matter what you say, true talent is valued.

Premier of the country's main theater

In 2006, the talented dancer was accepted into the Bolshoi Theater, where he made his debut in the play “Don Quixote” in the role of Basil. After 4 years, he already became the premiere of the ballet troupe, bypassing the title of leading soloist, which happened extremely rarely. Here he performed the main roles in the legendary performances: “Giselle”, “Spartacus”, “The Nutcracker”, “Don Quixote”, “Petrushka”. His director and choreographer was Yuri Vladimirov. Before becoming the prime minister, Ivan Vasiliev successfully took part in a magnificent international project. Kings of Dance" (2009). Here he danced on the same stage with such famous dancers as David Hallberg, Jose Manuel Carreno, Joaquin De Luz, and compatriots Nikolai Tsiskaridze, Denis Matvienko and others.

Ivan Vasiliev: Mikhailovsky Theater

It's no secret that being a premier of the Bolshoi Theater is the cherished dream of all ballet dancers, the pinnacle of their career. And imagine the surprise of all the initiates when they learned that Ivan Vasiliev and Natalya Osipova (his partner in many performances and his girlfriend) refused to rehearse “Don Quixote” and decided to leave for St. Petersburg, and not to the Mariinsky, and the Mikhailovsky Theater. Of course, this sounded like a bolt from the blue. The Bolshoi management was at a loss. This is the kind of strange information a professional biography contains. Ivan Vasiliev later explained his decision by saying that he needed a new incentive, a new tough motivation. However, the Bolshoi did not want to completely part with his favorite, and today he is a “guest star” for the theater. By the way, in the same capacity he performs at La Scala, the Rome Opera House, the Bavarian Ballet, the Mariinsky and Novosibirsk Opera and Ballet Theaters, and also regularly appears on the stage of the American Ballet Theater. He managed to raise the Mikhailovsky Theater to an incredible level. Here he performs leading roles in ballet productions of Don Quixote, The Sleeping Beauty, La Bayadère, Giselle, Flames of Paris, Corsair, Swan Lake, Laurencia, Cavalry Rest, “La Sylphide”, “Vain Precaution”, etc. Ivan Vasiliev, of course, managed to reach the very top in his dancer’s career. He is among the highest paid ballet dancers in the entire world. Wasn't that all he was aiming for?

Choreographer

No. I. Vasiliev says that already at the age of 12, analyzing the work of his choreographers, and in his heart disagreeing with them, he dreamed that the time would come when he himself would be able to create his own production. In 2015, at the end of spring, he managed to fulfill his dream. His debut performance was “Ballet No. 1”, where he used incredible tricks and elements, as if wanting to show what the capabilities of the human body can reach, both in solo and duet roles. The premiere took place on the stage of the Barvikha Luxury Village hall and was an incredible success. The main thing is that the choreographer himself was pleased with himself, and he said that this was just the beginning, new incredible productions awaited everyone.

Ivan Vasiliev: personal life

After Vasiliev arrived in Moscow and got a job at the Bolshoi Theater, he began a relationship with his colleague, Natalya Osipova. In tandem with her, over the course of 4 years they went to the title of premier and prima of the country's main theater. After that, all the acquaintances expected that the couple would legalize their relationship and have a grand wedding, but suddenly it broke up, and soon Ivan began to be noticed in the company of another Bolshoi Theater ballerina, Maria Vinogradova. They danced in a duet in the ballet “Spartacus”. After this, the young people started dating after rehearsals, and for the first date, I. Vasiliev invited his girlfriend to the Bolshoi Theater, but not to the ballet, but to the opera. Probably, it was funny for them to find themselves, although in a familiar environment, not on their own stage, but in front of it, in the auditorium.

Wedding

Vanya made his marriage proposal to Maria in a very romantic atmosphere. He covered the entire room with rose petals and decorated it with balloons. He got down on one knee, like a medieval knight, and handed his beloved a box with an incredibly expensive ring. It turned out that it was a designer’s work from the famous jewelry brand “Graff”, which cost the artist $50,000. Well, what girl could resist such a confession? Maria, naturally, gave her consent, and they began to prepare for the wedding, which took place in the summer of 2015. The wedding ceremony was very beautiful, and the couple looked more than happy. Exactly a year after this, Maria and Ivan had their first child, daughter Anna.

On the eve of Valentine's Day, I would like to wish happiness and success to those who are together in life and on stage. In fact, creative marriages between artists are not uncommon, and often lead to the birth of brilliant works. So Balanchine staged his ballets for all his beloved wives, Rodion Shchedrin wrote music for Maya Plisetskaya, Roland Petit created his own theater for Zizi Jeanmer.

