Diana Vishneva: "I do not consider myself a ballerina. The embodiment of Mamina Dreams

24.06.2019

Biography Haruki Murakov Haruki Murakami emphasis

Surely passionate ballet fans more than once saw talented performances by fragile, gentle and gifted dancers Diana Cherry. Let's talk about a man from Bohemia in more detail, tell me why it all began, and what is busy Diana in our day.

The first steps

Where the Niva River flows, in the cultural capital on July 13, 1976 a small future ballerina was born. The girl on the nature it was written that she would conquer Star Olympus in the future and he would become a great dancer.

Mom baby by nationality Tatarka, her name is Guzel. She fell into Leningrad from distant and sunny Kyrgyzstan, the code came to learn. Dad - Victor, worked as an engineer.

As soon as Gusel gave birth to a daughter, she immediately realized that she wanted that she was studying dancing, because once he herself dreamed of fluttering on stage in a snow-white pack.

As soon as the Dianochka turned six, her immediately was taken to classes in the local house of the pioneers. So the dream of a family is incredibly distant from creativity began to embody.

At first, no one could think that the little duckling would get a beautiful, graceful swan, striking his persistence and desire.

Choreographers are now remembering the Vishnev as a lady incredibly serious, thoughtful, grabbing literally every word, every movement.

At 11 years old, the girl only enters the Vaganova School with the third time, which is located in Leningrad. Since 1987, Diana has been a new student at the Ballet Academy.

Small summary

Age Daria Cherry: 40 years old.

Place of birth: Leningrad.

Growth of the ballerina: 168 centimeters. These are the optimal parameters for the ballerina.

Social activities: Ballet, tour, coaching, participation in shows, projects, ballet artist.

Marital status: official marriage.

First successes

In 1994, a young student of the Academy is waiting for the first serious award - the Gold Medal, as well as the Grand Prix. All this was obtained at the annual competition of ballet artists, held in the city of Lausanne, in Switzerland.

It was this victory that Diana does not just like a girl learning dancing, but leads it to a new professional level from which a huge leap in a career begins.

Prima

And now a year, young Vishneva gets there, where thousands of girls and young people dream of getting to get into the Mariinsky Theater.

Diana Vishneva, the growth of which was rather rapid, as in the most real fairy tale receives a role in the ballet "Cinderella", naturally, the main one. About this dancer did not even dare even dream.

After the triumphal performances and many collected ovations, the ballerina trust the parties in the Don Quixote and the "Nutcracker", where it performs the role of Masha.

It passes another year, and no one else, like Dina Vishneva, is becoming a new bottom of the theater. In fact, it did not surprise anyone, because the young girl can only be resting to the young girl, talent and excerpt.

Style that cannot be repeated

Now it's no secret that Diana Vishneva is a ballerina with a grand creative potential, going straight to the cherished goal.

Mom dancers recalls how a very small daughter asked to sew something special for her, not like others. And if suddenly, ugly things were bought as a gift, the girl just refused to wear them.

Behind the clothes sometimes had to drive Moscow, just so it was possible to find what satisfied the taste of a little fashionista.

The Guzel even learned to sew and knit so that the beloved daughter always had an exclusive outfit. The girl has always dressed stylishly, bright and beautiful, differing from its peers permanent change of wardrobe new things.

Festival Diana Vishnevaya

A talented actress admits that she has long had an idea to introduce a viewer with modern dance, as well as show new trends in global ballet.

For this, Vishneva came up with, and after created the festival, which is called Context. And for several years since 2013, Prima shows the public different directions in the world of dance.

One of the main tasks of the festival, to help develop young testers, show the public something new, accustomed to unprecedented, surprise and conquer. But the masted stars, bright performers also participate and demonstrate their skills, experience.

The festival, passing under the auspices of the cherry, starts in the capital and lasts there for several days, where the audience enjoy the performance of both world-famous stars and young, beginner talents.

The program of speeches includes creative evenings, master classes, as well as various improvisations, lectures, and even filmmakers.

For the audience and for ballet artists, the festival is a real ball, a carnival, a holiday where you can show yourself and make the public with energy.

Also behind the scenes of Diana with partners discusses creative plans for the future, as well as the development of ballet and its directions.

Diana Vishneva and Abramovich

Pretty long obsessive paparazzi broke her head over one question: "What are Diana and Abramovich?". The reason for curiosity was the fact that Diana Vishneva and Roman Abramovich constantly appeared together at various events. Also, Roman is one of the main assistants in organizing events, and also sponsors of projects developed by the ballerina.

Rumors dispelled when the Roman Abramovich appeared at the CONTEXT festival closing ceremony in November 28 with his beloved wife Darya Zhukova. Journalists were extremely disappointed.

Personal life

The first time the artist married the dancer, the star of Ballet Faruha Ruzimatova. He was a little older spouse, namely for 13 years. The marriage lasted for a long time, the couple broke up.

In 2013, Ballerina binds himself to marriage repeatedly. Konstantin Selenevich became the chosen one. This is a famous director and producer. The marriage ceremony took place in Hawaii, where the ocean is splashing and burns yellow sand.

The husband of the dancer regularly visits her performances, and the girl admits that she worries every time as if she was doing the first steps on stage.

But domestic issues the artist is not too passionate. She admitted that he did not want to spend a valuable time at home routine. Although Diana is confident that with the advent of children in her life everything will change, and the family will come to the first place, rather than creativity.

Diana today

At the moment, Diana Vishneva is a ballerina, which is recognized as one of the greatest worldwide. Critics in one voice called the girl a multi-zone, believing that she skillfully owns a face and talentedly transmits all emotions. The body of the dancer is compared with the famous violin of Stradivari, as thin, flexible and perfect.

