Margarita Shreiner Bolshoi Theater in Contact. Academy forever. The creative path of Margarita Schreiner

Live it will get worse

Solemnly I declare: I again love "Sylph" in BT. And Margarita Schreiner. And now - the details.
I think Shriner's debut in Sylphide was amazingly successful. Moreover, I think this is the best Sylph I have ever seen in BT. I won’t compare with Danish ones, this is a different matter and a different production, and a different school, but, between us, Sylphide-Schreiner and James-Gudanov would look great today in Hubbe’s production. Maybe even better than Kobborg's production, more traditional, but less deep, less dramatic. Today it even seemed to me that this traditional production is a bit too narrow for Schreiner and Gudanov, or something. But be that as it may, they were wonderful.
Margarita Shreiner captivated me from the very first variation. She was a real child of the ether - a very thin, airy, graceful, gentle, sly, lyrical, almost weightless girl ("Oh, girl, without thinking, while frolicking, you handed yourself over to the soulless mass" - this is about her, about this sylph). A dream come true, le rêve, a vision woven from James' dreams. She fluttered, almost not touching the ground, and it seemed that James really could not catch her, could not touch her, she was flying past his hands like the wind. And every time she appeared, my heart skipped a beat, as if I myself were James. Well, it was impossible not to fall in love with her, she was so charming, so carefree and light, so young - even next to the sylph sisters she seemed amazingly young. And she danced amazingly. Perhaps there were technical errors, perhaps not everything turned out perfectly, and in one place (the second act, after the pas de deux, when she crossed the stage in the grand jete), she slipped a little, but managed, did not lose her head. And she mimed wonderfully - very clearly, very accurately and meaningfully, without blurring the pantomime, it was just a pleasure to look at her "talking" hands. And she was dying so touchingly, saying goodbye to James, and when he pressed her hands to his lips, she bent down and in despair pressed her cheek to his hair, for the last time she felt living warmth before death. And yet - she was heartbreaking, like a bird from nets, torn from the scarf with which James had entangled her, and from his embrace, she felt that his touch was deadly, perhaps more poisonous than the scarf itself, but she could not help it, she broke out when it was already too late.
James Dmitry Gudanov overshadowed for me James Vyacheslav Lopatin. This is no offense to Lopatin, he is also very good as James, but James Gudanova seems more interesting to me as a character: he is more melancholy, strange, sad, even though in the first act he tries his best not to stand out, to behave "like everyone else." So it seems as if he is marrying Effy in order to be like everyone else, because it is necessary, otherwise it is indecent, all normal people marry. And when, waking up, he sees the sylph, he does not even seem overly amazed, no, he seemed to have a premonition that she would appear, a premonition that something would happen, something that would free him from marriage, from a prosperous quiet life. from a predetermined fate. And this quiet melancholy, this vague pretense of James - they make him, in my opinion, related to the James from Hubbe's production. This James, too, could be a closeted homosexual, not made for marriage, but also not knowing how to live otherwise, having neither the strength nor the courage to go against the established order of things. He is very polite, that James of the first act, very reserved and well-mannered, and his harshness towards Madge, his jealousy of Gurn - does not seem sincere, he behaves as he should behave, but there seems to be no real irritation in him. no real jealousy. And only with the Sylph does he throw off the mask of a "good boy", he becomes freer and happier - although his natural restraint, his delicacy remain with him. In the second act, as if for the first time in his life, he begins to breathe, and not to sip air drop by drop, and he dances much easier than in the first act. Gudanov danced the solo variation of the first act very cleanly, but very restrained, not trying to outshine Gurn, not trying to impress Effi. He did not forget himself in this dance, did not give himself up to the dance. In the second act, he also performed his first variation in the pas de deux cleanly, easily, but restrainedly, and then suddenly, as if he finally understood, felt that here he was free - and he danced the second and third variations and coda selflessly, "flying and happily, himself - almost like a sylph.
