Maria Alexandrova is one of the most popular ballerinas in the modern history of the Russian scene. It is elegant, talented and graceful - that is why the recognized critics and simple ballet fans are all as one, call it one of the best dancers in our time.

But what else can I tell about this extraordinary and distinctive girl? How did its theatrical career develop, and what are the most significant moments to attach her fate? Shed light on some moments of past artist we will try today.

Early years, childhood and family Mary Alexandrova

The talented dancer was born on July 20, 1978 in the city of Moscow. In the capital of Russia, her creative career began; It also happened and all its most significant successes.

It is worth noting that the dances have always been an important part of the life of our today's heroine. She started his creative path in the "Kalinka" ensemble, however, it was already quite early to begin to show considerable interest in the ballet. At ten years, Maria Alexandrova entered the Moscow State Academy of Choreography, where he began to study under the leadership of L. A. Kolenchenko. Subsequently, Her mentors were L.V. Bladjan and S.N. Golovkin.

The first roles of Mary Alexandrova

In the period of study, she took part in the ballet productions "Nutcracker", "Copily", "Shopenian" and many others. For a long time, her partner on stage was the famous dancer Nikolai Tsiskaridze in the future.

Diploma on the end of the MGAH Our today's heroine received in 1996. In the same period, it began to appear at various international festivals.

Maria Alexandrova - Nikolai Tsiskaridze

A Moscow competition of ballet artists was especially successful for Mary Alexander. As part of this forum, held in the Russian capital in 1997, the girl performed the variation of Gamzatti from "Bayaders", as well as some other interesting parties. The bright performance of our today's heroine brought her the first premium of the competition, and with her a prestigious invitation to the Bolshoi Theater's troupe.

Career Ballerina Mary Alexandrova

Finding on the stage of the Bolshoi Theater Solo Party Maria Alexandrov began in debut for themselves season 1997-1998. It seems very noteworthy that at that time our today's heroine was still listed by the dancer. During this period, she participated in such productions as "Son Don Quixote", "Bayaderka", "Legend of Love", "Nutcracker" and some others. In those years, Her mentor and tutor was MT. Semenova.

October 1997, a talented young ballerina performed the first solo party for himself - the role of the queen in the formulation of "fantasy on the subject of Casanov". The speech was successful, and only a month later, Maria Alexandrova went as part of the troupes of the Bolshoi Theater on tour in New York.

Monologues about themselves. Maria Alexandrova.

At the beginning of the 1998/1999 season, the talented ballerina was translated from the number of Corgeneck dancers in the category of corgeek. In the modern ballet, the representative of this category of dancers is allocated from the total number of dancers of the core land and are among them in the foreground.

After that, new bright performances followed, which did not leave unnoticed prominent Russian critics. In 1999, the authoritative magazine "Ballet" awarded Alexander prestigious award in the nomination "Rising Star".

So high recognition pushed a young ballerina to new achievements. In 1999, she performed several new numbers in ballet productions and was already officially translated into soloists of the Bolshoi Theater. During this period, Tatyana Golikova became its permanent tutor. In this context, it is worth noting that it is with her a ballerina practicing and so on.

Since 2000, Maria Alexandrov became one of the main stars of the Bolshoi Theater. Together with his ballet troupe, our today's heroine traveled, without exaggeration, polim. Theater tour was held in various cities of Russia, as well as in France, in the United States, Finland, Italy and many other countries in the world. As the ballerina itself is recognized, throughout the career she received proposals from the theaters of Paris, New York and some other cities. However, it was not necessary to decide on the move.

In 2004, for the execution of the party in the ballet "Light Ruch", Maria Alexandrov received a prestigious theater award "Golden Mask". A year later, in the collection of personal awards of our today's heroine, there was also a certificate of awarding the title of Honored Artist of Russia. Four years later, a talented dancer was also awarded the title of People's Artist of Russia.

In his entire career, Maria Alexandrov performed more than sixty different parties, most of which are still considered a sample of high ballet art.

Maria Alexandrova today

At present, our today's heroine is also performing on the stage of the Bolshoi Theater, and also travels with him on tour in different cities of the Earth. In August 2013, there were reports in the press that the girl received a serious injury during the tour in London. Today, the ballerina is under the supervision of the best doctors in Europe. However, the very fact of returning to a large scene is currently in question.

Personal life Mary Alexandrova

In 2005, Maria Alexandrova married a man named Sergey. As ballerina itself says, her chosen is an artist. However, something more specific about him is not known. The dancer herself speaks of his husband, as an ideal man "Brunette with blue eyes."

Publications of the partitions of theaters

Modern Russian ballerinas. Top 5.

In the presented five leading ballerinas included artists who started a career in the main musical theaters of our country - Mariinsky and Big - in the 90s, when the situation in politics, and behind it, and in culture was rapidly changed. The ballet theater became more open due to the expansion of the repertoire, the arrival of new choreographers, the emergence of additional opportunities in the West and at the same time more demanding on performing skills.