Each role is possible cherry brilliantly. She always lays out completely, trying to show the audience the whole essence of his heroine. That is why it appreciates and love for the talent, for the love of art, for the dedication of work, for the versatility and willingness to surrender to the roles completely.

Soft and shy in life, Diana admits that it is very fundamental and demanding towards himself and colleagues during rehearsals. And it is not easy to work with it. Although the moments occur when Vishneva hates ballet. After all, in the theater should always be strong. But next to loved people, she can be completely different: fragile, weak and very tender.

I often understand that I hate my ballet.

- Do you admit the idea that something more important than ballet appear in your life?

I am not what I admit, I probably dream about it. The Ballerina Age is short enough, and I hope that I will have a completely different life, after I leave the scene.

- Do you have situations when you understand that hate ballet?

Often.

- Do you have to intrigue in the theater, because it is believed that life in the ballet is very closely intertwined with the goats and intrigues?

Of course, it is, but I completely once weave intrigue. I'm busy completely different. But I always have a very sorry for people who squander themselves on the goats against colleagues.

- How do you react if you understand that a person clearly jealizes and wants to do some nastiness?

I do not undertake anything, I know that the time will pass and this person will either understand that he was wrong, or something will happen and he will only be worse because of his intrigue.

Best days

Ballerina dreamed of becoming my mom

- Who belonged to the idea to give you to a ballet school?

It was a mummy of a dream, she herself wanted to become a ballerina since childhood herself, but her parents did not give her to a ballet school.

- And you did not have internal resistance during the first years of ballet classes?

No, it was not. I entered the school, I liked to do there. And there were always successes and results. I was the leader in the classroom, and it spurned me. Therefore, it was absolutely not even strained me, there was no dissense with my worldview. In addition, if I wanted something else, I would probably have changed everything, but I liked it.

- However, you entered the ballet school only with the third time ...

But this is not because I did not have data. I have always had top grades, and I was in the first students. And did not take, because then everything was very difficult, and it was necessary to have acquaintances in ballet circles. And I am not from the artistic family. My parents of chemists, people of science. When I did, the contest was 90 people per place, a lot of nonresident. I think the stories about the obstacles that touched me when entering the ballet school, the fruit of the imagination of journalists. Teachers really wanted to take me, but did not work. It is now taking everyone in a row, and it used to be difficult to get into the ballet. At least, of those people who came with me with the highest balas, no man reached the graduation class. And that's it.

I do not depend on the opinion of the family

- What kind of relationship do you with your family? You made a career very early, how much do you now feel dependent on the opinion of the parents?

I probably never had a dependent, another thing that I was - both in childhood, and now - quite obedient. And to the opinion of parents and teachers always listened. But I never depended on it. They understood it and welcomed. I believe that it is very important to have your opinion, taste, principles and goals.

- Please tell me about your family. Who are your parents, what do they do?

I have a stunning family. I grew up in a very warm house, where there was only a positive. My dad for me is the absolute ideal of the head of the family, father, supports.

- You are not the only child in the family. Are you close to your sister?

Oksana older than me for 5 years and now she lives in Australia. I got married and left. She always wanted to live abroad. Unfortunately, we communicate a little. It so happened that we have completely different interests.

- What are the main lessons you made from communicating with parents, what family values \u200b\u200bconsider the main?

Nobility, intelligence, kindness, love. In my family did not speak about it, but showed their feelings actions.

In ballet, you should always show your power

- In what situations do you feel like a weak woman and when you have to show that you still have the character of a real ballerina?

In principle, you always need to be strong. Although I want to be weak, but somehow fails. Each time, on the contrary, you need to be stronger and stronger, and of course, of course, I want to be next to your beloved.

- Do you admit the idea that there is a person not from the ballet sphere next to you? Is this an obstacle, because the dancers travel a lot and rarely come at home.

Life is long, so I do not see the problems in this.

- What is for you in second place after the ballet?

In the first place I have love, and the ballet is another life. No, the ballet stands for me quite separately. This self-affirmation is probably growth in human and in a professional plan. But he is not standing on the first or in second place.

- If a man do you like, can you take the first step towards?

I can, but it will be very neat and a person can even not notice it.

- Did you happen in your life unrequited love?

No never.

- How fast can you understand that this is "your" person?

Probably for this I need a day.

- What should happen during this day?

Just a chatting. Yes, anything can happen. The main thing is that when the day comes the end, I did not want to part with this man or I wanted to meet him again tomorrow.

- What are the most insane acts committed fans for you?

Well, huge baskets of colors are quite a frequent manifestation of attention. Many people go to me around the world. Come to the embassy for a visa and to the question where the invitation is said: "And we are on the performance of Diana Cherry." They immediately give a visa.

- Do you communicate with these people?

So far as. I would not say that this is communication. The rapprochement does not need to me nor them.

I am grateful to men with whom we were close

- What feeling you now remember the men who were with you before?

I do not regret anything and grateful to them.

- Do you think the friendship between a man and a woman is possible?

Possible, but rarely. But, probably, the exception is there.

- Do you have men-male?

Yes, but they are very few.

- On the stage you are a volcano passion, and what are you in life?

You know, this is too common phrase - "Passion volcano" ... I have completely different roles, a repertoire, I can not say so about myself. And in life I am quite closed. Probably, I am not quite sociable, but in the circle of friends and loved ones I am very open.

- In one of his recent interviews, you said that they recently broke up with a loved one. What should be a man to pay attention to him, maybe wanted to be with him together?

