List of the ballet troupe of the Mariinsky Theatre. Three of the best dancers of the Mariinsky Theater perform the part of Anna Karenina on the stage of the big theater. We become a ballet province

The State Academic Mariinsky Theater has existed for more than two centuries. His repertoire includes classical and modern operas and ballets.

History of the Mariinsky Opera and Ballet Theater

The Mariinsky State Academic Opera and Ballet Theater was opened in 1783. Over the years, such great artists as Fyodor Chaliapin, Mikhail Baryshnikov, Vatslav Nijinsky, Nikolai Figner, Matilda Kshesinskaya, Ivan Ershov, Rudolf Nureyev, Anna Pavlova and many others served here. The repertoire included not only ballets, operas and concerts, but also dramatic performances.

The theater building was designed by architect Antonio Rinaldi. In the 19th century it underwent reconstruction. The architect and draftsman Thomas de Thomon carried out a major reconstruction of the Mariinsky Theater. In 1818, the theater was seriously damaged by fire and was subjected to a new reconstruction.

Three troupes performed on its stage at that time: Russian, Italian and French.

In 1936 the auditorium was rebuilt in order to achieve better acoustics and visibility. In 1859, the building burned down, and a new one was built in its place, in which the academic Mariinsky Theater is still located. It was designed by Alberto Cavos. The theater got its name in honor of the Empress Maria - the wife of Alexander II.

In 1869 the great Marius Petipa took over the ballet troupe.

In 1885 the theater had to go through another reconstruction. A three-story extension was made to the left wing of the building, which housed workshops, rehearsal rooms, a boiler room and a power station. After another 10 years, the foyer was expanded and the main facade was rebuilt.

In 1917, the Mariinsky Theater received the status of a state theater, in 1920 - an academic one, and in 1935 it was named after S. M. Kirov.

In those years, in addition to classical works, the repertoire included operas and ballets by Soviet composers.

In the post-war years, the theater presented the audience with such productions: "The Legend of Love", "Spartacus", "Stone Flower", "Twelve", "Leningrad Symphony". In addition to G. Verdi, P.I. Tchaikovsky, J. Bizet, M. Mussorgsky, N.A. Rimsky-Korsakov's repertoire included works by such composers as Dmitry Shostakovich, Sergei Prokofiev, Tikhon Khrennikov, and so on.

In 1968-1970 the theater was reconstructed again. The project of the renovated building was developed by the architect Salome Gelfer. After this reconstruction, the theater became the way we see it now.

In the 1980s, a new generation of opera singers came to the Mariinsky. They brightly declared themselves in the productions of The Queen of Spades and Eugene Onegin. The director of these performances was Yuri Temirkanov.

In 1988, Valery Gergiev was appointed to the post of chief conductor, who soon became artistic director. Thanks to his efforts in 1992, the theater again became known as the Mariinsky.

A few years ago, "Mariinsky-2" was opened. The technical equipment of its stage allows you to create modern innovative productions that you could only dream of before. This unique complex will make it possible to implement the most daring projects. Hall "Mariinsky-2" is designed for 2000 spectators. The total area of ​​the building is almost 80 thousand square meters.

Opera repertoire

The Academic Mariinsky Theater offers its audience the following opera productions:

• "Idomeneo, king of Crete";
• "Lady Macbeth of the Mtsensk District";
• "Christmas Eve";
• "Pelleas and Melisande";
• "Mermaid";
• "Sister Angelica";
• "Khovanshchina";
• "Spanish Hour";
• "Flying Dutchman";
• "Betrothal in a monastery";
• "Turn the screw";
• "The Legend of the Invisible City of Kitezh";
• "Tristan and Isolde";
• "Lohengrin";
• "The Enchanted Wanderer";
• "Journey to Reims";
• "Trojans";
• "Electra".

Other.

