Prince from Pinsk. Igor Kolb conquered the world stage. Igor Kolb Igor Kolb ballet

Today it is surprising to imagine that the origins of the talent of the famous St. Petersburg dancer are on Brest soil - in the city of Pinsk. It was here that he, the son of simple “Pinchuks,” began to dance. “Not a day goes by that I don’t mentally turn to the places where I was born, and to the people to whom I owe my birth and upbringing,” Igor admits in an online interview with a BK correspondent.

Igor studied at the Pinsk choreographic school, and then he could not even imagine that he would someday become a famous St. Petersburg dancer. He likes to say that he chose ballet completely by accident. My parents were quite far from art: my father was a truck driver, my mother was a canteen director. Their work took a lot of time, so their son and eldest daughter were often left to their own devices. One day a boy, having nothing to do, was walking around the city and wandered into a choreographic school. He looked at the dancers for a long time, and then he decided to sign up for classes.

Soon, Igor was accepted into the Belarusian State Choreographic School in Minsk, as the dancer himself says, only because there was a shortage there. At first, the boy was unusual in a big city alone. He called his parents in Pinsk and asked to take him back. The parents immediately came to pick up their son. But Yuri Troyan, who was then the artistic director of the theater, immediately recognized Igor’s abilities and advised his mother and father to leave the boy.

Igor continued his studies, and soon his talent fully manifested itself. While remaining a student at the ballet school, he already began dancing in the Minsk theater troupe. His first role was the role of a prince in Sleeping Beauty. “When I studied at the choreographic school, the Belarusian theater seemed to me the best, the ultimate dream of any graduate,” says the dancer. “It was an original theater with a very interesting repertoire, and this was the merit of Valentin Nikolaevich Elizariev.” One day, the famous Ukrainian ballerina Anna Dorosh came to Minsk on tour. Igor looked at her with admiration and did not suspect that in a few years he would dance with her in a pair of “Giselle”.

Soon the young dancer came close to realizing his dream. In 1995, Alexander Kolyadenko prepared the boy to perform at one of the most prestigious international competitions for young dancers in the CIS - Vaganova-Prix in St. Petersburg. Igor took third place, and he, the conqueror of all world stages, still remembers the feeling of happiness from that victory.

Petersburg fascinated the young dancer, and he had the daring idea to once again perform on the stage of the “cultural capital”, but not as a student-competitor, but as a real artist. After graduating from college, 18-year-old Igor Kolb came to the Mariinsky for six months to demonstrate his talent, was finally accepted, and two years later became a soloist.

On the stage of the Mariinsky Theater for 14 years, Kolb danced almost the entire premier repertoire. He gets the best roles, and he became famous for his roles as princes in Swan Lake, Sleeping Beauty, The Nutcracker, and Cinderella. “Thanks to his brilliant mastery of classical dance, grace and masculinity, Igor Kolb became the most famous performer of the Mariinsky’s lyrical-romantic repertoire: an excellent poet in Chopinian, Albrecht in Giselle or Romeo in Romeo and Juliet,” experts say about him ballet Some of the most remarkable roles performed by Igor Kolb are recognized as roles in the modernist operas “The Vision of a Rose” by K.M. Weber and “The Afternoon of a Faun” by Claude Debussy. Kolb, thanks to his amazing plasticity, created fantastic images of the Phantom of a Rose, who fancied a sleeping girl, and the spirit of nature, Faun, dreaming of love in an afternoon nap.

“Today surprise with triple and quarter sheepskin coats“someone is difficult,” says Igor, “so the main thing that should distinguish a real artist from a circus performer or gymnast is acting. And that’s what I always wanted to be different from.”

The prima ballerinas of the St. Petersburg theater admit that for them Igor Kolb is an ideal partner. “You really trust him on stage,” Diana Vishneva says in one of her interviews, “you’re not afraid that he’ll lose you or won’t keep you. With him you feel not only in a good partner’s hands, but also in truly masculine hands.”

Igor became one of the most prominent premieres of the Mariinsky Theater, and as recognition last year he received the title “Honored Artist of the Russian Federation.”