And all the same, despite this flash of happiness, Gudanov turned out to be a strange James, with a premonition of an imminent tragedy, or something. In the scene of Sylph's death, he seemed to be not very surprised, not shocked by her death. When she, blinded, walked towards him, arms outstretched, he looked at her as if he knew that this would all end, knew that he would not be able to catch his dream. And he also knew that now he was next, that he would not live either. There was no crushing despair like so many Jameses I've seen, just an almost calm realization that it had happened, that it couldn't have been otherwise. And in the next scene, he threw his wedding ring, returned by the Sylph, to the ground, and entered into a final confrontation with Madge without real anger, but as if hastening his own death - and not in order to unite with the Sylph floating away into the sky, but in order to just stop being to disappear.
And such a James, perhaps, would need another Madge - or another Madge. Yes, here, perhaps, Madge performed by Sebastian Kloborg would be very suitable for this James - nervous, intelligent, fragile and evil. James himself, performed by Gudanov, is also quite nervous, intelligent, refined, and not to say evil, but not very kind either. Together they could make an interesting couple. But this is from the category of pipe dreams, it is easier to catch a sylph than to carry out such a production.
Well, a few words should be said about the rest of the characters. Today everyone was in good shape, the corps de ballet, which I snorted at after the March performance, was beautiful in both the first and second acts. The first sylph, Daria Khokhlova, was charming, and all the other sylphs were also sylphs today, and not emaciated, boring girls, as in March. I was completely captivated by the girl who danced with Gurn in a wedding dance (Maria Podryadova): from the first appearance she attracted attention and touchingly admired Gurn when he danced his variation. She didn’t take her eyes off him, smiled and almost clapped her hands. Such a sweetheart. Gurn also turned out to be better than I expected: instead of the declared Denis Savin (whom I saw in the March performance and did not appreciate it very much), Yuri Baranov was put on. In "Giselle" he was not a very convincing Illarion, but Gurn turned out better for him: intelligent, handsome, very much in love with Effi, very expressive in his own way. True, he danced his variation, for my taste, a little hard. But Gurnu is forgivable. And Effi was also very suitable for him - Anna Leonova, also earthly, sober and adult, like himself. Eh, after all, the role of Effy in the production of Kobborg, in my opinion, is not very advantageous in itself. In the production of Hubbe, both Effi and Gurn are revealed better and more interesting. But even in a Kobborg production, good actors can make something interesting out of the roles of Effy and Gurn. Anna Leonova performed the finale of the first act very well: she didn't cry picturesquely, but was simply completely devastated, almost crushed by James's betrayal. And in the second act, she agreed to marry Gurn doomed and bleak, this wedding took place against her will, she submitted to the fate predicted by Madge. When Gurn hugged her, Effy didn't hug him back, her face was still lost and sad. True, during the wedding procession she had already thawed a little: apparently, Gurn managed to convince her of the sincerity of his love. And it is also interesting that Anna, the mother of James, who also took part in the procession, rejoiced no less than all the other guests. Maybe she secretly thought that Effy was not a match for her James?
And finally - Madge Gennady Yanina. Today, Yanin played a very evil Madge, a real ruthless witch, who at first sight imbued James with a lively hostility. No coquetry, no beauty here and did not smell, it was a wiry evil with a mop of gray hair, terrified everyone around. And she, this Madge, liked that everyone was afraid of her and recoiled, she reveled in this fear (maybe she was also annoyed by the fact that James was not afraid of her, there was neither fear nor real disgust for her in him). But I must admit that Yanin conducted the fortune-telling scene today somewhat carelessly: he mimed very blurry, indistinctly, so it was practically impossible to make out to whom he predicted wealth and prosperity, and to whom - love. But be that as it may, Madge in his performance frankly enjoyed, predicting happiness for Gurn and Effy - bypassing James. And in general, Madge was good today, Yanin did not forget his signature tricks: he “cooked” a magic scarf from an old tattered rag, and he pulled out sylphids wings from behind his corsage and threw them to the ground in the finale, and was generally present on stage, did not get lost . But for me, his Madge today did not become the third main character, she lost a little to Sylphide-Shriner and James-Goodanov. I wonder if they will ever be put in the same composition again?
Well, it seems that she told about all the most important things. And once again: Margarita Schreiner is an amazing Sylph. Now I will definitely go for it. And it's great that they began to promote her: I really liked her in "The Flames of Paris", I really liked her today in "La Sylphide", let's see what happens next.

Today was the last show of the season. On the New Stage they gave a four-act "Marriage of Figaro". And two days earlier...

