Clips that went down in the history of dance. The Orpheus Radio Orchestra will play the best dances that have gone down in history. A dance that has gone down in history.

On May 17, 1941, Ambassador Schulenburg invited Zoya Voskresenskaya, a foreign intelligence major and future famous writer, to dance

Scout Zoya Voskresenskaya was unexpectedly declassified in the early 1990s personally by the then head of Soviet intelligence, Vladimir Kryuchkov. It turned out that the famous children's writer, whose books have sold over 21 million, is also a foreign intelligence colonel, and even a former illegal immigrant. And the most important reports, signed with the pseudonyms Irina or Yartseva, as well as with the surname of her husband, Rybkin, were printed in contrast to works of art only in three copies: to Stalin, Molotov, Beria.

They imagined, I will take the liberty to say, even great value than the Soviet classics “Stories about Lenin” and “Mother’s Heart”.

HER MAIN BOOKS

In that changing turning point, Vladimir Anatolyevich Kryuchkov wanted to show the world: talented people serve in foreign intelligence. But the effect was the opposite: Kryuchkov brought the wrath of envious people upon the writer - winner of the Lenin Komsomol and State awards. Well, this often happens to us, and it doesn’t always work out the best way. It’s good that Kryuchkov limited himself to Zoya Ivanovna. I’m afraid, otherwise the lives of other well-lived celebrities would turn into complete hell.

It’s not far to look for examples, but why? The time for removing the secret stamps, as they say, “has not yet come,” and the matter is so delicate that there is no need for it to come.

And Colonel Voskresenskaya-Rybkina survived all the attacks with dignity. And, realizing that it was impossible to put the genie back into the bottle, she wrote two biographical books in which - of course, with certain notes - she told the relative truth about her turbulent life.

Before the war, Zoya Ivanovna actually played the role of a non-existent analytical center in the NKVD. Back in 1940, the most experienced intelligence officer had no doubts: Hitler was preparing to attack the USSR, war was inevitable. Information notes constantly coming out from her pen even reached the leader, without, however, causing any reaction from Joseph Vissarionovich.

And on May 17, 1941, an event occurred in history Bolshoi Theater not recorded, but included in the annals of intelligence. In Germany they remembered that it was necessary to create the appearance of at least some cultural relations with the Soviet Union, and sent soloists of the Berlin Opera ballet to Moscow. The tour was successful. In honor of the departure of the troupe, a reception was held at the German Embassy with the invitation of the leading dancers of the Bolshoi Theater, cultural figures and representatives of the All-Union Society for Relations with Foreign Countries - VOKS.

State Security Major Zoya Rybkina had nothing to do with this reception. It is not the task of foreign intelligence officers to attend such events. Counterintelligence is working hard here. The head of two of its departments, Fedotov, summoned an employee of a neighboring department, known to him only by her last name, to his huge office. Zoya Ivanovna was even more surprised when Pyotr Vasilyevich politely but persistently invited the major to attend the evening reception at the German Embassy.

On the other hand, who else if not her?

Voskresenskaya, that is, Rybkina, had been to Germany, spoke excellent German and, as an experienced operational worker, could really assess the situation on the territory of a foreign power that threatened, Fedotov could not help but understand, the Soviet Union. However, for Zoya Ivanovna, the task did not bode well. She could have been recognized by German diplomats, to whom she was known under a different name. And there was no need to simply “shine.” What if you have to go to the Third Reich? What if it's illegal? Surely among the Germans there will be many representatives of her and Fedotov’s profession. Yes, and I had to rush to the reception immediately. How about getting dressed, getting an invitation, discussing the details?

The major explained all this to Fedotova in her characteristic laconic manner. He immediately understood the arguments and immediately rejected them. It was too late to retreat. And there is no one to replace Zoya Ivanovna. In order to somehow cover the intelligence officer, VOKS, which obediently carried out the orders of the Lubyanka, managed to notify the German embassy: instead of the sick employee Rybkina, our translator Yartseva would be at the reception.

SCHULENBURG VARIATIONS

From a car belonging to VOX, which drove up to the German Embassy, beautiful woman in a velvet dress with a train. Cars with artists from the Bolshoi immediately arrived. Among them, Zoya Ivanovna, who is no stranger to the art of ballet, spotted the most popular Semenova and Tikhomirova.