Beautiful ballet couples instill in us, the audience, confidence in absolute harmony.

Vladimir Shklyarov and Maria Shirinkina- Mariinskii Opera House.

Vladimir was born in Leningrad, graduated from the Ballet Academy. Vaganova in 2003, after which he entered the Mariinsky Theater, where he became premier in 2011. Maria was born in Perm, graduated from the Perm Choreographic School, and has been with the Mariinsky Theater troupe since 2006. The couple has a son, Alexey.

Vladimir spoke about how their duet develops on stage in one of his interviews:

“If you feel understanding, loving eyes, you yourself fall in love. Then you can break into a cake and do everything! Most of all, I love dancing with my wife Masha Shirinkina, now Shklyarova. But these are not the easiest performances, rather the most difficult. Rehearsals are underway tense, we argue, because I’m a maximalist. I want no one to do better.”

Stephen Macrae and Elizabeth Harrod - Royal Ballet

Stephen was born in Sydney, Australia. Began learning dance at the age of seven. In addition to ballet, he did tap dancing. In 2003, he won the Prix de Lausanne competition and received a scholarship to study at the Royal Ballet School in London, where he began working in 2004. In five years, he managed to climb to the top rung of the career ladder: in 2009. he was elevated to the rank of prime minister.

Elizabeth was born in Lincoln, graduated from the Skelton Cooper School, after which she entered the Royal Ballet School, and in 2007 she got a job in the theater, in 2008 she became a first soloist, and in 2013 she became a prima dancer.

Stephen and Elizabeth met at the Ballet School; in one of his interviews, he noted that his wife is an excellent cook and perfectly prepares his favorite dish, which he eats before performances - chicken risoto. The couple has two children, Audrey and Frederic, whose pictures often appear on dad’s Instagram. Stephen admits that his wife is a “Superwoman” - she managed to practice ballet while pregnant, and with two small children continues to perform on stage in a very busy schedule.

But the couple has not appeared on stage together for a long time, so in the video we will admire Elizabeth in the role of the White Cat paired with Paul Kay.

Yana Salenko and Marian Walter - Berlin Ballet

Marian was born in 1981 in Thuringia, Germany. In 1992-2000 he studied at the Berlin State Ballet School. In 2000-2002 he danced with the Bavarian State Ballet in Munich. In 2002 he joined the Berlin State Ballet, where he soon became a soloist and in 2010 became a premier.

Yana was born in Kyiv and as a child studied in the Kiyanochka ensemble, and at the age of 14 she was sent to study in Donetsk, with Pisarev. Then Yana became a soloist of the National Opera of Ukraine and participated in international competitions. She spoke about meeting her husband in an interview: " I met my husband at a ballet competition in Vienna. And I fell in love for the first time and at first sight. And he comes from Berlin, and even then he danced in Malakhov’s troupe. And because of him I came here."

The couple has a son, Marley, who does not seek to repeat the fate of his parents and is more interested in athletics than ballet.

Ivan Vasiliev and Maria Vinogradova

Ivan was born in the village of Tavrichanka. He studied at the Dnepropetrovsk State Choreographic School, and since 2002 - at the Belarusian State Choreographic College. During his studies, he interned at the National Academic Bolshoi Theater of the Republic of Belarus. In 2006-2011 - in the troupe of the Bolshoi Theater of Russia. On May 1, 2010, he became a prime minister, bypassing the title of leading soloist. Since December 1, 2011 - premier of the Mikhailovsky Theater. Since September 2012, he has also been a permanent guest premier of the American Ballet Theatre.

Maria Vinogradova was born in Moscow. In 2006 she graduated from the Moscow State Academy of Choreography (teacher Natalya Revich) and was accepted into the ballet troupe of the Bolshoi Theater. Leading soloist of the theater.

Maria and Ivan dated for about two years before the wedding; before that, Ivan had an affair with Natalya Osipova, and Maria was married to Alexander Savitsky. The couple brought together the ballet "Spartacus", in which Ivan danced his signature role, and Maria performed his beloved Phrygia. The couple had a daughter, Anechka.

Maria speaks about joint rehearsals as follows: “We don’t quarrel under any circumstances. I always listen to Vanya - his opinion is very important to me. Although it happens that I’m not in the mood or he’s being mischievous.”