In the restaurant of the hotel "Metropol" an informal closing took place, or, more correctly, closing in an informal atmosphere of the 241st season.
By the way, it's my anniversary.

Nicely decorated room.

There are all sorts of goodies on the tables.

At the "Fish Station" they offered stuffed pike, sturgeon.

Salmon baked in something delicious.

All kinds of sauces. Trout and baked potatoes.

At the "Meat Station" one could taste chickens and all kinds of meat.

I settled on the most tender lamb.

And there were also amazing milk mushrooms with sour cream and onions. Couldn't break away.

They, like something strong alcoholic, were served at the "Station of pickles and horseradish"

And at this time, a concert began in the next hall.

Where did I actually go?

Artists of the Bolshoi Theater Orchestra.

There is a bar in the center of the hall.
Champagne, wine, cocktails and more.

Everything sparkles, glitters and shimmers.

I don't remember the name of the cocktail, but it's delicious. I did not change myself that evening. Red, dry.

Word to Vladimir Georgievich Urin.

And a small fragment of the film about what this 241 season was like.

Then representatives of the ballet and opera took the stage.

Or rather, operas first.

And then ballet. By the way, one of the representatives of the youth who came to the theater again did not appear on the stage.

The ballet took to the stage twice. The second time I managed to shoot only the finale of their dance.

And tributes.

On stage - Polina Gagarina. But...

She didn't go out alone. Ballet soloist Angelina Karpova appeared with her.
And... she sang a duet with Gagarina.

Meanwhile, the ballet dancers and the choir posed for each other and for colleagues passing by.

Igor Tsvirko and Margarita Shrainer

Meanwhile, "Leningrad" and Shnur appeared on the scene.

All screens: phones and cameras turned to the stage.

True, some preferred Cord selfies by Roman Abramovich.

But the bulk of the guests certainly watched what was happening on the stage.

"Millions of Harlequin", choreographic version by Yuri Petrovich Burlaka
performed by graduate and senior students of the school
© Alexei BRAZHNIKOV/MGAH, photo

That graduate of the school of supermen is bad, who considers the goal achieved. A diligent student knows: the greatness of the superman is just a peak from which new horizons open up.

The plot of the season is simple: here is the school, here are its pupils, here are the graduates, here is their work, here are their teachers.

Let's start from afar, with the new performer Lisa in Vain Precaution. Traditionally, this role in a school play is played by one of the graduate students. They show "Vain" on the stage of the Bolshoi, and even on "academic" tours. So it is today: Grigorovich's ballet was watched by Greece, we watched it. The main party was led by Rita Schreiner, a pupil of Irina Sergeevna Prokofieva. Who cares, but I better not: Margarita showed herself to be a sensitive artist, plastic in conveying a change of mood in a rather grotesque role. Here, few people will cope with the material without special training: it is difficult not to overwhelm. True, both Lizas were good last year. Each in its own way, but each - without pinch. What characterizes not so much the performers personally as the school. Style of the Moscow Academy of Choreography. Technique is honed throughout life, but the foundations of artistry, which education lays down, will remain so. If the image is based on restraint and measure, then beauty will not leave the stage.

There is enough beauty in the academy. Pure form is what the Moscow ballet school gives us even when students do not strive for heights. This episode was nice and sweet. The pleasure of the exam was not overshadowed by anything. Except one. When they say that ballet is the art of beauty, that only for the sake of it we go to theater halls, they mean different moods. Sometimes beauty is associated with the ethereal nature of the dancer and her gracefulness. Sometimes, on the contrary, with femininity, physicality, unshakable canons of racial ideals of the ancient heritage.

It is not true that the Academy is unaware of this ideal. It's just that its carrier does not always reach the stage. The experience of expectations not justified in the past is bitter for the viewer, for the examination - doubly. Beauty sometimes disappears. In the meantime, the ideal of a ballerina is being formed among the masses around girls with long arms and legs, thin, airy, romantic, well, in general, you understand: around people like Rita Schreiner. Not a crime: I like Margarita. And always according to the mood. Especially in Giselle.