Today Igor Kolb is 33 years old, he has a small son, and despite the fact that Igor has been living in St. Petersburg for 14 years, and his wife Galina is Ukrainian by origin, he identified his son as Belarusian by nationality. Unfortunately, the parents of the famous dancer are no longer alive, but his relatives still live in Pinsk. The last time Igor visited them was eight years ago. However, he assured BK readers that when his son grows up a little, he will definitely go with him again to his native place in Polesie.

Honored Artist of the Russian Federation, Vaganova-Prix laureate, soloist of the Mariinsky Theater.

He danced at the Rome Opera and the Vienna Opera.

short biography

Born in Pinsk (Belarus).
Graduated from the Belarusian State Choreographic School (class of A.I. Kolyadenko).
Has been with the Mariinsky Theater company since 1996, and has been a soloist since 1998.

About Me

Excerpts from an interview with Igor Kolb.

- How did you get into ballet?

Accidentally. My parents were at work, my sister was on the first shift at school, and I was on the second. So I walked around the city for half a day. Once I went to a choreographic school. I watched the dancers for several hours. And then there was a shortage at the Minsk School, and I entered there. True, I quickly missed my hometown. I called my parents and said it wasn’t mine. They came to pick me up. But the director of the school advised them: “It’s not worth it. Let him endure it.” So I'm holding out until this time.

- Were there many injuries?

I had knee surgery twice. I received treatment at my own expense. The theater is an unstable institution; ballet dancers are not insured.

- Are there any difficult ballet parts?

Not a single production goes on right away. For the first time in Pinsk I danced George Balanchine. And fell on stage.

- Who else would you like to dance with?

At the Mariinsky they offer me all the roles I want,” he boasts. Igor usually dances princes in Swan Lake, Sleeping Beauty, The Nutcracker, and Cinderella. “I dream of playing with Jiri Kylian,” he says about the choreographer of the Dutch Dance Theater. His troupe consists of dancers under the age of 60. “Life has turned out this way,” he reasons, “that I choose where to play and where not.”

- Which ballerina would you like to dance with?

When I was studying in Minsk, the Ukrainian ballerina Anna Dorosh came there on tour with her husband Maxim (Chepik, also a ballet dancer - "GPU"). I looked at her with admiration. And now we are dancing “Giselle” as a couple.

- Did you have any problems during performances?

In Bangkok he performed with the ballerina Irma Nioradze, he says about the soloist of the Mariinsky Theater ballet. - There were three performances before we left. I smoked in the dressing room. I go out into the corridor, and the orchestra is playing our number - the conductor has mixed up something. I run to Irma’s dressing room, taking off my pants as I go. And Nioradze sits shocked and says with such a Georgian accent: “I don’t have time.” But we made it in time and danced without mistakes. I was happy. Behind the scenes he shouted “Hurray!”

- Your wife Galina Yablonskaya is also a ballerina. How did you meet?

She is Ukrainian, born in Kyiv. We met at the Mariinsky Theater buffet and drank coffee together. Now Galya does not dance because she is raising her son. After all, we don’t have a grandfather or grandmother nearby, and someone needs to take care of the child.

- He says that he will not send his son to ballet.

This is not a man's business.

As we leave, Kolb carefully looks through the photographs taken by the photojournalist during our conversation. He doesn't like them. Igor asks to reshoot.

“I’m also a photographer, although not a professional one,” he notes. - I like to photograph courtyards and wells in St. Petersburg.

- Do you have any other hobbies?

I idolize cars.

