Cultural diplomacy. Ballet is God's gift or craft

The action takes place in Paris in the 30s of the 19th century.

Act I

Prelude

Scene 1

Scene 1. Morning Paris
The square in front of the Paris Opera lives its daily life. The actors are rushing to the morning rehearsal. Lucien, an aspiring composer, accompanied by friends, heads to the theater. He is full of hope, dreams of staging his works on the famous stage... Lucien turns to the Director, but he waves the young man away. Friends advise him not to give up, and Lucien nevertheless decides to enter the cherished door.

Scene 2. Ballet foyer of the Paris Opera
A rehearsal is underway - the dancers are doing their morning exercise. The lesson is twice interrupted by the appearance of the ballerinas, Florine and Coralie, accompanied by patrons - Camusot, who finances the theater, and the Duke, a social bon vivant. They represent, as it were, two rival parties: Camusot supports Coralie, the Duke supports Florine, her rival.

Lucien timidly enters the hall. Under the gaze of those present, the composer is lost, but asks permission to perform his composition. Lucien begins to play - timidly at first, then more passionately. However, listeners are not captivated by his music, passionate and full of romantic aspiration. The groups of guests and dancers who had surrounded the composer disperse. It becomes clear that the outcome of the test is predetermined - after all, the theater director listens to the opinion of all-powerful patrons. Lucien's hopes are dashed. Desperate, discouraged, he is ready to leave, but Coralie stops him. She was deeply moved by the music of the young composer. Using her influence on Camusot and the director, Coralie obtains an order for Lucien: he is instructed to write music for the ballet La Sylphide, created specifically for Coralie.

Scene 2

U Lucien
Lucien is struggling to write a ballet. Coralie enters. Her appearance inspires the composer, in her he finds his Muse. The main theme of the future ballet has been found. Inspiration and love, when united, give birth to music.

Scene 3

Behind backstage at the Paris Opera
Premiere of the ballet La Sylphide. Lucien is excited: how will the public perceive his debut? Scenes from the play unfold in his imagination. In the place of the Young Man, a romantic seeking happiness, Lucien involuntarily sees himself. A romantic scene of a love explanation unfolds, painted in elegiac tones: separation is inevitable. The sylph must disappear - earthly love is inaccessible to her. Like a dream that easily escapes, it flies away... The premiere is a huge success. Everyone applauds the young author and La Sylphide Coralie. Florina is full of envy, the Duke shares her feelings.

Act II

Scene 4

U Coralie
Coralie is happy with Lucien. The success of La Sylphide brought them both fame and love. The lovers' happiness would be complete if the situation in Coralie's house did not remind them that everything here belongs to her patron, the banker, that she is not free. Suddenly Camuso appears. The banker, who has not been opened for a long time, suspects Coralie of infidelity. In vain Coralie tries to pass off Lucien's top hat as part of his concert costume. Not wanting to lie, Lucien comes out of the hiding place where Coralie hid him. Camusot can only leave. However, the banker is confident that life will again put Coralie in his hands. Coralie and Lucien are happy: it’s as if a weight has been lifted from their shoulders - they are free.

Scene 5

U Duke
Camusot and the Duke, having forgotten about their recent rivalry, are united by the desire to subjugate Lucien to their will, to make him an obedient pawn. The idea of ​​the conspiracy is simple: to lure the young man, blind him with the brilliance of fame and money, and force him to write a ballet for Florina. Florine gives Lucien an invitation to the Duke's ball.

Costume ball at the Duke. Lucien appears. He has changed - a tailcoat, white gloves, careless gestures. In the frenzied masquerade fun, among beautiful women and smart men, the young man loses his head. Lucien pursues a stranger in a Sylphide costume and tears off her mask - this is Florine, whose charm he cannot resist. At the Duke's invitation, the young man sits down to play cards. Lucien plays, and everything is arranged so that he gets lucky. A mountain of gold grows near him, and the power of unfamiliar passions intoxicates him. The desired thing happened: Paris is at his feet; money, women, fame - everything belongs to him. At the moment of highest tension, Florina appears on the card table. The seductive passion of her dance finally conquers the young man, and he falls at her feet.

Scene 6

U Coralie
Coralie is worried about Lucien. Friends try in vain to distract her from her disturbing thoughts. Soon Lucien arrives, but not alone - Florine and the Duke are with him. Lucien is in an extremely excited state. He grabs handfuls of gold from his pockets - his winnings. Now luck, happiness, recognition, love should always accompany him in life. Intoxicated with success and wine, he does not notice his friend’s sadness and anxiety.