She quickly realized: the reception was organized on a quick fix. The food is tasteless, cooked carelessly, as if as an excuse. The military attaché, a representative of the Abwehr appointed by Soviet intelligence, gets involved in all conversations with guests. He brazenly violates etiquette and even interrupts the respected ambassador Werner von der Schulenburg. The Germans wanted to create the impression of communication between cultural representatives of the two countries in order to show that everything was in order, the Non-Aggression Treaty was in force. Yartseva had to translate official speeches and toast. An activity that leaves no time for food or socializing.

But then a waltz struck. Someone played a record, and Schulenburg himself invited the beautiful translator to dance. She happily - for obvious reasons, quite sincere - agreed. And Major Rybkin’s premonitions were not deceived.

Here I will remind you of something that is not in any of the books of Zoya Ivanovna Voskresenskaya. Risking his career and going against his own Ministry of Foreign Affairs, Ambassador Schulenburg convinced Hitler not to begin military action against the USSR. Perhaps the ambassador even overestimated the military potential to make his reports from Moscow more convincing Soviet Union. Without at all intending to make an anti-fascist out of a representative of the German nobility, I will note: according to some data, which is absolutely impossible to verify, in three conversations with a direct colleague, the USSR Ambassador to Berlin Dekanozov, Schulenburg warned about the impending attack of Hitler, without naming the exact date.

In November 1944, von Schulenburg, a participant in the conspiracy against Hitler, was executed. Would the group of German Wehrmacht officers have succeeded in the Valkyrie plan if someone had not accidentally moved the briefcase with the bomb carried by Claus von Stauffenberg to a meeting with Hitler, and Schulenburg would probably have become German Foreign Minister.

There was also an important psychological motive in Schulenburg’s actions. He served as ambassador to the USSR since 1934. I must note that a long stay in a foreign country does not pass without leaving a trace for almost anyone. You involuntarily become imbued with respect for the power that has become close to you. You follow her affairs and plans as if you were your own. It seems stupid to fight against her. Werner von der Schulenburg, whose foot set foot on our soil back in 1906 (Warsaw was then part of Russian Empire), did not want a war with the Soviets at all.

SUITCASES IN THE FAR ROOM

Schulenburg honestly admitted to his charming partner that he doesn’t like dancing too much. However, a very middle-aged gentleman diligently “circled” the lady in velvet around the embassy premises. It's hard to consider this an accident. And even more so by the inattention of the most experienced diplomat...

How much important details noticed the trained gaze of Major Voskresenskaya! In many rooms, paintings had been removed from the walls, and recently: in their place were bright, unfaded paint. And in one of the far rooms Rybkina saw a pile of suitcases. You don’t have to be Sherlock Holmes to understand that the embassy is preparing for an imminent departure.

The last chord sounded. The dazzling VOKS official hurried home, especially since the German military attaché suddenly started checking on her: in which department of the cultural relations society do you work, in what direction, what are your plans for upcoming business trips? The attache, as Voskresenskaya writes in her book, managed to check through some channels: the guest was bluffing. And he proudly told her about this discovery. But the major in the velvet dress did not bother herself too much with searching for answers. Zoya Ivanovna abruptly cut off her interlocutor mid-sentence. She didn’t need the attache; she didn’t care about him.

It was then that, absolutely by chance (and this time it’s completely true), my housemate, Marina Timofeevna Semenova, who was always distinguished by her determination, arrived and died at the age of 102. Tired after the performance, and even a useless reception, the prima ballerina was the first to leave the embassy with the words “it’s time and honor to know.” Zoya Ivanovna Rybkina also left in VOX's car.

The security at the door of the head of counterintelligence was surprised when the woman in velvet presented her major's ID, hurried to Fedotov himself, and he instantly accepted her. The major dexterously reported on the pictures taken, suitcases collected and everything else confirming the imminent departure of the embassy.

One month and five days before the start of the war.

Alas, this time Stalin was skeptical about the hot operational information.

Private bussiness

Zoya Ivanovna Voskresenskaya took up literary activity in the late 60s. She became famous for her books for children about Lenin: “A Mother’s Heart”, “Through the Icy Darkness”, “Ilyich’s October”... She wrote the novel “Consul”, two stories - “A Girl in a Stormy Sea”, “Zoyka and Her Uncle Sanka” ", many stories.