Ballet repertoire

The Academic Mariinsky Theater has included the following ballet performances in its repertoire:

• "Apollo";
• "In the jungle";
• "Jewelry";
• "The Little Humpbacked Horse";
• "Magic Nut";
• "Leningrad Symphony";
• "Five Tango";
• "The young lady and the hooligan";
• "Sylph";
• "Infra";
• "Shurale";
• "Margarita and Arman";
• "Where golden cherries hang";
• "Flora Awakening";
• "Adagio Hammerklavier";
• "Clay";
• "Romeo and Juliet";
• Symphony in three movements.

Other.

Troupe of the Mariinsky Theater

The Academic Mariinsky Theater brought together on its stage wonderful opera soloists, ballet dancers, choir, and musicians. There is a huge team working here.

The Mariinsky Troupe:

• Irina Gordey;
• Maria Maksakova;
• Mikhail Vekua;
• Vasily Gerello;
• Diana Vishneva;
• Anton Korsakov;
• Alexandra Iosifidi;
• Elena Bazhenova;
• Ilya Live;
• Anna Netrebko;
• Irina Bogacheva;
• Dmitry Voropaev;
• Evgeny Ulanov;
• Ildar Abdrazakov;
• Vladimir Felyauer;
• Ulyana Lopatkina;
• Irina Golub;
• Maxim Zyuzin;
• Andrey Yakovlev;
• Victoria Krasnokutskaya;
• Danila Korsuntsev.

Forgotten ballet

You moved to work from St. Petersburg to South Korea. How popular is Asia with our ballet dancers now?

To be honest, my colleagues move to Europe and the USA many times more often. In South Korea, ballet is only about 50 years old, and the Universal Ballet company (the largest ballet company in South Korea, based in Seoul. - Ed.), where I now work, is 33 years old. In addition to it, the country also has the Korean National Ballet, where only Koreans can work. No discrimination: similar companies exist in other countries, for example, in France. There, too, only the French dance.

- Why did you decide to leave the Mariinsky Theatre?

It all started with the fact that my colleague got a job at Universal Ballet. One day I asked her if they needed dancers there. I sent a video of my performances to the company, and soon I was called to work. I immediately agreed, because I had long wanted to change my ballet life for the better. And the company "Universal Ballet" turned out to have a very rich repertoire: there is something to dance.

The problem is that at the Mariinsky Theater at the moment more attention is paid to opera and music than ballet, which seems to have been forgotten. At first, new performances were still staged at the Mariinsky Theater, choreographers were invited, including foreign ones. But then it all kind of stopped.

Alexei Ratmansky (permanent choreographer of the American Ballet Theatre. - Ed.) was the last of the iconic choreographers to arrive two years ago. He staged the Concerto DSCH ballet to music by Dmitri Shostakovich at the Mariinsky Theatre. For a long time I danced in the same classical productions. But I also wanted some new repertoire, modern choreography.

But if we have a wonderful classic - The Nutcracker, The Fountain of Bakhchisarai, Swan Lake, then maybe modern choreography is not needed?

Without new performances there will be no development of the theater and artists. Abroad understand this. For example, in South Korea we recently danced "Little Death" by Jiri Kilian (Czech dancer and choreographer. - Ed.). This is a modern classic that plays in theaters around the world. But for some reason not in the Mariinsky. And here there is, among other things, the ballet "Romeo and Juliet" directed by Kenneth Macmillan (British choreographer, head of the Royal Ballet in 1970-1977. - Ed.), "Eugene Onegin" by John Neumeier (choreographer, head of the Hamburg Ballet since 1973 . - Ed.), In the Middle, Somewhat Elevated (“Something towered in the middle”) by William Forsyth (American choreographer, his Forsyth Company ballet troupe is experimenting in the field of modern dance. - Ed.).

Factory Gergiev

- Are we becoming a ballet province?