The Duke and Florine take Lucien away. His departure becomes a disaster for Coralie; she experiences spiritual death, the loss of beautiful illusions. The gold Lucien left on the table causes another outburst of despair. Friends, unwitting witnesses to the dramatic scene, unsuccessfully try to calm her down. In despair, Coralie says goodbye to her love.

Act III

Scene 7

Ballet foyer of the Paris Opera
Lucien is disappointed and depressed. It was as if, having achieved what he wanted, he lost his freedom and creative independence. He composes a ballet for Florina, but Florina, the Duke and the Ballet Master reject his ideas. They need a submissive composer of banal, lively melodies - the necessary “raw material” for creating a spectacular but empty ballet about a dancer who has conquered robbers with her talent. Reluctantly, Lucien improvises, adapting to their demands. The Duke's hypocritical approval flatters the composer's vanity; he obediently writes down trivial, convenient tunes.

Scene 8

Ballet "B" mountains of Bohemia"
The Duke pays for the clackers' applause and enthusiastic reception of the new ballet written for Florina.
Premiere. Robbers performed by dancers await travelers on the highway. A carriage appears in which a ballerina (Florina) and a maid are riding. Robbers stop the carriage and threaten the travelers with death, but the ballerina's charms subdue them. While they are dancing around her, the police appear, called by the efficient maid.

Klaka creates success for Florine, but not for Lucien: his music is just a banal accompaniment. Only the polka, written to a simple tune commissioned by Florina, received applause. The Duke and Camusot ironically congratulate Lucien, Camuso hands the composer money. Lucien's illusions, hopes for success and glory, dreams of seeing Paris at his feet dissipated. Realizing that for the sake of money and these false congratulations he betrayed Coralie’s love and his musical gift, Lucien runs away from the theater in horror.

Scene 9

Embankment of the Seine
The Seine embankment in thick fog. Lucien came running here with thoughts of suicide. But I don't have the strength to die. In the troubled mind of the young man, the image of Coralie appears - the only person who sincerely loved him. To return to her, to return himself, atoning for his betrayal - with such thoughts he rushes to Coralie.

Scene 10

U Coralie
The room is empty: all the furnishings have been sold for debt. Maid Berenice folds theater costumes. At the sight of the Sylph's tunic, Coralie is overcome with memories of rainbow illusions, lost forever. Camusot enters with a confident step. An experienced businessman, he calculated everything correctly, persuading Coralie to return to him. Coralie is indifferent to her fate: she doesn’t care whether to die or return to the banker. She leaves with Camusot.
Lucien runs into the empty room, but it’s too late. Coralie is gone. And Lucien painfully realizes that the lost illusions will never return.

For some reason I haven't posted it yet. I prepared this interview for PRO Dance magazine, which was published at the end of spring, if my memory serves me correctly. Or in the summer. Anyway - here it is.

And I’ll immediately share my joy - I agreed with Leonid for an interview. I want to make it not only about the profession of a dancer and dance, but about something... universal, or something =))) Plus I accept questions from readers. Suddenly there was something you always wanted to know about Leonid, but were afraid to ask. I accept questions here - http://vk.com/leonid_sarafanov_dusha_tanca or here - https://www.facebook.com/IncredibleLeonidSarafanov
Here. In the meantime, here's an interview with Olga.

Swan of Lake Vienna

Incredibly beautiful proportions, swan-like figure, polished St. Petersburg style - ballerina Olga Yesina has been a prima ballerina and a true adornment of the main Austrian stage - the Vienna State Opera - for several years now.However, the path to her current position was not like a stroll through Burgarten Park, at least not at first. Here's what Olga herself said:

— I was admitted to the Academy of Russian Ballet conditionally, before the first exam. They said: yes, the girl is good, but there is no data. If I got a bad grade, I would be expelled. But I passed my first exam with the highest score and continued my studies.

Surprisingly, Olga showed such perseverance in her studies, without at all dreaming of a ballerina future:

“I liked dancing, I was good at it, especially since I was accepted into the academy, I had to try. Small children do not realize all the responsibility and hard work of a dancer. However, I have a very close relationship with my parents, they supported me throughout all my years of study, and continue to support me now. They worked with me all the time: we stretched and did exercises at home, although my family is not at all creative, I am the first ballerina in the family.