I do not even know how to say. Probably you immediately feel compatible when you are infinitely comfortable, cozy with this person, when he gives you joy in life, the concept of the meaning of life that you want to feel together.

- Have you ever had situations when your personal solutions did not find support from your parents?

My parents never intervened in my destiny. Even if they don't like something, they always rely on me or on my head, my feelings. I know that even if I have difficult conditions, they will still help me and support. But in principle, I always, in difficult moments, on the contrary, I leave and quit.

I accept your mistakes, like victories

- Did you often have a mistake in your personal life?

Erraw ... I do not consider certain your actions erroneous. Nothing is done - all for the better. I always understood it and knew. There are feelings and there is a mind, they sometimes diverge in different directions. Of all, you make your own conclusions and better recognize yourself. I do not regret anything, because I still do everything very openly, from the bottom of my heart, first of all, I do not lie. And my mistakes, even if they were, I accept, like my victories.

- And it is necessary that a person who go to your premieres with you is interested in the ballet?

This is necessarily, but I should be interested in his life just like mine, otherwise we will quickly disperse.

- Now the idea of \u200b\u200bfree love is very popular, and children are absolutely optionally born in marriages. How do you feel about such an idea?

No it is not for me. I grew up in a normal family and believe that children should be born in marriage.

- That is free love for you unacceptable?

No, acceptable. But this is not a family.

- There were quite many people around you around you, who are ready to buy your love, have you been treated with such indecent proposals?

Yes, it may be as gifts, and the quality of colors, but on my part it ends very quickly.

- How do you think it destroys the relationship between loving people?

Probably the relationship is dying when mutual respect is lost.

- Could you be just a wife, or do you think that we could open your business in the future?

No, just my wife I never wanted to be, I am a freedom-loving person.

- Do you know how to obey?

- What is happening in your personal life now?

Everything is fine. But I would not like to talk about it. Let it remain personal.

I'm not ready to contain a husband

- Do you admit the idea that a man can live at your expense, at least what time?

That can not be, because for me it's just not a man.

- So he must earn more?

He must provide a family. What I earn, can help a family, but not the main source of income. Maybe if I were 18 years old, I would reason differently. And at 18, this is normal. I did not happen to this, so now I have more stringent to financial stability. A man must be absolutely self-sufficient and in professional, and financially. I have such a level that a man just will feel uncomfortable in my shadow. And the relationship will be terminated quickly.

- What is money for you?

Money is comfort, comfort, the opportunity to afford to create a comfort in the house, buy beautiful outfits.

- What are the most pleasant gifts you did to your money, realizing that this is a clear caprication?

I rarely myself, because you have to make money and on the apartment, and on certain things that I would like to have. But I do not consider it dominant, another thing is that I do not know how to count money, they somehow dispose of them. That's when I got my first cash prize at the competition in Lausanne, I was asked me somewhere two hours after the rank of the banquet: "Where is your prize?" And only here I remembered that I left the bag on the table. Oddly enough, the bag with money was on the place where I forgot it. Such a miracle. Very characteristic of me.

- Do you happen to humiliate in order to get some kind of money contract?

Not. I have such a number of proposals that there is no such problem for me.

- In general, in the ballet, did you happen to humiliate?

No, I have so much work that I, on the contrary, do not even have time to implement everything.

- And what can make you give up to work together?

Mutual misunderstanding. If I see that a person is not close to me that we do not have enough time to embody his creative design, or it seems to me that the professional level of the choreographer is not high enough. There is quite a lot of reasons when I won't go for it.

Only a loving person can criticize me

- Many artists say that directors, in order to achieve the necessary "paint" from the artist, sometimes behave hard and even cruelly at rehearsals. Have you ever had such situations and with what heart you remember such directors if it was?

Such situations were, I was even filmed from the premiere, the same foresight, but I do not think that he did hard or somehow wrong. Just so have the circumstances. And at my worldview, it did not affect. It seems to me, more often I am tightly leading at rehearsals. I am a very demanding person, especially in the profession. I'm not so demanding in life, in everyday life I am quite soft and not conflict, but in the profession, if something does not suit me, I can't restrain it and not talk about it. Therefore, in working with me it is very difficult.

There are a lot of people, I can not tell you that someone is an idol for me, but those people who want to be equal to, which are respected, a lot.

- Who can criticize you?

That person who knows me for a long time and loves me. For example, my teacher.

- Do you have any temporary framework about the duration of the ballerina's career?

Of course, I want to dance more and longer, but it is still important to understand that you are not just entering your name, but really correspond to a given high plank. When I have a feeling that I do not reach my professional level, then I will understand what you need to leave.

- How do you imagine your life after the ballet? Many stars of sport, who also finish their career, receive higher education in the heyday. Do you have such plans?

Probably, if my career was not so starry, I would, of course, went to learn. And when you "burst out" in all the theaters of the world, when you fully laid out in the ballet, I'm afraid to go to learn to me will be late after the end of the career. I think I will definitely do foreign languages. I dream to learn French, Italian. But to study some fundamentally new profession is unlikely to. It seems to me that when I leave the scene, I will do so much for the time of my career, which I want to just rest if there is such an opportunity. Or maybe I will open my ballet school.

- Is there any sphere in which you feel deeply mediocre?

No, I will not in any area in any field, another thing is that I do not have enough time. I have a computer, but I don't even turn it on, it stands in itself as the subject of the interior. However, I am a profan in the computer sphere just because I do not do it.