Artem Ovcharenko and Anna Tikhomirova - Bolshoi Theater

Artem was born in Dnepropetrovsk.
He received his initial choreographic education at the Dnepropetrovsk State Choreographic School, then entered the Moscow State Academy of Choreography (teacher Alexander Bondarenko).
In 2007, after graduating from the Moscow State Academy of Arts, he was accepted into the ballet troupe of the Bolshoi Theater. Since 2013 - Prime Minister of the Bolshoi.

Even those who had not heard her name and could not recognize her by sight knew about Maria Vinogradova. The directors called the actress “the queen of the episode,” and the country watched foreign films and Soviet cartoons, the characters of which spoke in her voice.

Childhood and youth

Masha Vinogradova was born on July 13, 1922 in the Ivanovo region, in the town of Navoloki. The girl’s parents were kind and receptive people, and her mother was a sociable woman, not without a creative streak. When Maria was little, her mother told her fairy tales, which she herself composed.

The girl inherited mischief from her mother. One day, the future artist jumped over the fence into someone else’s garden, and there was a goat. She butted the girl so much that she instantly flew back, and Vinogradova’s peers have since nicknamed her Masha-Goat.

The girl wanted to perform since childhood. The “debut” took place in a kindergarten: Masha was tied with a huge bow and pushed onto the stage to read poetry about Lenin.

While studying at school, the girl spent a lot of time in clubs and was interested in amateur activities. She sang in the choir - she had an alto, a low, boyish voice. Together with the choir, she traveled to the Ivanovo region, and the group received award diplomas more than once.

After school, Maria made up her mind and went to the capital to take the entrance exams to VGIK. The year was 1939, Lev Kuleshov was taking a course at the institute, and the competition on the day Masha took her exams was huge - there were only 3 places left. The girl was almost not worried: she had time to get used to the stage, and the jury seemed friendly.

However, the exam did not go according to plan: Maria was not allowed to read either a fable, a poem, or a prepared prose passage from “The Legend of Danko,” and when she began to sing “Cucaracha” at the request of the examiners, the commission roared with laughter. After the sketch, the girl was asked if she could dance, and they were right - Vinogradova could do it and loved it. Kuleshov’s wife, Alexandra, even stood up from her chair to get a better look at the girl.

On this day, two young men and “small, dark one,” as the secretary of the commission called her, Masha Vinogradova, took part in the competition. During her studies, students and teachers nicknamed the girl Mukha for her mischief, irrepressible character and frantic energy.

Creation

In 1940, Maria Vinogradova made her film debut in the film “Siberians”. The 18-year-old girl played a 6th grade student - even then she became a travesty.

By the time the 2nd year ended, the war began, and the VGIK students were evacuated to Alma-Ata. We traveled in difficult conditions for a month, and when we got there, we found ourselves on half-starvation rations: 400 g of bread was not enough for the young guys. Maria Sergeevna later recalled that the artist children forged cards for bread and this saved her. Later, the students were assigned to the cafeteria, where the food was jokingly nicknamed “no pasaran” due to its difficulty in digestion.

In her 3rd year, Masha starred in the film “We are from the Urals” about working youth who helped the front. But the film was never released - the film was harshly criticized for excessive frivolity, which had no place in wartime. Vinogradova herself, who saw the film only in old age and then not in its entirety, highly valued this work.

In 1944, Maria graduated from VGIK, receiving a diploma with honors, and went to work at the Theater-Studio of a Film Actor. Then there was filming in Poland, in the film “The Last Stage” - the world’s first film about fascist concentration camps and the tragedy of the Holocaust. This is one of Vinogradova’s few leading roles, and filming was psychologically difficult: the theme was scary, the scenery was a real women’s camp.

Returning to Moscow, Masha found herself in a difficult situation: there was nowhere to live, and the main committee soon stopped paying for the girl’s rented room. Then Vinogradova, together with part of the troupe of the Film Actor's Theater, went to Potsdam, to the theater of the Group of Soviet Forces in Germany. Due to her height, build and appearance, Masha first played the role of a drag queen. Over time, the repertoire expanded, and she played many character roles. Returning to Moscow, the actress remained faithful to the Film Actor Theater and left only when scandals began in the troupe.

Maria Vinogradova played her next major film role only in 1958. At the age of 36, she again played a child, the main character in the film “Star Boy”, and from the photo it is difficult to tell that the boy is portrayed by an adult woman. The artist's career in cinema consisted mainly of episodic roles. The actress never refused them - both because she didn’t like to say “no” and because she didn’t want to “fall out of the loop.”

She made an acting sketch out of each episode, putting talent into even a tiny role. Her role continued to be specific: small characters, barmaids, old women. Against this background, the role in the film “From the Life of Vacationers” stands out, where the actress played an arrogant beauty.