After graduating from the ARB, Olga was accepted into the troupe of the Mariinsky Theater, where in two seasons she managed to try on the roles of Odette-Odile, the Lady of the Dryads, Kalioppa, and the Lilac Fairy. However, after just two seasons, she exchanged rainy St. Petersburg for blooming Vienna.

For many ballerinas, the Mariinsky Theater is the crowning achievement of their career, the ultimate dream. You changed it to the Vienna Opera. Do you regret it?

When I graduated, the Mariinsky Theater was truly the pinnacle of my career. When you see your name on the board in the theater, it’s immeasurable happiness. I don’t know how it happened that I went to Vienna. However, everything that is done is for the better. I guess I needed to take this step to become who I am now.

You have the opportunity to compare the theatrical structure in Russia and in Europe. What is the difference?

Theater here and in Europe are two very different things. The spirit there is completely different, and the work systems are different. For example, in Russia, each ballerina has her own teacher, who prepares all the parts with her, and in Europe, each ballet has its own tutor. The ballerina prepares “Don Quixote” with one teacher, “Swan” with another: you look at the roles from different points of view, from different sides, your eyes don’t blur. For me at the beginning it was a shock, because in Russia traditionally a relationship with a teacher is something very personal and close. This is a strong union, you get used to it from school. A teacher is like a second mother.

Tell us about your teachers?

My closest teacher is Lyudmila Valentinovna Kovaleva, we have been with her since school, I graduated from her, and to this day we continue to work. When I came to the theater, I started working with Olga Nikolaevna Moiseeva - she set up the equipment for me, when I was still very young and green. If we continue the conversation about differences in theater systems, then in Russia teachers reveal the individuality of the ballerina to a greater extent, while in Europe they try to adjust the performance to the style of the performance.

And if we talk about the theatrical spirit and atmosphere?

The Russian theater has a more creative atmosphere. For example, if I have a play, I will rehearse at night, on weekends, until I understand that I have achieved what I wanted. In Europe, there is a certain number of hours that I must work under the contract, and a day off is a day off. Even if I want to rehearse, no one will come to me. And no one will understand why, since you are only paid for a certain number of hours. I can give another example: if the additional rehearsal I need does not fit into the schedule, this will not be a problem here - the entire schedule can be redone in an hour. In Vienna, the schedule is posted for the entire week and is not subject to adjustment - so that artists have the opportunity to plan their personal time. If the management changes the schedule, the artist has the right to say - I will not come to this rehearsal. Russian dancers usually, out of habit, go along with management in case of replacement, but here the trade union comes into play. If one member of the troupe says yes to the administration and the other no, then favorites appear, and no one needs this. Therefore, everything is strict with such things. But here there is nothing higher than creativity, nothing higher than ballet.

In Russia, ballet has long been one of the components of the national idea. In Europe, the ballet cult rather did not exist. Probably, the attitude in society towards ballet and its representatives there is different than in Russia?

Yes. In Russia, a ballerina is something high, inaccessible, it is a difficult and respected profession. In Vienna, when I answer the question “What do you do” that I am a ballerina, they say: “Well, of course, it’s a hobby, but what do you do?” For them this profession is not at all serious.

You have had experience working with many contemporary choreographers. What did this give you as a ballerina?

I have danced in a large number of productions and worked with many famous choreographers. I am very grateful to the management of the Vienna Opera, which makes such projects possible. Choreographers themselves come to us, and not even assistants, this is a very good experience. It’s difficult for me to single out just one; I can name several names. For example, most recently we worked with David Dawson and Jean-Christophe Maillot. Both choreographers left very strong impressions, the energy in them is simply seething. When they enter the hall, you want to hang on every word, every remark. The work was so interesting that I didn’t notice either time or fatigue - I wanted more and more. I have met many choreographers, and each of them is such a strong and interesting personality that this is probably the reason for their success.

You became the first performer in several ballets (Titania - A Midsummer Night's Dream - chorus Jorma Elo; Marie Antoinette in the ballet of the same name - chorus Patrick de Bana - author's note). What does it feel like to understand that your performance will, perhaps, be a reference and become an example for other ballerinas?

It is very interesting to touch the work process, when the choreographer focuses on you, reveals your individuality, even inserts some movements into the ballet just because they work better. I don’t think at all about what will happen later, about the fact that someone will look up to me in playing this part. I think about how to feel, how to understand this role myself, how to make it better.