Diana Viktorovna Vishneva was born on July 13, 1976 in Leningrad in the family of chemot engineers Viktor Gennadevich and the Pagimovna Phagimovna. At the sixth aged, he began to study in the choreographic circle at the Poland of Pioneers, in 1987 he entered the Leningrad Choreographic School named after A. Ya. Vaganova (since 1991 - the Russian Ballet Academy).

In 1994, he participated in the International Competition of Pupils of Ballet Schools "Lausanne Prize": Having fulfilled in the final of the Ballet "Coppelia" and the Carmen number, delivered specifically for the competition Igor Belsky, won the Gold Medal.

While still a student of the Academy as an expected party of Kitrie in the Don Quixote ballet on the stage of the Mariinsky Theater. In 1995, graduating from the school in the class teacher Lyudmila Kovaleva, was adopted in the Ballet Tarpet Theater, since 1996 - his soloist. Rehearsed with Olga Chenchikova.

In 1995, first performed on the stage of the Moscow Bolshoi Theater, performing the number "Carmen" at the final concert "Prize Lausanne" as the winner of the previous competition. Then, along with the Faru, Ruzimatov, who became its constant partner, was invited to perform in the play of the Bolshoi Don Quixote Theater.

In 1996, for the performance of the party, Kitri was awarded the "Benua dance" prize, and for the performance of one of the parts of the ballet "Symphony to Major" - Golden Sofit's prize. In the same year, he performed a party in the play "Romeo and Juliet" dedicated to Galina Ulanova (Romeo - Victor Baranov).

Vishneva has repeatedly performed on the scenes of the largest theaters of the world as with ballet of the Mariinsky Theater, and on their own. In 2001, he performed the main parties in the performances of the Bavarian ballet "Manon" and the La Scala Theater "Sleeping Beauty" (Editorial Rudolph Nureyev). The following year, he performed on the stage of the Paris Opera, fulfilling the Kitrie's party in the Don Quixote ballet (editorial office of Rudolf Nureyev, Basil - José Martinez). During the tour of the ballet troupe of the Mariinsky Theater in New York, he performed on the Metropolitan-Opera stage, soling in Bayaderk baltals (Reconstruction of Sergey Vikhareva), "Don Quixote" and "Ruby".

Since 2002, the invited soloist of the Berlin State Ballet: Vladimir Malakhov invited her to dance with him the play "Giselle" in this theater. They then performed on the scene of the theater in Mikkeli, fulfilling the party in the ballet "Sleeping Beauty" and Pa-de-de-Music Tchaikovsky (George Balanchine choreography).

Since 2005, the invited soloist of the American ballet Theater, where he fulfilled the desired main parties in the ballet "Swan Lake" and "Raimond", which could not fulfill on the stage of the Mariinsky Theater by virtue of his role.

In 2007, at the age of 30, awarded the title of people's artist of Russia. In October of the same year, the premiere of the first personal project Diana was held on the stage of the Mariinsky Theater - Silenzio (director Andrei Mighty, choreographer Alexey Kononov). In the same year, she became the "face" of the fashion house "Tatiana Parfinova".

In 2007, Vishneva began to cooperate with the American producer Sergey Danilian and his ARDANI ARTISTIS Agency together, they prepared several ballerina solo projects ("Beauty in Movement", "Dialogues", "on the verge"). The first program, Beauty in Motion ("Beauty in Motion"), the premiere of which took place on February 13, 2008 in California, was created in collaboration with Alexey Ratmansky ("Lunar Pierreo"), Moses Pendleton (Flow - for Love of Women ("from love for a woman ") and Duyaten Roden (" Turns of Love ").

In 2010, I established a fund to promote the development of ballet art Diana Vishnevoy. In the same year, he starred in the short film director Rustam Hamdamov "Diamonds".

In 2011, he worked with choreographer Eduar Lokom, performing his body La La La Human Steps in ballet on Peressella and Glucket music.

In 2012, he was the chairman of the Jury of the Ballet project on the TV channel "Russia-Culture".

On February 17, 2013, in Lausanne, along with the troupe, Maurice Bezhar Diana performed in Bolero, becoming the first after Maya Plisetsk Russian Ballerina who performed the solo party in this ballet.

In November 2013, the premiere of the third solo project Vishnevoye - On The Edge ("Rights") was held in California, in which Choreography Jean-Christopa Mayo and Carolin Carlson entered.

In 2013, it became one of the organizers of the International Festival of Contemporary Choreography Context, which first performed the choreography of Jiji Kilian ("Clouds" to the music of Claude Debussy, a partner - Marcelo Gomez). In November 2014, the festival was held again. Vishneva performed at three productions: in the premiere of Hans Hans Van Manune "Old Man and I" (partner Eric Gauthier) and Marco Heke "Killed", as well as in the flooring of Lightfut and Sol Leon "Object of Change".

February 7, 2014 participated in the opening ceremony of the 2014 Winter Olympic Games in Sochi, where he performed the dance of the world of the world "- Pendleton's choreography paraphrase for the" Beauty in Movement "program (Waters Flowers -" Water Flowers ", 3rd Flow Ballet) . The commentators of the direct broadcast of the ceremony of Vishnev was represented by television viewers, as one of the greatest ballerinas of modernity.