Vinogradov got the role by accident: she initially invited her to the film, but she set unbearable conditions for the director. Maria was called mainly because she was unfailing - she did not fit in either in appearance or in temperament. However, she hit the mark and then all her life Gubenko was grateful for the chance to play an unusual character.

Unpretentiousness, energy and willingness to work always, in any conditions, led to the fact that in the absence of large roles, Vinogradova was always colossally busy. As a result, the “queen of episodes” turned out to be one of the most sought-after actresses in Soviet cinema, and even during perestroika times, when few films were released, she continued to work a lot.

For a long time, Vinogradova was called “the most popular undeserved artist” - she received an important title for an actress only in 1987.

Another milestone in Maria Vinogradova’s artistic biography is dubbing. The actress had a unique voice that did not match her appearance, and it turned out to be more in demand than Maria herself.

Animation became an outlet for the artist. Here she could give herself freedom and play mischief for her own pleasure. Maria Sergeevna liked that in Soviet animation the movement of characters was often drawn after the sound was recorded. And then how the drawn hero would behave depended on the actor’s voice and intonation.

Children will easily remember the characters voiced by Maria: this is Sharik from “A Kitten Named Woof”, and the Little Robber. Moreover, Vinogradova voiced the latter in 1982, when the cartoon was restored at the studio named after. Gorky. The voice, young and beautiful, allowed me to speak for a teenage girl at the age of 60.

The most important and most difficult voice acting role for Maria was the famous Hedgehog in the Fog. The cartoon character only has a few phrases, but the recording took time: I had to find the right timbre, the right intonation, and figure out how to say “Crazy!” so that it does not sound rude, but betrays fear. Vinogradova treated the role with tenderness and at creative evenings she often introduced herself:

“Hello, says the Hedgehog in the fog.”

Maria Sergeevna’s last role was the executioner’s wife in the TV series “Queen Margot”. The actress never saw herself on screen - she died a year before the premiere.

Personal life

Maria Vinogradova met her husband, actor Sergei Golovanov, while working in Potsdam. Before this, both artists had already had unsuccessful attempts at family life, so before the wedding they lived for several years without painting. In 1957, Maria and Sergei got married, and in 1963, the actors had a daughter, Olga.

The girl became a late child: Maria was 41 years old, she spent the entire pregnancy in storage, Sergei was 54. According to the artists’ daughter, her father was often mistaken for her grandfather, which greatly upset little Olya. The child was born long-awaited and beloved, there were good relationships in the family, although Sergei had problems with alcohol.

Maria Sergeevna assigned an important role in her personal life to the house near the Airport metro station, where she lived with her family. The house was considered an “actor’s house”; many Soviet theater and film stars lived there. Good relations were established between the neighbors, and other people's troubles were felt very acutely.

When they, who lived in the same house, had an accident, Vinogradova, already middle-aged and not very healthy, went to see her neighbor in the hospital every day.

Olga Golovanova also connected her fate with acting, and today her voice can be heard behind the scenes of many films and cartoons.

Death

The cause of death was a stroke, after which the actress refused to go to the hospital. The artist’s grave is located in Moscow, at the Khovanskoye cemetery.

Filmography

• 1940 – “Siberians”
• 1943 – “We are from the Urals”
• 1948 – “The Last Stage”
• 1957 – “Star Boy”
• 1963 – “I’m walking around Moscow”
• 1977 – “The Magic Voice of Gelsomino”
• 1984-1992 – “Jumble”
• 1984 – “Prokhindiada, or Running in Place”
• 1994 – “The Master and Margarita”
• 1996 – “Queen Margot”

Film scoring

• 1956 – “War and Peace”
• 1956 – “Notre Dame Cathedral”
• 1964 – “The Tale of Lost Time”
• 1964 – “Golden Goose”
• 1966 – “Khevsur ballad”

Cartoon dubbing

• 1957 – “The Snow Queen” (re-dubbing 1982)
• 1969 – “In the Land of Unlearned Lessons”
• 1975 – “Hedgehog in the Fog”
• 1984 – “Winter in Prostokvashino”
• 1993 – “Miracles on bends”

Ballerina suitcase

Six pairs of pointe shoes, needles and stilettos - what is kept in the suitcase of the Bolshoi Theater soloist

The work of a ballerina for the audience is always surrounded by romance: it contains incredible grace, femininity, magical outfits, and, of course, tours around the world. Few of those sitting in the audience understand that the images created on stage are the fruit of hours of exhausting work, daily classes, rehearsals and enormous self-discipline.