Margarita Shrainer and Artemy Belyakov

So we got to the graduation concerts of the Moscow State Academy of Arts, where Rita and Artem Belyakov performed the pas de deux of the second act of the reference romantic ballet. Of course, the whole concert did not consist of them alone. The program was mostly new, one of the most successful in recent years.

The curtain opened, and the first masterpiece of the "matinee" (following the chronology, I start with the first of two concerts): Leonid Lavrovsky's Classical Symphony to music by Sergei Prokofiev unfolded in the reservedly classical, traditional decoration of the Bolshoi Theater stage for school concerts. Did not have time to enjoy - bows, a curtain.

The second branch brought variety. Emphasizing the dramatic solidity of the program. The Academy showed everything that her pets are capable of. Modern choreography, folk stage dance, classical; children, pupils of the school, students of the performing faculty, Russians, foreigners. Shriner left the stage - Okawa Koya flew up under the grate in a hopak. The viewer, who is aware of the ethnology of the empire, felt like he was at some kind of holiday of the Transbaikal Cossack army.

The concert ended with a suite from the ballet "Millions of Harlequin" in the choreographic version by Yuri Burlaka. Premiere. I report: extremely successful!

There were other successes in the concert, special ones. I named one: Margarita Schreiner as Giselle. Light, gentle, cool, undead: in general, Rita took everything that the performer needs to take in order for the auditorium to freeze in a sacred stupor - let's not forget that Giselle is a thriller. I will be surprised if next season I don’t see Rita on the stage of the Bolshoi Theater.

Another success and surprise was the participation of students of the performing faculty of the Moscow State Academy of Arts and artists of the Bolshoi Theater Anzhelina Vorontsova and Denis Rodkin. The couple performed the pas de deux from the third act of Swan Lake. In two years, my attitude towards Angelina has progressed from “unimaginably good” to “indescribably beautiful”, which does not mean that the girl does not have problems. Yes, her first performance in the concerts of the academy was rated higher than the second, but the teachers will point out the mistakes to her. Not all debuts (and I don't seem to have missed a single one this season) went smoothly, but all were memorable. Particularly good was her Magnolia in Cipollino. There will be legends about the appearance of the Rodkin-Vorontsov couple in this performance: there were few “qualified spectators”, reliable witnesses of the celebration, in the hall, unfortunately.

Angelina is regal, she is driven by a healthy instinct of a predator, her natural grace is amazing, they speak of the girl as “the ideal ballerina Marina Timofeevna Semenova”. She has a broad but economical gesture, her movement is the flight of a bullet, realizing itself in the shortest trajectories, and who will say that the path of a bullet is short? Lina is the delight of those who go to ballet for femininity in its extreme, disastrous incarnation. It is never enough, but for harmony in the world, both Vorontsova and Schreiner must coexist.

The school offers both.

I love school. I love its rector, Marina Konstantinovna Leonova. I love the spirit of closed educational institutions, educating the body and spirit of supermen by everyday training. Is it not for this upbringing of generations that Marina Konstantinovna gave her “Soul of Dance” to the “Maitre” nomination? And in return she received not only the prize of the Ballet magazine, but also our affection, the delight of the simpletons who come to the concerts of the ballet school for superhuman beauty.

© Alexei BRAZHNIKOV/MGAH, photo
☼♫

NOTES . The text of the article is reproduced according to Literaturnaya Gazeta No. 6326 or, for simplicity, according to LG No. 24 dated 2011/06/15 (see here) with some changes and some photos added. All photos provided by the Moscow State Academy of Choreography.

2010 - was awarded the 1st Prize (with the Japanese dancer M. Tereda) at the International Yuri Grigorovich Competition "Young Ballet of the World", held in Sochi (junior group); as well as the 1st prize at the competition for young ballet dancers, held in Krasnoyarsk as part of the 1st All-Russian Forum "Ballet of the 21st Century", dedicated to the centenary of the birth of Galina Ulanova.
2013 - honorary diploma (senior group, duet category) of the XII International Competition of Ballet Dancers and Choreographers in Moscow. In October 2016, together with Ana Turazashvili, she was named "Dancer of the Month" by the English magazine "Dancing Times" / Dansing Times.
In January 2017, she was included in the "25 Must See" list - the top list of the January issue of "Dance Magazine" / "Dance Magazine", recommending young artists who should be paid special attention to in the coming year.