November 7, 2014 made his debut in the new ballet John Neumayer Tatiana. The premiere took place on June 29, 2014 in Hamburg.
Personal life

On August 27, 2013, Diana Vishneva married his producer Konstantin Selinevich, with which the ballerina is associated with a long relationship. The wedding ceremony took place in the Hawaiian Islands.
Repertoire

Ballets of classic repertoire

Choreography XX century

"Nutcracker" Vasily Winonen - Masha
"Shehherazada" (Zobeida), "Fire-Bird" (Firebird), "Vision of Roses" (Girl) and "Swan" Mikhail Fokina
Romeo and Juliet Leonid Lavrovsky - Juliet
"Legend of Love" Yuri Grigorovich - Mehmene-Ban
"Onegin" John Kransko - Tatiana
Apollo (Terraticor), "Symphony to Major" (III part), Pa-de-de on Tchaikovsky's music, "Rubina", Ballet Imperial George Balanchina
"In the night" Jerome Robbins - I duet, partner Victor Baranov
"Carmen" (Carmen, Don Hose - Faruh Ruzimatov); "Youth and Death" of Rolan Petit
Manon Kennet Macmillana - Manon
Spring and Fall, "Lady with Camellia" (Margarita Gauthier), "Tatiana" (Tatiana Larina [* 5]) John Neumayer
"Ring around the ring", "Bolero" Maurice Bezhar
"Cinderella" (Cinderella), "Ecstasy Poem", "Anna Karenina" (Anna Karenina), "Lost Illusions" Alexei Ratmansky

Modern choreography

Steptext, In The Middle Somewhat Elevated William Forsight
"Apartment" Mats Eka
Vertigo Mauro Bigonzetti (partners - Vladimir Malakhov, then Marcelo Gomez)

Solo projects

"Diana Vishneva: Beauty in motion" (choreography Alexei Ratmansky, Dwight Rogen, Moses Pendleton)
"Diana Vishneva: Dialogues" (choreography Martha Graham, John Neumayer, Paul Lightfut and Sol Leon)
"Rim" (choreography Jean-Christopa Mayo and Caroline Carlson)

Awards and Prize

1994 - Gold Medal of the International Ballet Competition "Lausanne Prize" (Switzerland)
1995 - Benoa Dance Prize
1996 - Award of the Artistic Agency "Ardani" "Divine", Golden Sofit Prize in the nomination "Best Women's Ballet Part"
1998 - Baltika Prize
2000 - State Prize of the Russian Federation
2001 - Theater Prize "Golden Mask"
2002 - "Dancer of the Year - 2002" (Prize of the Journal Dance EUROPE [clarify])
2003 - the prize of the magazine "Ballet" "Dance Soul"
2007 - People's Artist of Russia
2009 - Theatrical Prize "Golden Mask" (in the nominations "Best Women's Role", "Contemporary Dance / Women's Role" and "Critics Prize")
2010 - Ballerina Decade (International Concert Project "Stars of Ballet of the XXI Century")

Diana Viktorovna Vishnev. Born on July 13, 1976 in Leningrad (now St. Petersburg). Russian ballerina. Prima-ballerina of the Mariinsky Theater (since 1996) and the American Ballet Theater (in 2005-2017). People's Artist of the Russian Federation (2007).

Father - Viktor Gennadevich Vishnev.

Mother - Guzazali Phagimovna Vishnev.

Parents Diana - chemist engineers. Mother also has a higher economic education.

From six years old began to dance in the choreographic mug in the Leningrad Poland of Pioneers. She studied the most different dances - Gypsy, Hutsul, Cuban, etc.

He was engaged in sports - Run, rode skiing, swimming. As Diana recalled, her father traveled to training and self-discipline. Sports hardening She later helped in ballet.

In 1987 he entered the Leningrad Choreographic School named after A. Ya. Vaganova (since 1991 this is the Russian Ballet Academy). As Diana told, she has a very artistic mother who has had a great influence on her fond of ballet.

In 1994 he participated in the International Competition of Pupils of Ballet Schools "Lausanne Prize". Having performed a variation in the final from Ballet "Coppelia" and the Carmen number, delivered specifically for the competition Igor Belsky, won the Gold Medal.

While still a student of the Academy as an expected party of Kitrie in the Don Quixote ballet on the stage of the Mariinsky Theater.

In 1995, graduating from the school in the class teacher Lyudmila Kovaleva, was adopted in the Ballet Tarpet Theater, since 1996 - his soloist. Rehearsed with Olga Chenchikova.

Repeatedly performed on the scenes of the largest theaters of the world with the ballet of the Mariinsky Theater, and independently.

In 2001, he performed the main parties in the performances of the Bavarian ballet "Manon" and the La Scala Theater "Sleeping Beauty" (Editorial Rudolph Nureyev). The following year, he performed on the stage of the Paris Opera, fulfilling the Kitrie's party in the Don Quixote ballet (editorial office of Rudolf Nureyev, Basil - José Martinez).

Since 2002 - the invited soloist of the Berlin State Ballet. Vladimir Malakhov invited her to dance with him the play "Giselle" in this theater. They then performed on the scene of the theater in Mikkeli, fulfilling the party in the ballet "Sleeping Beauty" and Pa-de-de-Music Tchaikovsky (George Balanchine choreography).

From 2005 to 2017 - the invited soloist of the American ballet theater, where he performed the desired main parties in the ballet "Swan Lake" and "Raimond", which could not fulfill on the stage of the Mariinsky Theater by virtue of his role.

In 2010, I established a fund to promote the development of ballet art Diana Vishnevoy. In the same year, he starred in the short film director Rustam Hamdamov "Diamonds. Theft".

In October 2011, the premiere of the next solo project Vishnevoy - "Dialogues" took place on the stage of the Mariinsky Theater. For this program, choreographer John Neumayer created for the ballerina "Dialogue" - a duet to the music of Frederick Chopin (partner - Thiago Bordin). Also in this program, Diana first of the Russian ballerina performed the choreography of Martha Graham ("Labyrinth") and danced the floor of Lightfut and Salon Subject to Change (Affiller - Andrei Merkuryev) created for her.