In the period from 1962 to 1980 alone, her works were published in a circulation of 21 million 642 thousand copies! For her writing, Zoya Ivanovna was awarded the Lenin Komsomol Prize; later she became a laureate State Prize THE USSR. Books were published in sixty languages.
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Feature film about Zoya Rybkina

13 videos that changed the dance world forever
August 29 would have been the 55th birthday of the undisputed King of Pop, Michael Jackson. He has not been with us for more than 4 years, but the whole world remembers him. He took popular music to a new level and we should be grateful to him not only for the amazing songs he poured his soul into, but also for the fantastic dances he lived by. Michael's dancing has made history thanks to his unique style of performance, and on his birthday, I propose to look back at 13 video clips of various artists who forever changed the dance world.

Michael Jackson - "Thriller"

Of course, it would be stupid not to mention Michael Jackson's videos in this list. “Thriller,” which was released in 1983, can hardly be called a video, it’s more like a short film musical film with a full-fledged plot and its brilliant implementation. One of the main roles in it is given to dance, which has not lost its relevance for 30 years. The only thing more legendary than this dance is Jackson’s own moonwalk.

Kaoma - “Lambada”

Musical style Lambada, which once originated in Brazil, became popular thanks to the song and video clip of the French group Kaoma, which captivated the whole world (including the USSR) in the early 90s. I don’t know who came up with the idea of ​​perverting a passionate couples dance, but who among us hasn’t danced a lambada like a train at a wedding?!

MC Hammer - “U Can't Touch This”

Hammer's hit can without a twinge of conscience be called the anthem of the youth of the 90s. Then they used not only famous phrases from the song, but also signature moves that would be impossible to repeat without the proper equipment - baggy banana pants and neon bicycle shorts.

Los del Rio – “Macarena”

No comments here. The song about a girl named Macarena became famous throughout the world thanks to a simple dance that even a child can repeat. This dance also holds several world records for the number of people performing it: for example, in Rio De Janeiro, about 140 thousand people once danced the Macarena at the same time.

Las Ketchup – “The Ketchup Song”

The popularity of the sister quartet from Spain can be explained very simply. Firstly, the girls very successfully got into the Latin American wave when musical world hot machos and chicks, such as Ricky Martin and Shakira, ruled, and, secondly, they managed to come up with a funny dance that was doomed to success and was immediately called “Macarena No. 2.” It doesn’t matter that Las Ketchup became a one-hit wonder, but they forever entered the dance history.

Madonna - Vogue

It was for such video clips that Madonna received the title of queen of pop music - the video was made very high quality, with great taste and style, and the dance with interesting movements ruk forever entered the world dance history and received cult status. Few people know that this dance was not the invention of Madonna or her choreographers, but existed long before the video was released and was popular in gay clubs major cities. It is characterized by model poses and clear, symmetrical movements, and it received its name “vogue” by analogy with the name of the well-known glossy publication.

Britney Spears - "Baby One More Time"

It was for such video clips that Britney Spears once received the title of princess of pop music. It’s a pity that now she has lost a little of her former drive and skill, because once upon a time she music videos were considered standard in terms of dance numbers.

PSY - "Gangnam Style"

It’s quite strange to see the video of the Korean Sai in the same category as the cult dance videos, but the fact remains that funny dance steps haunted us throughout last year, and this is a long time. I don’t know whether people will remember this dance ten years later, but he definitely has all the data for this.

Bellini - "Samba de Janeiro"

Few people today remember the existence of the once popular international trio Bellini, but they simplest dance in the spirit of the Brazilian carnival is probably familiar to many.

Beyoncé - "Single Ladies"

A simple black and white video with no special frills, it was without a doubt one of Beyoncé's most striking videos of her entire career. The main component of the video clip was a stunning dance, which was copied hundreds of times in numerous flash mobs (as well as weddings and bachelorette parties) and once in a famous movie.

Lady Gaga - "Bad Romance"

Gaga's career really took off only with the release of this video. The dancing in the video not only amazes the imagination of a seasoned dancer, but also instills horror, and this is precisely the effect that its directors sought. In addition, it was in this dance that the singer’s signature move, popularly referred to as the “monster’s claw,” first appeared, and her fans received the affectionate nickname “little monsters.”