Biography

Was born in Moscow. In 2011 she graduated from the Moscow State Academy of Choreography (teacher Irina Prokofieva) and was accepted into the Bolshoi Ballet Company.
In her senior year, she danced the part of Liza in the ballet "Vain Precaution" by P. Gertel staged by Yuri Grigorovich. In addition to the classical pas de deux and variations, during the training period she also danced a number staged by the modern Italian choreographer D. Bombana to the music of J.S. Bach (Concerto for harpsichord and orchestra No. 1).
She rehearsed under the direction of Nadezhda Pavlova, Marina Kondratieva. Now her teacher-tutor is Maria Allash.

Repertoire

2012
Amur(Don Quixote by L. Minkus, choreography by A. Gorsky, revised version by A. Fadeyechev)
four swans(Swan Lake by P. Tchaikovsky, choreography by A. Gorsky, M. Petipa, L. Ivanov, revised version by Y. Grigorovich)
Chipolletta sister(Cipollino by K. Khachaturian, choreography by G. Mayorov)
party in "Emeralds"(Part I of the ballet Jewels) to music by G. Fauré (choreography by J. Balanchine) —
two nymphs(Apollo Musagete by I. Stravinsky, choreography by G. Balanchine)
raindrops("Moidodyr" by E. Podgayets, staged by Y. Smekalov) - premiere participant2013
great classical dance(La Bayadère by L. Minkus, choreography by M. Petipa, revised version by Y. Grigorovich)
Columbine(The Nutcracker by P. Tchaikovsky, choreography by Y. Grigorovich)
cat("Moidodyr")
dance with a fanami(The Corsair by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaka)
fremailother("Sleeping Beauty" P. Tchaikovsky, choreography by M. Petipa, edited by Y. Grigorovich)
pa d'axyon(Giselle by A. Adam, choreography by J. Coralli, J. Perrot, M. Petipa, revised version by V. Vasiliev)
marquise's maids,harlequins("Marco Spada" on music by D.F. E. Ober, choreography by P. Lakotta)
Swanilda's friends(Coppelia by L. Delibes, choreography by M. Petipa and E. Cecchetti, staging and new choreographic version by S. Vikharev)2014
french doll("The Nutcracker")
Cinderella("Sleeping Beauty")
pas de deux("Giselle" in the version of Y. Grigorovich)
Shirin's girlfriends(Legend of Love by A. Melikov, choreography by Y. Grigorovich)

2015
seven counterparts of Gertrude and Ophelia ("Hamlet" to music by D. Shostakovichdirected by D. Donnellan and R. Poklitaru) - uchasTnitsaetcemiers
Bride("Marco Spada")
inTaboutRaya inariacia in grand pas(“Don Quixote” edited by A. Fadeechev)
baribs/part "Princess Mary"(A Hero of Our Time by I. Demutsky, choreography by Y. Posokhov, director K. Serebrennikov)2016
first variation in the painting "Raymonda's Dreams"
party in ballet "Symphony of Psalms" to music by I. Stravinsky (choreography by I. Kilian)
mana("La Bayadère")
"Live Garden", Slave Dance("Corsair")
Jeanne(The Flames of Paris by B. Asafiev, choreography by V. Vainonen, directed by A. Ratmansky)
Silver Fairy, Diamond Fairy("Sleeping Beauty")
sylph(La Sylphide by H.S. Levenskold, choreography by A. Bournonville, revised version by J. Kobborg)
leading party in "Ruby"(Part II of the ballet Jewels) to music by I. Stravinsky (choreography by J. Balanchine)
Kitri("Don Quixote") - the debut took place during the tour of the theater in London
first variation in grand pas("Don Quixote")
pas de trois("Emeralds"), party in "Ruby"
"Girls"(The Golden Age by D. Shostakovich, choreography by Y. Grigorovich)
second variation in the painting "Shadows"("La Bayadère")
couple in purple(Russian Seasons to music by L. Desyatnikov, staged by A. Ratmansky)
variation; the second variation in the painting "Raymonda's Dreams"(Raymonda by A. Glazunov, choreography by M. Petipa, revised version by Y. Grigorovich)
Marie("Nutcracker")