Diana Vishneva - Carmen

In 2012, he was the chairman of the Jury of the Ballet project on the TV channel "Russia-Culture". In the same year, he entered the ranking of the Forbes magazine "50 Russians who won the world."

On February 17, 2013, in Lausanne, together with the troupe, Maurice Bezhar Diana performed in Bolero, becoming the first after the Russian Ballerina, who performed the solo party in this ballet.

In November 2013, the premiere of the third solo project Vishnevoye - On The Edge ("Rights") was held in California, in which Choreography Jean-Christopa Mayo and Carolin Carlson entered.

November 7, 2014 made his debut in the new ballet John Neumayer Tatiana, whose premiere was held on June 29 in Hamburg.

Removed for the covers of famous fashion gloss. For example, in May 2015, on the cover of Harper, "s Bazaar Ballerina demonstrated hits of the Spring-Summer Louis Vuitton Collection.

Diana Vishneva in Harper "s bazaar

On April 1, 2016 he spent in his native theater in honor of Lyudmila Kovalevoy "Dedication to the teacher", in which he herself participated along with other student.

"The myth on how to be easy to be a ballerina, partly generated by the film Darren Aronofsky" Black Swan ". In the cinema put a broken glass into the Punts Treaters - and received a party of dreams. And in life everything is completely different: you need to work at the limit of opportunity, and Not only at the beginning of the way. Our profession is beautiful, but at the same time requires the colossal force of character and iron will ", Diana said.

"I never dream, but I put goals and go to them", "she told about the secret of her success.

Diana Vishneva (documentary)

Rising Diana Cherry: 168 centimeters.

Personal life Diana Cherry:

He consisted in relations with the dancer Faruh Ruzimatov, its partner on stage.

On August 27, 2013, he married his producer Konstantin Selinevich. The wedding ceremony took place in the Hawaiian Islands.

He said about his spouse: "He is my main defense and support - a unique person who needs nothing at all. We have a complete harmony. Before meeting him, I did not believe that it is possible, especially with my work, character, overloads, stress , which naturally affect the emotional state. He takes on all my experiences. "

At one time, the ballerina attributed a novel with an oligarch. The latter was often seen in the Royal Theater in London, where Diana performed. In 2012, the billionaire entered the Big Ballet Board of Trustees. However, the oligarch called it "Chushye". On August 2017 spoke in August - after it became known about the parting of a businessman with Darya Zhukova.

Diana Vishneva filmography:

2000 - Krotkaya
2000 - Faruj and Diana (documentary)
2009 - Petersburg. Contemporaries. Diana Vishneva (documentary)
2010 - diamonds. Forest (short) - ballerina

Repertoire Diana Cherry:

Don Quixote (Kitri);
Pas de Quatre (Fanny Cherito);
"Grand Pas Classique", "Giselle" (Giselle);
Corsair (Gulnar);
Grand Pas from the ballet "Pahuta" (variation);
"Bayaderka" (Nikia);
"Sleeping Beauty" (Princess Aurora);
"Swan Lake" (Odette and Odile);
Raymond (Raymond);
"Nutcracker" Vasily Winonen (Masha);
"Shehherazada" (Zobeid);
"Firebird" (firebird);
"Vision of Rose" (girl);
"Swan" Mikhail Fokina;
"Romeo and Juliet" Leonid Lavrovsky (Juliet);
"Legend of Love" Yuri Grigorovich (Mehmene-Banu);
"Onegin" John Cranko (Tatiana);
"Apollo" (Terraticor);
"Symphony to Major" (III part);
"Rubins" Ballet Imperial George Balanchina;
"In the night" Jerome Robbins;
"Carmen" (Carmen);
"Young and Death" of Rolan Petit;
Manon Kennet Macmillana (Manon);
Spring and Fall;
"Lady with camellias" (Margarita Gauthier);
Tatiana (Tatiana Larina);
"Ring around the ring";
"Bolero" Maurice Bezhar;
"Cinderella" (Cinderella);
"Ecstasy Poem";
"Anna Karenina" (Anna Karenina);
"Lost Illusions" Alexei Ratmansky;
In The Middle Somewhat Elevated William Forsight;
"Apartment" Mats Eka;
Vertigo Mauro Bigonzetti.

Which starts in November in Moscow, - Svetlana Bondarchuk met with the famous ballerina and art director of the festival Diana Vishnevoy. Among the topics affected in a conversation were both professional - about the fate of modern dance in Russia, and personal: Diana spoke about the wife, businessman Konstantine Selinevich, about friendship, fashion, cooking and good appetite.

Diana Vishneva

I have seen Diana Vishnev many times on the stage and every time I caught myself thinking that it was not a ballerina dance. This dance is a great dramatic actress. I empathize her heroine, live with her life and continue to think about her even after the performance. This year Diana celebrated the 20th anniversary of life on stage. For many of the "ballet shop", this would mean the beginning of the sunset, but Diana everything dials height. Continuing to dancing in classic ballets, she makes a career as a dancer of modern choreography: mastering new dance languages \u200b\u200band techniques, breaks the canons, which herself collapsed perfectly. The third year in a row Diana spends a festival of modern choreography context in Moscow. Diana Vishneva. I am pleased to go to these performances and every time I discover something unexpected, sometimes shocking. There are no dances on pointers, packs, core land; Sometimes the dancers are dressed in simple trico, their plastic is unusual, the lines are broken, but it captures no less than the eternal 32 Foute. This year I am going to the festival again - it will be interesting to see the Argentine Tango on the suspended ropes and the performance of the world famous American troupe Marta Graham. And of course, the performances of Diana itself at the opening and closing of the festival are simply impossible.