LMFAO - " Party Rock Anthem"

A parody of the cult zombie movie 28 Days Later gained its popularity thanks to a dance called the Melbourne Shuffle. This style appeared in Australia in the mid-80s and, although it has survived to this day in a somewhat simplified version, not everyone can reproduce it.

"Harlem Shake"

Of course, the shaking in this video cannot be called a dance, it’s difficult to call it a clip, but the “Harlem shaking” deservedly received the status of a new Internet phenomenon in a matter of days. It all started with a stupid video where four teenagers make strange body movements to the song Harlem Shake by Baauer. The video could have gone unnoticed, but after a while the Internet was flooded with endless parodies - in different settings and settings. By the way, Harlem Shake is a style of hip-hop dance that originated in the Harlem district of New York. And he doesn't look like that at all.

Evening of ballet “Masterpieces of the World Classics. Dance that went down in history” is the brightest event of this fall, which will reveal to viewers the art of dance in all its splendor. You will be able to see extraordinary dance performances and enjoy melodic compositions worldwide famous composers. Suites from classical works, such as Stravinsky's "Firebird", " Polovtsian dances"from "Prince Igor" by A.P. Borodin and many others.

Range of refined movements classical dances, choreographic performances and ballet numbers, gradually gaining momentum, will take you into the world of bright colors and passion, flaring up more and more, gradually dying down and flaring up again like restless flames.

A bright accent of the program will be numbers with Caucasian motifs, such as “Gayane”, “Saber Dance” by the famous Armenian composer A. I. Khachaturyan. They will immerse viewers in an atmosphere of unbridled oriental flavor and Caucasian culture.

Ballet “Masterpieces of the World Classics. The dance that went down in history will open the veil of an extraordinary world for you dance art, and you can order tickets for the performance on our website.

On October 12, 2017, in the Great Hall of the Moscow Conservatory, the Orpheus Radio Symphony Orchestra will present the program “Masterpieces of World Classics. A dance that went down in history." The idea of ​​the concert is a promise to devote an entire evening to high dance music. Moreover, the program includes such masterpieces as works by Tchaikovsky and Glinka, Strauss and Brahms, Glazunov and Rubinstein, Dvorak and Minkus.

What can listeners expect from a program that combines brilliant choreographic scenes from ballets and famous classical dances in one evening? On the eve of the concert, the cultural and political magazine “E-Vesti” managed to get comments about the upcoming musical meeting from the mouth of the program conductor Denis Kirpanev.

Denis Kirpanev – conductor, Honored Artist of Russia. Graduate of the Russian Academy of Sciences named after. Gnesins (1998). Trained with Vladimir Ponkin at Helikon Opera, for a long time collaborated with the theater as a choirmaster. Based on the results of the open audition for conductors “Philharmonic Debut” (2005), at the invitation of Yuri Simonov, he became an assistant conductor of the Academic Symphony Orchestra of the Moscow Philharmonic. Collaborated with leading Russian groups and performers. Currently he is the conductor of the Orpheus Radio Symphony Orchestra (since 2014), conducts pedagogical activity at GITIS.

EV: Program including the most famous and repertoire dances from the world symphonic music– is this a tribute to the public, which always gladly accepts such concerts, or a solution to some creative problems?

Kirpanev D.: I think that a concert with a program consisting of popular dance compositions will seem to the public nice meeting with familiar music and will arouse great interest among listeners. The only question is how to present these genuine musical masterpieces. Our program will alternate essays different styles, Western and Russian classics, concert works and fragments from the world repertoire of ballet music. The names of the dances will speak for themselves, revealing the diversity of the dance genre.

EV: The symphonic pieces that will be played in the program are hits (in in a good way this word). What nuances are involved in the work of the conductor and orchestra on such works?

Kirpanev D.: I would say that there are a huge number of nuances in such a program. It is enough just to imagine what a variety of characters, and therefore musical shades, is hidden in the waltzes of M. Glinka, I. Strauss, A. Glazunov. Or, for example, in the famous dances of I. Brahms! Of course, one cannot help but say about the ballet works of P. Tchaikovsky, whose dance music always contains deep psychological images, coming from human life. And the dances from Don Quixote by L. Minkus, which amaze with their brightness! The public will be able to hear all this and much more at the upcoming concert. And the task of the conductor and orchestra is precisely to reveal these artistic images, revive them, make them vivid and musically justified.