This short list of new generation stars opens Ulyana Lopatkin, which came to the Mariinsky Theater in 1991 and is almost completed by his career. At the end of the list - Victoria Tereshkin, which also began working in the era of perestroika in ballet art. And immediately behind it is the next generation of dancers, for whom the Soviet heritage is only one of many directions. This is Ekaterina Kondaurova, Ekaterina Krysanova, Olesya Novikova, Natalia Osipova, Oksana Kardash, but about them another time.

Ulyana Lopatkin

Today's media are called the student of Natalia Dudinskaya Ulyana Lopatkin (born in 1973) "style icon" of the Russian ballet. In this cast determination there is a grain of truth. She is the perfect Odett Odileness, a genuine Two-Litter Heroine "Swan Lake" in the Cherkin-Refined Soviet version of Konstantin Sergeyev, who also managed to develop and convincingly embody the other swan image in the decadent miniature Mikhail Fokina "Dying Swan" Camille Saint-Santa. According to these two works recorded on video, there are thousands of fans on the street on the street around the world, and hundreds of young ballet students try to comprehend the craft and solve the secret of reincarnation. The sophisticated and sensual swan is Ulyana, and for a long time, even when the new generation of dancers eclipses the brilliant Pleiad of the Ballerin 1990-2000, Odeta-Lopatkin will burn. She was also unattainable, accurately and expressive in Raymond Alexander Glazunov, "Legend of Love" Arif Melikov. It would not be called an "style icon" and without deposit in George Balanchic Balanchi, whose American heritage, the culture of the Russian Imperial Ballet, Mariinsky Theater was mastered when Lopatkin was at the peak of Career (1999-2010). Her best roles, it is roles, and not in the parties, since Lopatkin is able to dramatically to fill offevozhny compositions, became solo works in "diamonds", "piano concert number 2", "Theme with variations" to the music of Peter Tchaikovsky, "Walla" Maurice Ravel . Ballerina also participated in all avant-garde projects of the theater and according to the results of cooperation with modern choreographers will give odds to many.

Ulyana Lopatkin in choreographic miniature "Dying Swan"

Documentary film "Ulyana Lopatkin, or Dancing on weekdays and on holidays"

Diana Vishneva

The second by virtue of birth, just for three years younger shovel, a student of the legendary Lyudmila Kovaleva Diana Vishneva (born in 1976) in reality never "came" the second, but only the first one. It so happened that Lobatkin, Vishneva and Zakharov, separated from each other in three years, went side by side near the Mariinsky Theater, full of healthy rivalry and at the same time admire huge, but completely different opportunities for each other. Where Lopatkin reigned by a languid graceful swan, and Zakharova formed a new - urbanist - the image of romantic gissels, Vishneva performed the function of the goddess of the wind. Without graduating from the Academy of Russian Ballet, she already danced on the stage of Mariinsky Kitrie - the main heroine in the Don Quixote, a few months later showed its achievements in Moscow on the stage of the Bolshoi Theater. And at the age of 20, the Mariinsky Theater Prima Ballerina became, although many have to wait for the increase to this status to 30 or more. In 18 (!) Vishneva tried on the role of Carmen in the room, who was composed of Special for her Igor Belsky. In the late 90s, Vishneva was rightly considered the best Juliet in the canonical edition of Leonid Lavrovsky, she became the most graceful Manon Lesko in the same name of Kennet Macmillan. From the beginning of the 2000s, in parallel with St. Petersburg, where he participated in many productions of such choreographers as George Balanchine, Jerome Robbins, William Forsight, Alexey Ratmansky, Angela Leszhokazhazh, began to perform abroad as an invited pool ("Ballet Star"). Now Vishneva works more often in its own projects, ordering ballets for yourself to famous choreographers (John Neumayer, Alexey Ratmansky, Caroline Carlson, Moses Pendleton, Dwight Roden, Jean-Christoph Mao). Ballerina is regularly dancing in the premieres of Moscow theaters. Huge success accompanied by cherry in the ballet of the Bolshoi Theater in the choreography of Mats Eka "Apartment" (2013) and the play of John Neumayer Tatyana on Evgenia Onegin Alexander Pushkin at the Moscow Music Theater named after Stanislavsky and Nemirovich-Danchenko in 2014. In 2013, it became one of the organizers of the November festival of modern dance Context, which since 2016 passes not only in Moscow, but also in St. Petersburg.