Diana, I have repeatedly had to hear the opinion that modern dance gives ballerinas the opportunity to stay on the stage much longer. How complies with the truth?

No, this is an absolute myth - that, losing the form in the classic ballet, you can go to modern choreography and continue to dance with the same success. And the fact that modern choreography is easier, also does not correspond to the truth. On the contrary, in the classic ballet, much makes you easier for you: the technique, the teaching, spectacular variations - all this distracts the attention of the public directly from you. And in the modern dance you are all like on the palm, you have nothing to hide and it all depends on whether you have something to tell the audience or not.

With Arthur Shersterikov at the rehearsal of the play Live (Stopping the Dutch Masters of Choreography Hans Van Mannen), which will be presented within the framework of the festival in Moscow

An example of longevity in Ballet is Maya Plisetskaya, which went on stage and 75 years. Do you imagine yourself in 20 years on stage?

Hard to say. Maya Mikhailovna is an outstanding personality. And it is unique, not even by what went to the stage at 75, and the fact that the first in the Soviet Union he said about the new understanding of the dance, about the new aesthetics, about the new style. "Carmen-Suite", with which she went to the scene of the Bolshoi Theater in 1967, overcoming so much the obstacle was revolution. Plisetskaya first began to handle the walls that seemed indestructible. I am grateful to the fate for the fact that I happened to communicate with Maya Mikhailovna, be friends with her. She headed the Board of Trustees of our Festival, and this year the context will be devoted to her memory

Maya Plisetskaya and Diana Vishneva

You are Ambassador of the modern dance in Russia. What do you see your mission?

The mission, first of all, to acquaint Russia with the best, which is happening in modern choreography, brought not only loud names, but also something fundamentally new. There are different dance styles and directions, and we all connect them at one point. This is context. Another very important point is the development of modern choreography in Russia. It is important for us to support young choreographers.

Recently, in Russia, you are increasingly associated with a modern dance, but in the West Diana Vishnev want to see mainly in the classic ballet?

It all depends on the theater, from the dance company. If you are talking about the "Metropolitan Opera" (this summer on the Metropolitan stage in New York Diana danced Giselle, Juliet and Aurora. - Ed.), Then a classic repertoire prevails there. It's like a Mariinsky Theater. But if I come to the company of modern choreography with my projects, there is a reverse situation. Sometimes people are surprised that I am prima-ballerina, say: "Oh, we need to watch you in the classic ballet."

Do you consider yourself a Russian ballerina or a man of the world?

Of course, I am a man of the world. But I remain the Russian ballerina. For me, a huge honor that I studied in the best ballet school in the world, I started my way in the Mariinsky Theater. I feel great gratitude to my teachers to the native theater. How many in me were invested, how much I absorbed - all this is still manifested more and more.

Diana Vishneva in Lake Swan, 2008

You are from St. Petersburg, from an intelligent, but not ballet family.

Yes, I have parents - chemists. Mom has two formations - it is an economist and chemist, and dad is a candidate of chemical sciences.

How did it happen that the daughter got into ballet?

I could say that this is an accident, but I believe that there is a certain design of fate in everything. Everything happened as it should have happened. Being a ballerina was not my dream and was not Blezly Mom, although it was she who was fond of ballet in our family. As a child, I was engaged in sports, mathematics, went to the dance circle. Developed a versatile, as they said in those times. I can not say that I was often drove on my ballet. Parents were young professionals, it was necessary to pay a cooperative ... We did not have the opportunity to go to the theater as much as we would like. But my sister and I were not deprived of communication with art: classical literature, hiking in museums, trips to the suburbs of St. Petersburg - Peterhof, Tsarskoye Selo ... All this was in our childhood. But, of course, when I got to the Vaganov school, I felt that it means to be truly immersed in the world of art. This world fascinated me infinitely.

In the school you were allocated from the crowd of girls?

Yes, allocated. Such to say: "This girl is simply born for ballet," there was no, but I always turned out to be the focus of teachers and children thanks to his adult attitude towards himself. I did not do the same remark several times - I immediately fixed mistakes. All absorbed the maximum, so professionally developed faster. The first failure, when I was not accepted in the school - I did only from the second time, I turned my consciousness. I realized that in this life you need to seek yourself and not to wait for someone's help. You will be helped only if you yourself will work.

The work of the ballet artist is a hard work. From six years you have to spend a few hours for a few hours at a ballet machine.

And every year more and more hours.

I'm trying to compare ballet people with artists show business. Many of them do not have a serious school, allow themselves to sing under the phonogram. But the scale of the fame and the size of the fees in show business is not as an example of ballet. Not hurt?

It all depends on how you think. You either think of ideas, strive to realize yourself, or you think about fees. Then this story is not about ballet at all. Ballet is a sacrifice, this ministry. In childhood, we all understand this, and in a conscious age everyone has to make a choice. If you are worried about how much you pay for it, it is better not to go out on the scene.

"Bolero" in the formulation of the choreographer Maurice Bezhar with Diana Vishnevoy, the audience saw on November 20 and 21 at the evening of Maya Plisetskaya in the Bolshoi Theater

But if the thought is still present: "You see, I work so much ..."

To do this, there is a theater that works on a talented unit, associates, colleagues, patterns ... When you realize yourself as a ballerina, as a person, you just have no time to think about it.

Do you have any talismans or rituals to go to the scene?