How do you start working on a role?

The most interesting thing in this process is hearing the choreographer’s point of view. Whatever the plot of the ballet, the choreographer and director have their own vision of the process. They want to highlight some moments, mute some, add some stories, emphasize something. Based on this, I think what I could add here. If there is a work, then, of course, I read it.

Do you have a favorite part in your repertoire?

I have a lot of favorite games, ones that I always look forward to. But I wouldn’t want to single out just one just yet. And, oddly enough, my dream role is very classic - this is Nikiya in La Bayadère. I can’t seem to dance it; something gets in the way: either because of lack of time or because of injury. This is probably why the desire to fulfill it is so great.

The world of ballet, as a rule, is closed to non-professionals. Perhaps this is why ballet dancers are accused of being somewhat arrogant. How do you deal with star fever?

I really don’t like this, and I try to avoid it in every possible way. It is better to underestimate yourself than to overestimate yourself. If you dance a performance and think - I’m a star, everything was very good - this is unlikely to correspond to reality. There is no limit to perfection, you can always do something better. You can be satisfied with the work done, but not with yourself. If I have such thoughts, it will be a sign that I am doing something wrong in life.

Generally speaking, do you live with your mind or your heart? Mind or feelings?

I am a very emotional person, but because I know this, now, as I get older, I can control myself. But when I was younger, I couldn't do this. Perhaps that’s why I left, succumbing to emotions. But, I repeat, everything that is done is all for the better. The way my destiny is shaping up is the best confirmation of this; this expression suits me very well. For example, I got married very early, then got divorced, but I don’t regret it at all - it helped me understand so many things that I would never have understood if I had not gone through a divorce. Whatever happens to me, it’s necessary.

Do you feel like a European person?

I know for sure that life in Europe greatly affected me. It seems to me that I have become more positive, more open, I don’t get upset over trifles, I am looking for a way out of difficult situations. Although it is difficult for me to make contact with people outside my circle of acquaintances, I have become more sociable: when you find yourself in a new troupe, in new conditions, you have to get close to people. Although I avoided my colleagues for three or four years until I mastered the language. Maybe I'm wrong, but I think Vienna taught me this.

Are there anyone among your colleagues who serves as an example for you?

Since school I have looked up to Diana Vishneva. I admire her hard work and character.

Your career is on the rise, you are a successful, sought-after ballerina. What if you have a choice: family or ballet?

Three years ago I would have said “family” without thinking. And now... There are so many more things I can dance! In Europe, becoming a mother at 35 is normal, no one will look askance, so I’m not even thinking about motherhood yet. But perhaps this is the most difficult choice that every ballerina must make in her life.

Interviewed by Elizaveta Mitina.

Born in St. Petersburg. In 2004 she graduated from the Academy of Russian Ballet. AND I. Vaganova (teacher Lyudmila Kovaleva).

In 2004-06 danced in a troupe Mariinsky Theater(teacher Olga Moiseeva), where she performed the following roles:

Odette-Odile (Swan Lake by P. Tchaikovsky, choreography by M. Petipa, L. Ivanov, revised by K. Sergeev)
Queen of the Dryads (Don Quixote by L. Minkus, choreography by A. Gorsky)
Lilac Fairy (The Sleeping Beauty by P. Tchaikovsky, choreography by M. Petipa, revised by K. Sergeev)
Calliope (Apollo by I. Stravinsky, choreography by J. Balanchine)
roles in Balanchine’s ballets “The Four Temperaments” by P. Hindemith, “The Waltz” by M. Ravel

In 2006 she became a soloist of the ballet troupe of the Vienna State Opera and Volksoper, in 2010 she became prima ballerina of the joint Vienna State Ballet.