I decided to rewatch “Shurale”: I haven’t seen it since the premiere in 2009. Of the two performances - morning and evening - I chose the morning one, since both soloists seemed more interesting. And I was right.
The performance seemed brighter and fresher than at the premiere - I don’t know why. Leonid Yakobson's choreography (if we take into account all the conventional limits that time and Soviet bosses set for him) is, as always, brilliant. This is probably the master’s only appeal to folklore traditions and folk dance, which are played out with the minimalism and simplicity of choreographic solutions characteristic of the great choreographer. Obvious parallels with “Swan Lake” are removed with the help of inaccurate allusions: Suimbike is not a swan, but a small, miniature bird with a different set of movements; its dynamics are shaded not by the kite Rothbart, but by the forest demon Shurale, the snag-man. The variations of Shurale and the dances of evil spirits are remarkable, reaching their apotheosis in the last, third act. The second act shows not a traditional ballet wedding with the usual grand pas, but a real folk ceremony. And the dances of the tipsy guests (choreographed long before every choreographer of the seventies considered it his duty to create a comic “drunk dance” at a wedding) interact interestingly with the creeping aggression of the wooden demon.
For Renata Shakirova, this was her first performance in the role of Syuimbike. She tried really hard. Her birdlike lightness (a small, fluttering bird, with frequent flaps of her wings and quick runs) and girlish spontaneity are directly reflected in her dance. Her role is a pleasure to watch. Alexey Timofeev in the role of Ali-Batyr carries his partner well. This is a great advantage. And for this we can forgive him for his cast iron legs in all variations.
With each new role in his characteristic repertoire, Igor Kolb reveals himself amazingly. The sorceress in La Sylphide was not very successful for him - Islom Baimuradov does better magic. But the role of Shurale gives Igor more opportunities: the artist here demonstrates plasticity, temperament, and the spectacular work of his wooden hands. The overall performance of the role is worthy of the highest praise: we see how the mood of the tree demon changes, how deceit pours out of him - and all this is somehow inhuman, forest-primitive. I never had such a powerful experience at the premiere - you directly feel the anti-human natural principle in this role. When in the first and especially in the third act Shurale leads the forest army, the perception changes: here Shurale condescendingly leads the pandemonium. Jacobson added a couple of variations to Shurala with jumps - this is not for Kolb, although in this ballet the low jump looks tolerable.
Among the forest army, special mention should be made of artists new to me - Evgenia Emelyanova (Fire Witch) and Oleg Demchenko (Shaitan). Their high jumps and powerful characteristic dance largely created the success of the forest scenes.
So the Sunday matinee was unexpectedly enjoyable. I highly recommend Shurale in this composition.

• October 3rd, 2017 , 03:24 pm

About a month later, the ceremonial version of the ballet "Romeo and Juliet" was announced. The pomp was determined by the composition of the performers. Juliet - Olesya Novikova, Romeo - Vladimir Shklyarov (now a guest soloist of the Mariinsky; his main place of work is the Bavarian Opera), Tybalt - Igor Kolb. You don't see this often. And conductor Boris Gruzin now has the status (in my opinion, completely undeservedly) of the main ballet conductor.
So, I hasten to reassure those who didn’t make it: the parade didn’t work out at all. The first reason is that the transfer of the ballet to the New Stage was done hastily and carelessly. The dancers often do not have time to go backstage to the music assigned to them, everyone in the crowd scenes has an unusual wide step, the feeling of the crowd in the square scenes is completely absent. In a word, the brilliant choreography of Leonid Lavrovsky, performed taking into account all the features of the historical stage of the Mariinsky Theater, leaves gaps on the huge New stage, and in the soul of a sophisticated viewer - a feeling of a restored masterpiece. I would like to note that transferring the theater’s museum performances to the New Stage completely deprives them of their museum quality. So is it really worth moving the original pearls of the Mariinsky collection to another space?
The second reason is that Novikova’s Juliet doesn’t work out at all. Perhaps Olesya is an exclusively classical ballerina. Here you need to create your own understanding of the role, fill modernist choreography with modern ballet content. Does not work. It all comes down to a set of banal movements. Vladimir Shklyarov (Romeo) plays, as before, a fool in love. If Juliet had been smarter, she would never have fallen in love with such a Romeo. All he has in his arsenal is a nasty, sweet grimace, depicting - depending on the task - emotion, tenderness and inspiration. As for Shklyarov’s ballet technique, which in previous seasons was impeccable, it’s probably all due to the relaxing influence of Munich, where no matter how you dance, everything will be gut. In some places the prime minister danced well, but in others he danced somewhat lazily. What in the pas de deux on the balcony, what in the solo scene “Exile”, in which Romeo seemed to doubt whether he needed this Juliet or not?
The most interesting of all the artists was Igor Kolb - Tybalt. Apart from his oversized red wig, which gave Kolb a strong resemblance to a pirate, everything about Tybalt radiated energy and aggression. Tybalt Kolba is a real Tybalt, otherwise lately the Tybalts at the Mariinsky Theater have all been caricatures. Tybalt Flask is scary in places because he is unstoppable. This is such a scumbag, a brother from the nineties, from whom you don’t know what to expect in the next minute. Moreover, Igor gets used to this role according to Stanislavsky: either, while fencing, he will throw the enemy onto the table standing at the backstage (and the corps de ballet hastily has to set the table back and collect the scattered props), or he will generally break his sword - he had to stab Mercutio with this half of the sword.
The corps de ballet worked well at times, but at times they struggled to find their way on stage - inconsistencies and asynchrony can be explained by this. Gruzin's orchestra, as usual, was shamelessly out of tune. So the pleasure was much less than planned.