How do fragile ballerinas transport their belongings around the world? How many pairs of pointe shoes does it take to dance on stages in New York? And how many dresses do you need for the perfect holiday? The site learned the answers to these questions from the first soloist of the Bolshoi Theater and performer of the role of Shirin in the ballet “Legends of Love” Maria Vinogradova.

"I have six pairs of pointe shoes with me"

“Ballerinas carry absolutely everything with them,” the ballerina smiles. The performer of the role of Shirin in the ballet “Legends of Love,” Maria Vinogradova, was accepted into the Bolshoi Theater troupe immediately after graduating from the Moscow State Academy of Choreography.

Masha started going on tours during her college days: “I was 14 years old then, ballerinas generally grow up early, and I’ve been packing my “ballet” suitcase for many years without fail. It is divided strictly into two parts: things necessary for rehearsals and performances, and things for life. In the “ballet” section I have all kinds of warm-up items, several leotards, pointe shoes, as well as makeup, threads, and needles. All these things take up a lot of space. I’m still very thrifty and would rather take more pointe shoes and rehearsal clothes. You never know."

“More is better” is the truest principle in this situation. When choosing a “ballet” wardrobe, Maria always takes into account how long the troupe is traveling and with what repertoire: “If we go on long tours, then I take about six pairs of pointe shoes with me, given that I dance in strong and durable ones. I have different ones: beige, classic pink, harder, softer, some I use only at rehearsals, others on stage. When I went on my last big tour to New York, I had six pairs of pointe shoes with me, and I also ordered a box of new ones directly to the hotel for Moscow. This entire supply had to be somehow fit into a suitcase. But with clothes for life, difficulties arise more often. It happens that I just don’t get the weather right and take clothes at the wrong time: too warm or too light,” Masha laughs. “Then you have to go to the store and buy something urgently, and this always drives you into a stupor.”

This entire set of necessary things fits, oddly enough, into an ordinary suitcase of size L. “I’m happy,” Maria shrugs. “Despite the huge number of things, I have never had an advantage.”

To the question: “Aren’t you afraid of losing your suitcase with pointe shoes?” the ballerina answers without hesitation: “Not a bit. I have never lost anything on a flight. But if anything happens, my friend Kristina Kretova will always share her pointe shoes with me (leading soloist of the Bolshoi Theater. - Ed.)“We have the same size.”

Awards

2005 - 2nd prize at the International Competition of Ballet Dancers and Choreographers in Moscow (junior group, solo).
2006 - gold medal at the International Choreographic Festival-Competition for Children and Youth “Dance Olympus” (3rd group - 16-18 years old, classic, solo)

To complement the image specified by the costumes, the ballerinas also carry cosmetics with them, and apply their own makeup for the performance. “Nowadays there is no such bright makeup as our predecessors had,” says Maria, “it has become much calmer, of course, we use a tone that is dense in texture and highlight the facial features a little brighter, but the theatricality in the makeup has become a little less.

Of course, each performance has its own specifics. In the ballet “Legends of Love,” the main role is played by an oriental motif, and I want to emphasize this in the image, add an oriental flavor to the makeup.”

A separate make-up artist takes care of the soloists' hairstyles, but the thrifty Maria always has dozens of hairpins, hair nets and bobby pins in her bottomless suitcase. Just in case.

Maria Vinogradova was born in Moscow. In 2006 she graduated from the Moscow State Academy of Choreography (teacher Natalya Revich) and was accepted into the ballet troupe of the Bolshoi Theater. She rehearsed under the direction of Tatyana Golikova. Currently rehearsing under the direction of Nina Semizorova.

In 2014, she was involved in 6 productions of the Bolshoi Theater: Street Dancer (“Don Quixote”), Myrta (“Giselle”, revised by V. Vasiliev), Olga (“Onegin” to the music of P. Tchaikovsky, choreography by J. Cranko), Shirin ( “The Legend of Love” by A. Melikov, choreography by Y. Grigorovich), Giselle (“Giselle” as revised by Y. Grigorovich), La Sylphide (“La Sylphide” by H. S. Levenskold as revised by J. Kobborg).

She starred in the feature film “Twenty Cigarettes” (2007, Paradise studio, director Alexander Gornovsky) and in a Nike advertisement.

VTB annually supports Bolshoi Theater productions. The Bank supported major ballets “Legends of Love”, “The Sleeping Beauty”, “The Lady of the Camellias”, “Onegin”, “Ivan the Terrible”, “Cinderella”, “Notre Dame Cathedral” and others.