REPERTOIRE

Odette-Odile (“Swan Lake”, revised by R. Nureyev)
Princess Aurora (Sleeping Beauty, edited by P. Wright)
Swanilda (Coppelia by L. Delibes, choreography by D. Harangoso)
Princess Mary (The Nutcracker by P. Tchaikovsky, choreography by D. Harangozo)
Myrtha (Giselle by A. Adam, revised by E. Chernysheva)
Queen of the Dryads (Don Quixote, revised by R. Nureyev)
Gamzatti (“La Bayadère” by L. Minkus, revised by V. Malakhov)
Bella (Die Fledermaus to music by I. Strauss, choreography by R. Petit)
Ada (“Competition” to music by Hugues Le Bar and others, choreography by M. Bejart)
Juliet (Romeo and Juliet by S. Prokofiev, choreography by J. Cranko)
Manon (Manon to music by J. Massenet, choreography by K. MacMillan)
Anna Karenina (“Anna Karenina” to music by P. Tchaikovsky, choreography by B. Eifman)
Prima Donna (“Concert en plein air” to music by J. Strauss, choreography by D, Harangozo)
Paquita (Grand pas from the ballet Paquita by L. Minkus, choreography by M. Petipa)
Raymonda (“Raymonda” by A. Glazunov, revised by R. Nureyev)
roles in ballets - J. Balanchine's “Theme and Variations” to the music of P. Tchaikovsky, “Violin Concerto” by I. Stravinsky); S. Lifar “Suite in White” to music by E. Lalo; J. Robbins (In the Night" to the music of F. Chopin, "Shards of Glass" / "Glass Pieces" to the music of F. Glass; R. Petit ("Young Man and Death" to the music of J. S. Bach); J. Neumeier ( "Bach Suite III); J. Elo ("Glow - Stop" to the music of W.A. Mozart and F. Glass), W. Forsyth ("Slingerland pas de deux" to the music of G. Briers)

She became the first performer of the role of Titania in the ballet “A Midsummer Night’s Dream” to the music of F. Mendelssohn-Bartholdy, staged by J. Elo and the title role in the ballet “Marie Antoinette” to the music of J.P. Telemann, A. Vivaldi, W. A. ​​Mozart and others, staged by P. de Bana.

photo from personal archive

We met Olga Esina and Kirill Kurlaev early in the morning in a very Viennese setting: the Sacher Cafe, from whose windows you can see the Vienna Opera. It’s significant, because Olga is her leading ballerina, and Kirill - the first soloist who recently completed his career, and now - leader of several projects related to ballet in one way or another . Husband and wife, partners, colleagues – they are united both personally and professionally. About life on stage, off it and about the differences between Russian and European ballet.

Kirill, you– from Moscow, Olga– from St. Petersburg, is the character of these cities reflected in you?

Kirill Kurlaev: I left the bustle of Moscow very early - at the age of 15. I have lived in Austria for 20 years, so I was more influenced by the local temperament.

Olga Esina: Kirill is not a Muscovite at all; by character, he is rather a St. Petersburger.

How did Austria come into your lives?

K.K.: Very random! On weekends, I additionally studied with the Bolshoi Theater troupe. One day, it was in 1997, the director of the Stuttgart Ballet Academy, Alex Ursulyak, came to Moscow. After the rehearsal, he told his parents that he wanted to invite me to his school. While the documents were being processed, Ursulyak moved to work in Austria, in St. Pölten, where he invited me. I studied at the academy for 1.5 years, and then moved to the ballet school at the Vienna Opera.

O.E.: I worked for two years at the Mariinsky Theater, where the director of the Vienna State Ballet came to the performance in the same way, saw me and offered me a solo contract in Vienna.

But then you returned to the Mariinsky as a guest ballerina...

O.E.: I was invited first to a gala concert, then to one performance, to another, and somehow off we went. I was offered to stay at the Mariinsky Theater, for some time I was very tossed around, because home, family - everything was so pleasant, so close. In the end, I decided that I would work for two theaters. In Vienna, as an exception, I was given this opportunity, and then I went on maternity leave. Now all my free time is taken up by the baby.

Speaking of the baby, the four first soloists of the Vienna State Ballet went on maternity leave at the same time. The stage was empty for some time. How has your life changed since the birth of your daughter?

K.K.: Absolutely everything has changed. Many things that previously seemed important have faded into the background. We have a very joyful child, you come home and forget about fatigue and any difficulties.

O.E.: Now our whole life is around her, be it work, school, or whatever. We always spend any free time with our daughter.

Olga, after the Mariinsky Theater it was difficult to get used to the European theater?

O.E.: It was very difficult, I immediately came to the Vienna Opera as a soloist. I can use the example of “Swan Lake”: I danced it both at the Mariinsky Theater and here. They told me: “Not like that, it should be different here,” but I fought to the last and did as I wanted and as I was used to. This was not perceived either by the public or especially by teachers. Over time, I found for myself in this choreography a line that I was pleased to follow, and began to dance as is customary on the Viennese stage.

“It must be otherwise,” how much room is there for the freedom of the artist, or is the choreographer still an authoritarian figure?