• July 8th, 2015 , 01:26 pm

Yuri Smekalov's ballet, dedicated to the famous artist Frida Kahlo, was created for the Mexican ballerina (working in Berlin) Elisa Carrillo Cabrera. Cabrera is the ambassador of Mexican culture in the world, Frida Kahlo (along with Diego Rivera, also used as a character in the ballet) is one of the main Mexican cultural brands, so the performance shown to us was initially positioned as propaganda of Mexican culture. This work was shown in Mexico in 2013, and now it has arrived in Europe, in St. Petersburg.
The ballet is entirely focused on Cabrera, since the main character of the performance is not even Frida Kahlo, but a certain girl Lisa, who, under the influence of her great predecessor, becomes an artist. It’s not hard to guess why the girl’s name is Lisa. The title also corresponds to the stated idea. Infinita Frida is a continuation of Frida; Frida, who did not die, but lives on in posterity and art. Cabrera dances the most in this ballet, almost without leaving the stage; in the finale she performs the song “Infinita Frida” (so this is the second ballet in world history in which the dancers sing - after “Flames of Paris”). In a word, there is, of course, propaganda of Mexican art here - but it is not known what is more in it: Frida or Eliza?
The choreography of Yuri Smekalov and the music of Alexander Maev (this is not the first time they have worked in tandem) correspond to the general concept of the ballet. There was talk in the corridor that the music was reminiscent of movie soundtracks - all at once, and the choreography was filled with cliches and straightforward solutions, like stripes of one color or another that appear on the backdrop when a dancer symbolizing that very color appears. That the girl dreaming - the framing plot of the play - is borrowed from the opening ceremony of the Sochi Olympics. That the second act practically repeats the first and, in principle, is superfluous. All this is true and not true. Because there is no point in judging this ballet according to the laws of academic ballet theater. This is not Petipa or Forsythe. This is not even Eifman, who is very much felt in Smekalov’s handwriting.
This is a ballet staged for a wide audience, a folk ballet. It, like in Hollywood cinema, requires cliches, otherwise there will be no recognition effect. It needs cinematic and musical accompaniment, moderately cute, moderately effective. It requires straightforwardness, because the viewer must understand “what they are dancing about now.” It must be said that Smekalov does not completely follow this path, somewhat veering into Eifmanian abstraction. He did not make the ballet purely biographical, as - by the way, a phenomenon of the same order. He tried to take the viewer into the world of allegories. This penchant for allegories in Smekalov seems excessive - however, there is less of it here than in the ballet “Premonition of Spring,” which I saw in 2010.
As for individual decisions, Dr. Leo, played by Igor Kolb, came out very bright - he is the personification of children’s fears of medicine, a kind of sadistic surgeon, a bloody doctor. Making Trotsky out of Shklyarov is very funny, continuation. True, Trotsky in the ballet is devoid of any intellectual traits; he is Semyon Budyonny, galloping and constantly saluting, only without a mustache.
Actually, Smekalov is the heir of Eifman, the continuer of the traditions of plot-allegorical, expressionistic “folk ballet”. The function of folk ballet is to bring to an understanding of dance the broad masses of spectators who are tired of Petipa’s zephyrism, but are not ready to perceive the naked plotlessness of movement as such. Infinita Frida succeeded in this: both performances were sold out.
Doctor and Lisa (photo by Oleg Zotov)