I wouldn't say so. It's just that the Mariinsky Theater is turning into a kind of factory. An artist can have 30-35 ballet performances there per month. For example, I sometimes had to perform even twice a day. At first, people, opening such a tense poster for a month in advance, made surprised round eyes. But one gets used to everything. That's what we got used to over time. Every day they worked, went on stage, performed what they had to. But no one had enough time or energy to prepare new performances, because old things, the repertoire that is being staged, also need to be rehearsed. Many ballet dancers left precisely because of this routine monotonous work.

There are 6-7 performances per month. And we carefully prepare for each of them, because time allows. For example, recently they danced a modern program, and from each foreign choreographer (whose performances were included in this program. - Ed.) An assistant came, with whom we worked together: he explained some nuances, details. Since January, that I am here, I have already received so many emotions and danced so many things!

- Why do you think there is such a conveyor belt at the Mariinsky Theatre?

It's just that the person who is at the head of the theater (Valery Gergiev. - Ed.) Is the same himself. He is very efficient. One day he is in Moscow for a meeting, three hours later he flies to Munich to conduct a symphony orchestra, and five hours later he is back in Moscow at a reception. He apparently decided that his theater should work very actively. Of course, it's not bad. But sometimes I felt like a miner at the Mariinsky Theater: I worked from morning until night. For example, he often left home at 10 am and returned at midnight. Of course, it was very hard. On the other hand, any theater in the world has its own problems.

“North Korean bombs are not afraid here”

How were you received by fellow dancers in South Korea? Was there any increased interest in you, since you are from the Mariinsky Theater?

I did not notice any special enthusiasm. Perhaps, earlier Europeans in the ballet world of Korea were a curiosity, but now everyone has long been accustomed to us. For example, at Universal Ballet, about half of all dancers came from Europe. There are also Americans. By the way, in Korean ballet, a lot is taken from Russian ballet. In particular, there are many productions of the Mariinsky Theater here. Therefore, it is very easy for me here: I danced The Nutcracker or Don Quixote at the Mariinsky Theater, and I dance here.

- What conditions do Koreans provide to our dancers?

The conditions are very good, in this regard they are great. For example, I was immediately provided with housing - a small apartment, good wages, which are many times higher than in St. Petersburg (however, prices are higher here), and medical insurance. At the Mariinsky Theater, ballet dancers, by the way, also did it. For example, a few years ago I had a knee operation on it.

- Is the competition in the ballet world higher in Russia or South Korea?

Competition is everywhere, without it you simply do not grow. But she is fit and healthy. I did not feel any sidelong glances or conversations behind my back either in St. Petersburg or in Seoul. But even if they say something about me, I am so immersed in work that I don’t notice it. In general, stories about glass fragments in pointe shoes and smeared suits are a myth. In my entire career in ballet, I have never encountered this. And I hadn't even heard of it. No bases.

- Asia is a completely different world. What was the hardest thing for you to get used to in South Korea?

When colleagues at the Mariinsky Theater found out about my departure, they said that it would be psychologically very difficult for me to live there. But in Seoul, I was so immersed in my profession that I felt absolutely nothing. I just dance without this St. Petersburg race and feel absolutely happy. Unless you need to learn the language. But you can live without it in Korea. The fact is that the local people are very friendly. Once you get lost in the subway or on the street, they immediately come up and offer help in English, asking where I need to go.

- And how do they feel about North Korea? Do you feel tension from such a difficult neighbor?

No. It seems to me that no one even thinks about it and is not afraid of Korean bombs. Everything is very calm here, and it seems that nothing is happening at all. There are no terrorist attacks, no disasters, not even some major scandals. But, despite the fact that it is so comfortable here, I still miss St. Petersburg, my family and the Mariinsky. This theater really gave me a lot. I studied there, gained experience, formed my taste, I danced there. And it will forever remain in my memory.