Of course have. But I would not want to tell about them. I am not a man that is superstitious, but I am very careful about everything. I am cancer on a horoscope. For me, numbers, signs, dreams are important. I listen to dreams, trying to guess them, decipher.

If before the premiere you black cat will move the road, you will not cancel the performance?

Of course not. But I will note in the mind that it is likely to be collapsed with some difficulties, overcome obstacles. It does not necessarily happen something bad. Sometimes problems help rapidly achieve a positive result.

Ballet people are superstitious?

Yes, superstitious. But at the same time, all are people believers. The scene is a magical space. To enter it every time, we need strength. Vera man helps a lot. Everyone on the stage with his guardian angel is coming.

Diana Vishneva and Svetlana Bondarchuk

And if there is a bad mood, trouble or unhealthy and do not want to dance, but necessary?

Of course, it happens. We are all people. It happens that suddenly in half an hour before the start of the play, the nervous end of some kind of squeezing, and I feel that I can't even move, in the eyes of tears, but I'm still going with forces. There was a very terrible case in my life - in 2002, when I first acted on the stage of the Paris Opera. It was an incredibly responsible event. Paris Opera - a kind of closed society: the performances of foreign artists here are rather rare. At least earlier such cases could be counted on the fingers. I had to dance Kitrie in Don Quixote, one of my most successful parties. I was preparing for the outlet on the scene, and suddenly the call from the hospital. I was told that a person close to me in resuscitation. It was such a blow that I could not even say anything in response. Just put the phone ... What to do in this case? Cancel performance? It is impossible. Therefore, you are going to, concentrate, "bury" this pain inside yourself, realizing that then it will manifest itself even more.

I once watched your husband and producer Konstantin Selinevich behind the scenes, when the performance was walking, and was surprised how much he worries!

Sometimes it seems to me that he is experiencing even more than me. But I am glad that he changed on this "post" of my parents. Konstantin, as a real man, can hide his emotions, and parents just got different from all these stresses. Once my mother told me: "I no longer go to your performances. I'm so worried that I still see anything." She sighed with relief only when the performance ended.

Diana Vishneva with spouse, businessman Konstantin Selinevich

When the performance ends, Konstantin also sighs with relief. He stands behind the scenes - happy, proud.

The most important thing is that it does not become my fan. And does not perceive ballet as his life.

How do you spend your free time? Traveling?

We are all clearly planned. The profession made me very disciplined. Recompute to rest carefully to see as many cities, attractions, museums, exhibitions. When I talk about how much I managed to see on vacation, I tell me: "God, you are so ambitious!" It surprises me: What's wrong with that? If I were not ambitious, I would not become a barrier. I do not have time to swing for a long time. Time flies rapidly. This also applies to my career, and in general life. Therefore, I try to be the most organized absolutely in everything.

Do you have a hobby, hobbies?

Drama theater and films. I watch a lot of films. When you need to switch or when the strength is enough only to lie down without movement, the cinema helps a lot.

And something domestic, purely female ... For example, could you prepare lunch?

If I want, I will do it. And yet, if I have free time, I will rather go to the theater or to the exhibition. I feel sorry to waste time to prepare dinners. True, someone said to me once: "When you have children, you will love it all."

I am very rarely preparing, but if I have a rush, I do everything with such love that, it seems to me, it turns out very tasty.

So it should be. Everything needs to be done with love, putting the soul. I do not find this love in myself. It seems to me if I start cooking, I just ruined the products.

There is a stereotype that ballet people limit themselves in food. I am familiar with many ballet - they have a wonderful appetite and all of them are a normal physique.

Ballerina should feel his muscle corset, which is needed for balance. If you are too thin, you just can not do anything. There are such, you know, the ballerica girls are thin, like pods, but, unfortunately, with their body weight, they are not able to perform elements that are required in classical choreography and in modern. Ballerina is experiencing physical exertion, often large than in sports, but at the same time its emotional state should be light, air. The viewer should not see what strength she is all worth it. He should see that for her to dance is as natural as to breathe.

I would like to make you a compliment. I consider you one of the most stylish women in Russia. You and Renata Litvinova, my girlfriend. You have both style absolutely unique, completely unusual. When I hear from someone: "And what, is it fashionable?" - I want to answer: "It's not fashionable. It is elegant!" Where did you get this special understanding of the style?

Probably since childhood. I was still very small, put down the legs, waved with handles, but I already asked my mother to sew something unusual to me. Mom I have a real needlewoman. She stunningly sewed and knitted, herself got tasteful and tried that my sister and us were dressed with a highlight. Mom she sewed me a school uniform. It was profitably different from the standard - and the tint, and the silhouette ... I refused to wear ugly things. And if in St. Petersburg it was impossible to buy cute boots, we went to Moscow, defended the turn in the "Children's World", but they bought what looked better. I was really a pretty capricious child in this regard. And now it's very serious about your outfits and scenic costumes.

Diana, and friends do you have among the representatives of your profession?

Sure. Choreographers and partners are the people with whom you communicate very close, and over time they become friends. The scene partner is almost a native person. You know him closely, all the circumstances of his life, feel his mood. This is a friendship, and a kind of professional "maritime". In general, the world of ballet and modern choreography is quite narrow, and human contacts are very important. If you return to the context festival. Diana Vishneva ... I would never have been able to organize such a challenging event, communicating by phone, by e-mail. Here, as never has a reputation. I worked with many dance companies, I was seen what is called, in the case, a certain opinion of me and trust appeared. Only, I was able to ensure that the best modern dance troupes want to come to us and perform at our festival.