2017
first variation in the painting "Shadows"("La Bayadère")
peers of the prince("Swan Lake") -
Mireille de Poitiers("Flames of Paris") - the debut took place during the theater tour in Japan
Zina's friends(The Bright Stream by D. Shostakovich, production by A. Ratmansky)
Juliet's friends(Romeo and Juliet by S. Prokofiev, production by A. Ratmansky)
Komsomol members(Nureyev by I. Demutsky, choreography by Y. Possokhov, director K. Serebrennikov) – premiere participant
Chinese doll("Nutcracker")

2018
Fairy Sapphires("Sleeping Beauty")
Lydia Ivanovna(Anna Karenina to music by P. Tchaikovsky, A. Schnittke, Cat Stevens/Yusuf Islam, choreography by J. Neumeier)
Swanilda("Coppelia")
Gamzatti("La Bayadère")
couple in red(The Forgotten Land to music by B. Britten, choreography by I. Kilian)
painting "Raymonda's Dreams"("Raymonda")
Guadalquivir, The Fisherman's Wife, First Variation in Pas d'Acción(The Pharaoh's Daughter by C. Pugni, staged by P. Lacotte after M. Petipa)
party in ballet(participant of the premiere at the Bolshoi Theater), two pairs(Artifact Suite to music by E. Crossman-Hecht and J.S. Bach, choreography by W. Forsythe)
Ballerina(Petrushka by I. Stravinsky, choreography by E. Klug)
friends Raymonda / Clemence("Raymonda")

2019
Carmen(Carmen Suite by J. Bizet - R. Shchedrin, staged by A. Alonso)
Aspicia("Pharaoh's daughter")
Phrygia(Spartacus by A. Khachaturian, choreography by Y. Grigorovich) – made her debut on tour of the theater in Brisbane
Spanish bride("Swan Lake") - debuted on tour of the theater in London

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Was born in Moscow. In 1997 she graduated from the Moscow State Academy of Choreography (teacher) and was accepted into the Bolshoi Ballet Company. Rehearses under the direction of Marina Kondratieva.

Repertoire

1997
Radish brother(Cipollino by K. Khachaturian, choreography by G. Mayorov)
Devil(The Nutcracker by P. Tchaikovsky, choreography by Y. Grigorovich)

1999
Girl(La Sylphide by H. Levenshell, choreography by A. Bournonville, revised version by E. M. von Rosen)
Mask at the ball(Fantasy on a Theme of Casanova to music by W. A. ​​Mozart, choreography by M. Lavrovsky)
Imp(“Balda” to music by D. Shostakovich, staged by V. Vasiliev) — first performer
pas de deux(Giselle by A. Adam, choreography by J. Coralli, J. Perrot, M. Petipa, revised version by Y. Grigorovich)

2000
Nutcracker doll, Chinese doll("Nutcracker")
Red Riding Hood(The Sleeping Beauty by P. Tchaikovsky, choreography by M. Petipa, revised version by Y. Grigorovich)

2001
two sylphs("Chopiniana" to music by F. Chopin, choreography by M. Fokine)
chickens(“Vain Precaution” by L. Gerold, choreography by F. Ashton) - was among the first performers of this ballet at the Bolshoi Theater

2003
Galya("Light Stream" by D. Shostakovich, staged by A. Ratmansky) - first performer
Amur(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky, revised version by A. Fadeechev)
Rosalind(Romeo and Juliet by S. Prokofiev, choreography by D. Donnellan and R. Poklitaru)

2008
canteen girl(The Flames of Paris by B. Asafiev, choreography by V. Vainonen, directed by A. Ratmansky)

2009
Nepmen(The Golden Age by D. Shostakovich, staged by Y. Grigorovich)
pas de sis(La Sylphide by H.S. Levenskold, choreography by A. Bournonville, revised version by J. Kobborg)
two sisters(Cinderella by S. Prokofiev, choreography by Y. Posokhov, dir. Y. Borisov)

2010
Mercutio's friends and girlfriends(Romeo and Juliet directed by Y. Grigorovich)

2012
raindrops,Arithmetic(Moidodyr by E. Podgayts, choreography by Y. Smekalov)

2016
jig("Don Quixote" in the second edition of A. Fadeechev)

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