Colorful finale (photo by Irina Tuminene)

• May 31st, 2014 , 02:55 pm

After a huge break, the Mariinsky Ballet continued what it had been doing for the past decade - introducing the St. Petersburg public to the soloists of the world's leading ballet companies. Thanks to the Mariinsky Festival (but not only within the framework of the festival), almost all the soloists of the Paris Opera of the 2000s appeared on the Mariinsky stage in Mariinsky performances. In my opinion, at that time it was the best troupe in the world, in which Manuel Legris, Jose Martinez, Aurélie Dupont and many others danced. You could specially go to Paris to see them - if you were very lucky, all of them could appear on stage in one performance (for example, in 2004 I saw almost all the etuales in Balanchine’s “Jewels”). They appeared on the Mariinsky stage separately, but seriously. Since then, the Paris Opera troupe has changed almost entirely. We don’t know anyone anymore, but we really want to get to know each other. So I would like to welcome the appearance of a very young etouile from the Paris Opera in the Mariinsky playbill in every possible way.
As is usual in such cases, the performance was made “ceremonial” - which is absolutely correct. The partner chosen was probably the most decent of the La Sylphide dancers - Philip Stepin. And the sorceress Medge was played by Igor Kolb, whom I had never seen before in the roles of typical villains.
Lyudmila Pagliero did not study in Paris, so it is all the more interesting to see in her dance exactly those properties of the Parisian ballet that we love so much. This is, firstly, the finest purity of lines. When she gets on pointe (and her instep is very beautiful), she draws a straight diagonal, as if on skates. Secondly, the precision of the details, which are carried out carefully, and every single one - how to fold the arms, where to bend the arm, where to make a “tenderness”, where to fly (the tutor Gabriela Komleva, one must think, did her best here). Thirdly, a stunning, beautiful and incredibly confident alomb - it seems that she can stand on one leg, folding her arms like a sylph, for at least half an hour. Fourthly, very smooth rotation - without swaying, which we forgive all Mariinsky ballerinas, including the most famous, without blurred descent. And finally, the sophistication of every movement. In a word, “a subtle French game.” There is only one thing that spoils Pagliero's ideal technique - this is an incomprehensible jump, which is simply necessary in La Sylphide. At first it seemed that she had no jump at all (and then it became doubtful how she became an etiquette for Gamzatti without a jump). Then it turned out that in three jumps she could still jump across the stage. But there’s a problem with the beauty of the jump. She can't do the splits in the air and the jump height is not enough.
The complete opposite of Pagliero was Philip Stepin. He has a jump (although not Ruzimatov’s, of course), but that’s where all his advantages end. The dancer is not comfortable with fine technique, in a spin jump he frankly doesn’t turn three times in a row, all his variations push the tempo to the point of pop, because he simply won’t be able to perform this part slowly: his inability to work “finely” will subtly come out. Pagliero, on the contrary, dances slowly (as expected) and confidently, so that we have time to appreciate every little detail of the movement. After all, these little things - picturesquely arched arms, a neatly exposed leg - constitute the nature of classical ballet.
Igor Kolb (Medge) did not bring any of his own inventions into the drawing of the role (one can now only imagine how interesting Farukh would have made this part if he had ever appeared in it), but he danced very energetically, so that the cauldron of potions was really boiling. But Yuri Smekalov (Gurn), as usual, adjusted the game to the point of eccentricity and humor - but it would be better to act like Igor Kolb. They probably tried to do something with the corps de ballet to make it “showy,” but it was unnoticed: the small dance “on jumps” at the Mariinsky is given to few soloists, so what can we say about the corps de ballet. More recently, the Royal Danish Ballet showed us how such ballets should be danced, so the corps de ballet tutors are powerless here. The orchestra played like the Mariinsky: when the violins are nothing, but when only the winds enter (there is this in La Sylphide at the very beginning and then in the second act) - here you can hang yourself from falsehood and melancholy.
And yet, Pagliero’s dance leaves an extremely positive feeling. She is a worthy representative of the Parisian school. She, like many Parisians, amazes with her perfect technique. She, like many Parisians, amazes with the exquisite design of the party. If there was once such a confident technique in the Mariinsky Ballet (even I still found Tatyana Terekhova), then there has never been such sophistication. This is Paris, damn it. If only Paris could reach St. Petersburg more often.