One of the oldest and leading musical theaters in Russia. The history of the theater dates back to 1783, when the Stone Theater was opened, in which drama, opera and ballet troupes performed. Department of opera (singers P.V. Zlov, A.M. Krutitsky, E.S. Sandunova and others) and ballet (dancers E.I. Andreyanova, I.I. Valberkh (Lesogorov), A.P. Glushkovsky, A.I.Istomina, E.I.Kolosova and others) from the drama troupe took place in 1803. Foreign operas were staged, as well as the first works by Russian composers. In 1836, the opera A Life for the Tsar by M. I. Glinka was staged, which opened the classical period of Russian opera art. Outstanding Russian singers O.A. Petrov, A.Ya. In the 1840s the Russian opera troupe was pushed aside by the Italian, which was under the patronage of the court, and transferred to Moscow. Her performances resumed in St. Petersburg only from the mid-1850s. on the stage of the Circus Theatre, which was rebuilt after a fire in 1859 (architect A.K. Kavos) and opened in 1860 under the name of the Mariinsky Theater (in 1883-1896 the building was reconstructed under the guidance of architect V.A. Schroeter). The creative development and formation of the theater is associated with the performance of operas (as well as ballets) by A.P. Borodin, A.S. Dargomyzhsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov, P.I. Tchaikovsky (many works for the first time) . The activity of the conductor and composer E.F. Napravnik (in 1863-1916) contributed to the high musical culture of the collective. A great contribution to the development of ballet art was made by the choreographers M.I. Petipa, L.I. Ivanov. Singers E.A. Lavrovskaya, D.M. Leonova, I.A. Melnikov, E.K. Mravina, Yu.F. Platonova, F.I. Stravinsky, M.I. and N.N. Fignery, F.I. Chaliapin, dancers T.P. Karsavina, M.F. Kshesinskaya, V.F. Nizhinsky, A.P. Pavlova, M.M. Fokin and others. , including A.Ya.Golovin, K.A.Korovin.

After the October Revolution, the theater became state, since 1919 - academic. Since 1920 it was called the State Academic Opera and Ballet Theatre, since 1935 - named after Kirov. Along with the classics, the theater staged operas and ballets by Soviet composers. Singers I.V. Ershov, S.I. Migai, S.P. Preobrazhenskaya, N.K. Pechkovsky, ballet dancers T.M. Vecheslova, N.M. V. Lopukhov, K. M. Sergeev, G. S. Ulanova, V. M. Chabukiani, A. Ya. Shelest, conductors V. A. Dranishnikov, A. M. Pazovsky, B. E. Khaikin, directors V. A. Lossky, S. E. Radlov, N. V. Smolich, I. Yu. Shlepyanov, ballet masters A. Ya. Vaganova, L. M. Lavrovsky, F. V. Lopukhov. During the Great Patriotic War, the theater was in Perm, continuing to work actively (there were several premieres, including the opera “Emelyan Pugachev” by M.V. Koval, 1942). Some theater artists who remained in the besieged Leningrad, including Preobrazhenskaya, P.Z. Andreev, performed in concerts, on the radio, and participated in opera performances. In the postwar years, the theater paid great attention to Soviet music. The artistic achievements of the theater are associated with the activities of the chief conductors S.V. Yeltsin, E.P. Grikurov, A.I. Klimov, K.A. Simeonov, Yu.Kh. , choreographers I.A. Belsky, K.M. Sergeev, B.A. Fenster, L.V. Yakobson, artists V.V. Dmitriev, I.V. Sevastyanov, S.B. Virsaladze and others. In the troupe ( 1990): chief conductor V.A. Gergiev, chief choreographer O.I. Vinogradov, singers I.P. Bogacheva, E.E. Gorohovskaya, G.A. V.M.Morozov, N.P.Okhotnikov, K.I.Pluzhnikov, L.P.Filatova, B.G.Shtokolov, ballet dancers S.V.Vikulov, V.N.Gulyaev, I.A.Kolpakova, G.T.Komleva, N.A.Kurgapkina, A.I.Sizova and others. He was awarded the Order of Lenin (1939), the Order of the October Revolution (1983). Large-circulation newspaper "For Soviet Art" (since 1933).