EV: Denis Olegovich, yours creative biography full of creative connections: “Helikon Opera” and Vladimir Ponkin, the position of assistant conductor of the Moscow Philharmonic Orchestra from Yuri Simonov himself, work with the Svetlanov Orchestra, groups of Kaliningrad, Surgut, Saratov, Nizhny Novgorod, performances with outstanding soloists. Against this background, does the Orpheus Radio Symphony Orchestra have any special features?

Kirpanev D.: The Radio Orpheus Symphony Orchestra is in great demand and performs successfully in various musical directions: these are concert performances, stock recordings on Radio Orpheus, participation in television projects, collaboration with the theater troupe Kremlin Ballet", author's musical and literary projects and even the performance of music by young composers as part of annual festival on radio "Orpheus".

All this diverse experience makes it possible for the team to feel its importance creative meaning and subsequently reveal their stylistic and timbre capabilities at concerts. Our program “Dance that went down in history” - as indicated on the poster, is designed, it seems to me, to delight the audience with its incredible intonations and rhythm, which is, of course, the most important thing! – and also help the musicians themselves experience a sense of inspiration and energy. And this also has a positive effect on the performing arts.

The program "" will be presented by the Orpheus Radio Orchestra on October 12 at 19.00 in the Great Hall of the Conservatory.

“Masterpieces of world classics.

A dance that went down in history"

Moscow Symphony Orchestra

Conductor - Andrey Yakovlev

In a programme: A. P. Borodin I. F. Stravinsky, S. S. Prokofiev, A. I. Khachaturyan, M. de Falla, M. I. Glinka, C. Saint-Saens, J. Bizet, L. Bernstein.

November 18, on stage Great Hall The Moscow Conservatory will host a concert entirely dedicated to the element of dance and its refraction in the works of major composers of different times and world cultures. “Masterpieces of world classics. Dance that went down in history" - exciting musical canvases, distinguished by their conceptual meaning, bright colorful color, undoubted melodic charm and spontaneous dynamism. From the whimsical and defiantly charming Habanera and Seguidilla from the opera “Carmen” by Georges Bizet to the gradually flaring up “Ritual Dance of Fire” from the ballet “Love the Enchantress” by the Spaniard Manuel de Falla, from the charming grotesque scene of “Dance of Death” by Saint-Saëns to the light fiery dance"Mambo" from the American musical "West Side Story" famous conductor and composer Leonard Bernstein. The Moscow Symphony Orchestra and Andrei Yakovlev will present to all listeners of this wonderful evening a rich palette of outstanding classical dances, choreographic scenes, ballet numbers, distinguished by a truly fiery temperament and unique melodic richness, as well as rhythmic relief and orchestral timbre diversity.

In addition to the works listed above, great place The concert program includes works by Russian composers - this is the fabulous, ironic and triumphal “March of Chernomor” from the brilliant “Ruslan and Lyudmila” by Glinka and the steppe-wild, predatory “Polovtsian Dances” of the great master, participant “ Mighty bunch» Alexander Porfirievich Borodin. Truly energetically powerful, filled with complex percussive rhythms that convey the wild archaic element of Stravinsky’s dances - the demonic “Filthy Dance of Koshcheev’s Kingdom” (from “The Firebird”) and “The Game of Abduction” from the legendary “The Rite of Spring” will alternate with the ballet dances of the great Russian-Soviet composers: Prokofiev and Khachaturian. Oriental, jubilantly colorful flavor Caucasian dances in “Gayane”: the famous “Saber Dance” and the unrestrained “Lezginka” using the folk drum and the grandiose Adagio scene from “Spartacus” with a divine lyrical melody reaching an ecstatic apotheosis at the climax, will present to the audience the art of the world famous classic of Armenian music; and the tragic one, filled with high theatrical pathos, “The Death of Tybalt” from greatest ballet“Romeo and Juliet” is the work of the Russian genius Prokofiev. The culminating performance of the evening will be the choreographic scene “Bolero” by Maurice Ravel - a work that allows for a lot of interpretations - from imitation of Spanish folk dance to the concept of the gradual, from variation to variation, formation of some fatal force.

The imaginative diversity of the program, its richness and worthy performance are a good reason to attend this wonderful concert.