• June 13th, 2012 , 04:09 pm

Farukh Ruzimatov is an almost legendary dancer in today's lack of fish. For twenty years now, when discussing the new prime minister, my friends and I have been steadily noting: he’s not bad, but in this and this he falls short of the young Ruzimatov. In one of his old interviews, Farukh promised to dance until he is 70, like Plisetskaya. Let's see. So far, at almost fifty, he is in very good choreographic shape.

However, Ruzimatov is not a god, as enthusiastic fans believe; he also has a number of negative traits. Among others, there is a complete lack of taste when choosing a choreographer and choreographic production. Ruzimatov's benefit performances, which in the old days happened at the Kirov/Mariinsky Theater once every five years, were both brilliant and disastrous (of the latter, I especially remember that short benefit performance in the early nineties, at which Farukh decided to present his own choreographic experiments) - depending on what was dancing Farukh and how he built the program. The last Mariinsky benefit performance (2006?) left a very good impression. The current one is one of the failures.
And it's not about the dancer Farukh. Dancer Farukh looks cool because he doesn’t do what he can no longer do. But his plasticity and hands are still the same. The point is the artist Farukh, who prepared this concert. Well, the person for whom Béjart and Petit performed cannot allow himself to dance the opuses of Nikolai Androsov.

The number “Movement” that opened the concert, and then the coolie dance from “Red Poppy” immediately explained to us what kind of choreographer he was. A slightly refined version of the ballet "Todes" - this is Todes for the advanced. The entire dance is based on one movement, a hackneyed movement, endlessly repeated. Repeat on repeat even in the premiere dance. And finally, not a single idea of ​​our own, everything is not just secondary, but quaternary - pulled from the most promoted numbers, many times quoted and archived by choreographers of the past. "Tango", if not for the wonderful hands of Ruzimatov (I am sure that such hands were invented by Farukh himself, and not Androsov), would have been boring to watch. "The Rite of Spring" is even worse, for this ballet has a long stage history. You sit and catch Androsov: it was, it was, it was. But “Bolero, or Takhar” turned out to be the height of shamelessness. In the center of the ballet is "Bolero", simply stolen from Bejart (right down to the idea - after all, it was Bejart, by the way, who came up with the idea of ​​making a pagan rite out of Ravel's music) - and at the same time greatly vulgarized. Everything around “Bolero” is complete rubbish and emptiness (I liked the Berber and Armenian chants, however). For a long time I have been amazed at Farukh: how can he not distinguish good choreography from empty, Choreographers from those who call themselves choreographers. He will never become a great dancer - this requires taste, culture, wisdom. I write this with great bitterness, because I have never been a fan of any other dancer in my life as much as I am of Farukh Ruzimatov.

Well, it would seem, not to make a benefit performance with the help of the Mikhailovsky Ballet (which is much more professional than the “Russian Seasons”), involve St. Petersburg soloists, invite a couple of foreign stars and, most importantly, find real choreography according to your current strengths, and not vulgarity. Yes, unfortunately, neither Bejar nor Petit will stage anything for Ruzimatov. But a real choreographer works at the Mikhailovsky Theater! Have you tried contacting him?
They say (I couldn’t wait for the end of the painful Tahir) that at the end of the concert Farukh performed Bezharov’s “On the Death of a Poet” in memory of Dolgushin. So that all Androsov’s squalor can be seen? However, judging by the reaction of the audience, the current fans of Ruzimatov and Androsov are Petipa.