See also Mariinsky Theatre, List of Opera Singers, Ballet Company of the Mariinsky Theatre, Opera Company of the Bolshoi Theatre. Contents 1 Soprano 2 Mezzo Soprano 3 Contralto ... Wikipedia

See also the Mariinsky Theatre, the Mariinsky Opera Company, the Mariinsky Ballet Company, Directors and choreographers of the Mariinsky Theatre, Conductors of the Bolshoi Theater until 2000 after 2000 Konstantin Nikolaevich Lyadov Eduard Frantsevich Napravnik ... ... Wikipedia

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Main article: Mariinsky Theater The repertoire of the Mariinsky Ballet includes numerous productions, both created in recent years and those with many years of tradition behind them. Mariinsky Theatre, 2008 ... Wikipedia

Main article: Mariinsky Theater The repertoire of the Mariinsky Theater includes numerous productions, both created in recent years and those with long-standing traditions ... Wikipedia

See also Mariinsky Theatre, Conductors of the Mariinsky Theatre, Opera Company of the Mariinsky Theatre, Ballet Company of the Mariinsky Theatre, Directors and choreographers of the Bolshoi Theater until 2000 after 2000 Smolich, Nikolai Vasilyevich Eifman, Boris Yakovlevich ... Wikipedia

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The Mariinsky Theater brought the ballet "Anna Karenina" to Moscow. He will compete for the prestigious Golden Mask award. 40 years ago Rodion Shchedrin wrote the music and presented the ballet to Maya Plisetskaya. She was the first to dance Karenina. Now the main part is performed by three stars. There are almost no decorations on the stage. The main thing is the dance, bright and passionate.

She admits that she would have dreamed of living in the 19th century, if only for the sake of such dresses and hats. Ekaterina Kondaurova, a rising star of the Mariinsky Theatre, has ballet shoes in a huge bag, 6 pairs, as many as you may need for this crazy rhythm performance, and a worn volume of Tolstoy. Her Karenina is sensual and selfish.

Anna Karenina for the prima of the Mariinsky Theater Diana Vishneva is a woman on the verge of a nervous breakdown.

“She is tormented between love for her family, for her son and the Vronskys - this is a woman who is on the verge,” says the prima ballerina of the Mariinsky Ballet Company, People's Artist of Russia Diana Vishneva.

Alone in the silence of a ballet class, Uliana Lopatkina is focused and thoughtful. I am sure such strong women as her Karenina live today, and although they wear jeans and drive cars, they still dream of true love.

Even at the premiere in St. Petersburg, her dance was admired by the one for whom this ballet was written by Shchedrin 40 years ago. The first Anna Karenina - Maya Plisetskaya.

The choreographer Alexei Ratmansky decided to dance Tolstoy's novel from the end. Anna is no longer alive. And Vronsky recalls their all-consuming passion, which began with a fatal meeting on the platform. There is a minimum of scenery on the stage, and the world in which Anna and other characters exist is recreated with the help of video projections - the station, the Karenins' house, the hippodrome. And the events themselves rush with great speed to the sound of wheels.

The life-size railway car is a full-fledged character of the tragedy and one of the most impressive images. He will turn to the audience with frost-covered windows, then the cozy world of a first-class compartment. And it's like living your own life.

Behind the conductor's stand is maestro Valery Gergiev. After all, it was his idea to put on the stage of the Mariinsky Theater the modern "Anna Karenina" - a ballet that instantly became a hit throughout Europe.

“It seems to me that for the theatrical Moscow, this is also, to some extent, an interesting journey through three performances, if someone is lucky enough to see all three,” said Valery Gergiev, People’s Artist of Russia, artistic director of the Mariinsky Theater. “Maybe it will be for fans ballet an interesting and, perhaps, in some ways even a fascinating journey through the same performance three times.

Three Annas. Impulsive - Diana Vishneva, passionate - Ekaterina Kandaurova, majestic - Ulyana Lopatkina - on the stage of the Stanislavsky Theater, for three evenings in a row, the love story of one woman will be told by three prima Marinka - brilliant and completely different.