O.E.: This is the most important difference: there is no freedom here. In Russia, all productions concentrate on the individuality of the dancer: some have beautiful hands, some have a refined technique - everyone is different. Little things can always be changed and adjusted to make the performance look organic. In Vienna - no: there is choreography, you do as told.

K.K.: I'll tell you where it comes from. In foundations, for example, in Nuriyevsky, there are people who control the correct execution of specific choreography. When purchasing a ballet, the theater is obliged to fulfill the terms of the contract. It states that everything must be performed as originally intended, so you cannot take a step to the left or a step to the right.

What has the European scene given that the Russian scene has not?

K.K.: Question for Ole, because in Russia I danced more as a guest.

O.E.: Completely different sensations. The European stage gave purity of performance in dance - here it is more appreciated. In Russia, you can technically fail to do something, but you can perform a performance very deeply and emotionally, and no one will say that it was bad.

Ballet dancers say that for certain parts there are strict growth criteria...

K.K.: It all depends on the tastes of the troupe leader.

O.E.: This is true. When I worked at the Mariinsky Theater, it was believed that only tall girls should dance Swan Lake. And here and also at the Bolshoi Theater there are “swans” of any height.

And the fact that the main composition of the Vienna State Ballet is made up of “ours”, is this also the taste of the director or the dignity of the Russian education system?

K.K.: Together. Firstly, our school is more demanding, and, secondly, Gyula Harangoso, the former director of the ballet, a Hungarian, graduated from the Vaganova Academy and loves the Russian repertoire very much, so he invited many artists from Russia to the theater troupe.

O.E.: But I want to note that the core of Russian soloists remained under Manuel Legri. He also has great respect for the Russian school, understands and supports it.

A new director will lead the Vienna Opera in 2020–Bogdan Roscic. Is it already known who will direct the ballet?

K.K.: The name of the ballet director must be announced within a year. Whenever the director changes, the artists are in tension because they do not know new tastes. I remember when Manuel first arrived, the question was in the air whether he would support Russian artists or change them. Still, the French ballet school is also considered very good, but it is different from ours. Legree didn't fire anyone.

Classic or modern?

K.K.: Modernity is closer to me. As an artist, you can reveal yourself much better in modern dance than in classical dance, and by type I am more neoclassical.

O.E.: To be honest, I really love the classics, but not the local ones, but the Russian ones. Perhaps that is why at one time I was very drawn to home - there are different performances, different choreography, you feel different in them. The performances here are mostly classics by Rudolf Nureyev, the performances are very interesting and technically challenging for any ballerina, but ours are closer to me.

What role do prizes and awards play in the life of a ballet dancer?

O.E.: It’s nice, but for stage life it doesn’t matter as much as, for example, in sports, when fees immediately jump to another level. Slightly different things - being a competitive dancer and participating in performances in the theater.

K.K.: There are artists who have a million awards, grand prix of various competitions, but they are still not in demand. And there are those who have nothing, but they dance all over the world. I can’t say that even awards for roles decide anything.

You founded the Elite Lyceum for Children, why did you choose this particular format?

K.K.: We have always wanted to create a center where children could develop comprehensively. In Vienna, children go to ballet in one place, piano to another, language to a third... I wanted to combine this and give the opportunity to touch several directions at once in one place.

O.E.: Parents do not always understand what their child will do in the future. They put him on the piano for several months, which he doesn’t like, then they try something else, and it takes a lot of time until they find something in which he can open up. Our idea is to combine all this in one place, so that children, touching different disciplines, will say: “Mom, I like this!” The earlier you recognize talent, the more successfully you will develop it. My mother completely accidentally took me to ballet at the age of six and got it right. Now this is my profession, I am successful in it. And if they sent me somewhere else, I would simply waste time.

Were you targeting a Russian-speaking audience?

O.E.: We have Russian names, they know us here, and, of course, our compatriots have reached out, but we have never aimed specifically at the Russian-speaking audience.

K.K.: We support talented children, try to develop them, send them to competitions, explain to parents what needs to be done to achieve certain heights. From time to time we give master classes ourselves, organize children’s concerts twice a year, prepare a script together, and rehearse.

O.E.: You can immediately see who is doing what. We, like no one, know how much you need to endure in order to have a successful career. Help from other people, luck - everything must come together. We try to make it easier for parents and children to start their journey.

Is ballet a gift from God or a craft?