P.S. Of all the invitees, only Igor Kolb deserves attention. Once again he demonstrated that he didn’t need to dance classical choreography at all. In the pas de deux from "Swan" he evoked only sympathy. But when he appeared in the “Beginning” issue, it seemed that we were facing a completely different artist. Real. Well, Igor was created for contemporary dance, why is he dancing not his own?

KOLB Igor Pavlovich KOLB Igor Pavlovich

KOLB Igor Pavlovich (b. June 6, 1977), Russian ballet dancer.
As a student at the Belarusian Choreographic College, he became a laureate of the International Ballet Competition “Vaganova-Prix” (St. Petersburg, 1995) and was invited to join the Mariinsky Theater troupe (1996), where he took the position of soloist.
Among the roles: Prince Siegfried (Swan Lake by P. I. Tchaikovsky), Prince Désiré (The Sleeping Beauty by P. I. Tchaikovsky), Albert (Giselle by A. Adam), Premier (Paquita by L. Minkus) , Youth (“Chopiniana” to the music of F. Chopin), Vision of the Rose (“Vision of the Rose” to the music of K. M. Weber), etc.

encyclopedic Dictionary. 2009 .

• KOLAR
• KOLBASIEV Sergey Adamovich

See what “KOLB Igor Pavlovich” is in other dictionaries:

List of Honored Artists of the Russian Federation 2009- List of Honored Artists of the Russian Federation for 2009 Decree No. 117 of 02/05/2009 Komarova, Irina Eduardovna artist of the BDT named after G. A. Tovstonogov Lifanova, Tatyana Anatolyevna artist of the BDT named after... ... Wikipedia

Ballet troupe of the Mariinsky Theater- Here is a list of ballet soloists who were part of the Mariinsky Theater troupe at different periods of its existence. The list is divided into two parts: soloists who left the stage of the Mariinsky Theater and soloists who continue to perform. Within each category... ... Wikipedia

State Prize of the Russian Federation

State Prize of Russia- Badge of the laureate of the State Prize of the Russian Federation The State Prize of the Russian Federation has been awarded since 1992 by the President of the Russian Federation for contribution to the development of science and technology, literature and art, for outstanding... ... Wikipedia

State Prize of the Russian Federation- Badge of the laureate of the State Prize of the Russian Federation The State Prize of the Russian Federation has been awarded since 1992 by the President of the Russian Federation for contribution to the development of science and technology, literature and art, for outstanding... ... Wikipedia

State Prize of the Russian Federation- Badge of the laureate of the State Prize of the Russian Federation The State Prize of the Russian Federation has been awarded since 1992 by the President of the Russian Federation for contribution to the development of science and technology, literature and art, for outstanding... ... Wikipedia

State Prize of the Russian Federation in the field of literature and art- Badge of the laureate of the State Prize of the Russian Federation The State Prize of the Russian Federation has been awarded since 1992 by the President of the Russian Federation for contribution to the development of science and technology, literature and art, for outstanding... ... Wikipedia

State Prize of Russia- Badge of the laureate of the State Prize of the Russian Federation The State Prize of the Russian Federation has been awarded since 1992 by the President of the Russian Federation for contribution to the development of science and technology, literature and art, for outstanding... ... Wikipedia

State Prizes of Russia- Badge of the laureate of the State Prize of the Russian Federation The State Prize of the Russian Federation has been awarded since 1992 by the President of the Russian Federation for contribution to the development of science and technology, literature and art, for outstanding... ... Wikipedia

State Prizes of the Russian Federation- Badge of the laureate of the State Prize of the Russian Federation The State Prize of the Russian Federation has been awarded since 1992 by the President of the Russian Federation for contribution to the development of science and technology, literature and art, for outstanding... ... Wikipedia