O.E.: In any profession there must be a head on your shoulders, a heart in your chest, and a soul.

K.K.: I’ll be honest: those for whom ballet is a craft achieve great success. Despite your God-given talent, you have to work very, very hard. Everyone who comes to work at the Vienna Opera is gifted, but not everyone...

O.E.:...it turns out to develop this talent and become a successful artist.

But there is also selection based on physical data.

K.K.: I can’t say that I have any special abilities for ballet, but the teacher always said: “We need to work more!” I would never have been accepted, for example, into the Vaganova Academy or the Moscow Choreographic School, nevertheless I achieved a lot. And I know guys who were expelled from academies for professional incompetence, and now they are leading soloists of the best stages in the world.

O.E.: They didn’t want to take me to the academy because I didn’t have enough information for admission, and the children who were accepted “without their hands and feet” were later expelled. At the age of 10, it is difficult to understand what will grow up, because so many factors must come into play: the figure, the length of the legs, and hard work. Of course, if a child desperately wants to learn, that’s half the battle—it’s immediately clear that he will work.

Will you send your daughter to ballet?

O.E.: We will not force her to do anything, but we understand perfectly well that since we have been working in this environment all our lives, she will always be in the theater. If we notice her talent and desire, let her study, but her daughter will definitely receive additional education.

K.K.: Our profession is unstable, today you dance, tomorrow you don’t. There may be something wrong with your health or the taste of management may change, so you need to have a second education.

Kirill, you completed your ballet career with the role of Rudolf, which was very important for Austria. Was it a coincidence or was it your choice?

K.K.: It worked out and turned out well. The role of Crown Prince Rudolf is one of the most difficult for a dancer. It is bright, but very heavy. I wanted to put a finishing touch on my career, and that year this ballet was in the repertoire, so everything coincided well.

Who are more among your friends – Austrians or Russians?

K.K.: It’s hard to say, opera is international. The ballet troupe employs artists from 30 countries.

O.E.: There are a lot of Austrians of different ages with whom we are close friends. Some of them are not connected with the theater, with art in general. I’ve appreciated this since childhood, because it’s important not to limit yourself only to the theater.

K.K.: Especially doctors (laughs)! We have a traumatic profession, we need to recover quickly, so you look for the best to get you back on your feet.

O.E.: We became very friendly with many of them.

What local habits have you adopted?

O.E.: We like how everything is organized here in everyday life: collecting checks, papers, distributing everything calmly. In this sense, in Russia there is chaos.

K.K.: Vienna is a very calm city. When I came to Austria from Moscow in 1998, also to St. Pölten, I was shocked. The city seemed dead to me, I could not understand where the people were. I told my mother: “How can I live here, nothing happens here!” She brought me to Vienna, but then nothing worked here even on Saturdays. Now the shops are open and there is some movement, it seems that there is a lot of things around.

O.E.: We have a pretty busy life and we like this peace. We love spending time in parks on weekends. Everyone is walking with their children, it’s so nice to see!

Is Vienna home?

K.K.: Yes. I've lived here most of my life, my mother is here.

O.E.: One hundred percent! But the Motherland remains the Motherland, there are parents, family, home.

This is not the first time that the stage of the Mariinsky Theater has hospitably welcomed those performers who once took their first steps towards the ramp from these very wings. The current guest of the International Ballet Festival Olga Esina is the prima ballerina of the Vienna Opera. The unique line graphics and soft pastel movements of the ballerina, characteristic of the St. Petersburg school, are seasoned in her dance with the splendor of the lush Viennese balls. But there is always a touch of nostalgia in her dance.

At the festival, you performed the main role in the ballet “Swan Lake” and with the same role, almost immediately after graduating from the Ballet Academy, you began your career at the Mariinsky Theater... Did you feel as confident then as you do now?

Of course, it was very nice that they trusted me with such a large batch. And I felt a great responsibility. I was incredibly happy.

-Have you prepared a game with O.N. Moiseeva?

Yes, I immediately began working with Olga Nikolaevna. But, nevertheless, she still kept in touch with her teacher from the Academy, Lyudmila Kovaleva.

They both raised many stars. How was it working with them? Do they have anything in common or do they have different approaches to work? Are they very demanding?

Of course yes. How else? Squeeze out all the juices. But they are completely different. Olga Nikolaevna helped me build the equipment. I was very young and inexperienced. I couldn't do some technical things for a long time. For example, I couldn’t do fouetté at all. And she helped me a lot, because she has such a wealth of experience. She forced me to do the fouetté in a square - meter by meter, and it was impossible to go beyond its boundaries when performing. I learned many professional challenges from her. Kovaleva also, of course, concentrates on technique, but is more concerned about the image. Pays attention to transitions, to the hands, to the body...

In Vienna you also perform the role of Odette and Odile. But your ballet is in Rudolf Nureyev’s version. How is it different?

She's colder, at least for me. Nureyev made Odette standard-classical, or something. For example, the arabesques in the version performed at the Mariinsky Theater always resemble a swan, but he simplified them to ordinary ones. They are all so clear and even. And that's why I can't feel it well enough.

Tell us about the performances in which you are still participating on the stage of the Vienna Opera. For example, you perform the main role in the ballet Marie Antoinette. The performance was nominated last year for the international ballet award “Benois de la dance”. What kind of work is this?

This performance was staged by Patrick de Bana. He is a very famous choreographer now. He works, rather, not in neoclassical style, but closer to the real style of modern dance. Before that, he himself danced for a long time in troupes - first with Maurice Bejart, and then with Nacho Duato. It was incredibly interesting to work with him, to try to understand his plasticity. We were given a fascinating historical story, and de Bana turned out to be a very talented director. He prepared for this production for a long time, and he had many different ideas. We discussed all this. Talented lighting and costume designers always work with him.

- It seems that the costumes were created by a ballerina of the Paris Opera?

Yes, Agnès Letestu. This is the beginning of her work in the field of design. The costumes are very beautiful and made in the original style of the era. The shirt that Marie Antoinette wore to her execution has been preserved in Paris. We tried to create something similar for the play, but it turned out to be impossible. There are so many frills there that it would absolutely not look good on stage. They had to be cut off. There is a very big story behind all this work.

Your theater’s repertoire also includes the ballet “A Midsummer Night’s Dream,” but not staged by J. Balanchine, as at the Mariinsky Theater, but by the Finnish choreographer Jorma Elo.

I have not yet been able to perform Balanchine's version. And our performance is quite interesting. This is not the first time we have worked with this choreographer. We have his performances, and I have studied his style of choreography well. Any director is interesting to work with. It seems to me that these people love their work so much, they are so immersed in their work, that it gives great pleasure to both watch this and participate in the process of creating the performance.

- Your repertoire generally has a good balance of classical and modern choreography.

Yes, I really like that they coexist. After modernity, classic feels completely different. It is very interesting to watch how completely different muscles come into play, new plasticity is born. Movements are being rethought. It's interesting to watch yourself.

Vienna is a traditional place of pilgrimage for opera lovers. And your new director, Manuel Legris, has set a goal to take the ballet troupe to a new level.

Ballet in Vienna has never been as successful as it is now. And the new director of the opera is very supportive of the ballet. It gives money for new productions, and we now have the opportunity to work with the best choreographers in the world. And we already have our own “fans” in Austria.

- Your troupe is very young and international...

This composition was assembled by M. Legree's predecessor, Gyula Horangoso. He had a talent for finding people who could unite into a good team. And Manuel raised us creatively and technically. Their joint work created the troupe that now exists.

- When you left the Mariinsky Theater - was it a conscious decision?

Now I don't remember anymore. But I was young and emotional... There was such an impulse. And I don’t know if I would do that now... But working in Europe gave me a lot. I doubt that I would be who I am now if I had not left.

- What is your range of interests, is it limited only to ballet?

I can’t say that I’m a good connoisseur, but I really love opera. Despite the fact that this passion appeared to me recently. Before, I didn’t understand her at all. But I work at the Vienna Opera, one of the best musical theaters in the world, and over time I felt that this music and performance simply penetrated me to the core. Just to the point of trembling.

- What is your profession for you? Is this serving your dream, or are you forced to continue the path from childhood?

Now this is my life. And as a child, you were simply successfully placed on rails on which you kept rolling and rolling... But now it seems to me that I am picking up a very fast pace, and the most important line of my life is beginning.

- Is Vienna a foreign city for you?

When I'm in Vienna, I have the feeling that everything is mine here, I like everything and I feel very good. But I come to St. Petersburg and feel that this is also my hometown. My parents are here. And I am always very drawn here. Thank God, now I can come often and there is no such crazy nostalgia as before.

Interviewed by Svetlana Avvakum
Published in the Mariinsky Theater newspaper