The documentary "Always in motion. Diana Vishneva "

Svetlana Zakharova

The younger in the top three of the famous chicks of the Academy named after A. Vaganova from the 90s, Svetlana Zakharova (born in 1979) instantly caught up his rivals and overtook them into something, enrolling them, like the great Leningrad ballerinas Marina Semenov and Galina Ulanov, "To the service" in the Moscow Bolshoi Theater in 2003. Over his shoulders, she had a beautiful teacher of ARB Elena Evheeva, experience with Olga Moses, Kirovsky ballet star 70s, and a gigantic track record. In any of the performances of the St. Petersburg period, Zakharova was distinguished brightly. Its skate, on the one hand, were the interpretation of the heroine in the old ballets of Marius Petipa, restored by Sergey Vikharev, and soloist in the avant-garde productions of leading choreographers - on the other. According to natural data and the "technical characteristics" of Zakharov, it was not simply superior to colleagues in the Mariinsky Theater and after in Big, she entered the cohort of the most sought-after ballerinas of the world, who dance everywhere in guest status. And the most important ballet company Italy - ballet La Scala - suggested a permanent contract in 2008. Zakharova at some point admitted that the Swan Lake, Bayadek and Sleeping Beauty in all possible scenic editions from Hamburg to Paris and Milan. In the Bolshoi Theater, shortly after moving Zakharova to Moscow, John Neumayer put his software ballet "Sleeping in the Summer Night", and the ballerina flashed in it in the double role of Hippolyte Titania in a pair with the Oberon Nikolai Tsiskaridze. She also took part in the formulation of "Ladies with Camellias" Neumayer in Big. Zakharova successfully cooperates with Yuri Stow - she danced in the Bolshoi Theater of his "Cinderella" in 2006 and in 2015 performed the role of Knyagini Mary in the Hero of Our Time.

The documentary "Prima-ballerina of the Bolshoi Theater Svetlana Zakharov. Revelation"

Maria Alexandrov

At the same time, when the Triad of St. Petersburg dancers conquered the North Palmyra, the star of Mary Alexandrova (born in 1978) rose in Moscow. Her career developed with a little delay: when she came to the theater, the Ballerinas of the previous generation were successful - Nina Ananiashvili, Nadezhda Gracheva, Galina Stepanenko. In ballets with their participation Alexandrova - bright, temperamental, even exotic - was on the second roles, but it was it that all the experimental premieres of the theater. Another young ballerina critics saw Alexei Ratmansky's ballet "Dreams of Japan", soon she was already interpreted by Catherine II in Boris Eifman's ballet "Russian Hamlet" and others. And debuts in the main parties of such ballet plans as "Swan Lake", "Sleeping Beauty "," Raymond "," Legend of Love ", she was patiently waiting for years.

The fateful became 2003, when Alexandrov chose the choreographer of a new wave of the Rada to Poklitar as Juliet. It was an important performance that opened the road of a new choreography (without pointes, without classic positions) in the Bolshoi Theater, and the revolutionary banner kept Alexandrov. In 2014, she repeated her success in another Shakespearean ballet - "Taming of the Shrew" in the choreography of Mayo. In 2015, Alexandrova began cooperation with choreographer Vyacheslav Savorov. He put on her ballet about theatrical stoken - "curtain" in Yekaterinburg, and in the summer of 2016 he chose Undin on the role of the same name in the Bolshoi Theater. Ballerina managed to use forced waiting time to catch up with a dramatic side of the role. The secret source of its creative energy aimed at hypocrisy does not dry up, and Alexandrov is always in combat readiness.

Documentary film "Monologues about yourself. Maria Alexandrov "

Victoria Tereshkin

Like Alexandrova in Big, Victoria Tereshkina (born in 1983) was in the shadow of the above-mentioned troika ballerin. But she did not wait for someone's retirement, she began to vigorously capture parallel spaces: experimented with beginner choreographers, was not lost in the difficult ballets of William Forsight ("Approxing Sonata", for example). I often did what others did not take, or were taken, but did not cope, and Tereshkina did everything and it turns out absolutely everything. Its main skate was impeccable ownership of the technique, the endurance and the presence of a reliable teacher were helped by a reliable teacher - Lyubov Kunakova. It is curious that, unlike Alexander, who went to genuine drama, which is only possible on a ballet scene, Tereshkin "put" to improve the technique and built a triumphant inconseability into the cult. Her favorite plot, which she always plays on stage, grows out of a feeling of form.

Documentary film "Tsarist Lodge. Victoria Tereshkin "

The famous ballerina and just beautiful Maria Vinogradov dancing on the stage of the Bolshoi Theater. Hello! Represents an exclusive photo session and an interview with the new star of the Russian ballet. She dances Salfid and Giselle, Sparta Freigia's girlfriend in the same name and dicarka Balu in the new play "Hero of our time" on Lermontov, supplied by choreographer Yuri Stow and director Kirill Serebrynikov under the curtain of last season. Talented, artistic, technical, perfectly folded, real beauty Maria Vinogradova - decoration of the Scene of the Bolshoi Theater. The last summer Maria Vinogradov became the wife of the famous dancer, the stars of the Bolshoi and Mikhailovsky theaters Ivan Vasilyeva: now they are increasingly dancing together. On October 3, Vasiliev and Vinogradov came out together in "Giselle" on the stage of the Mikhailovsky Theater in St. Petersburg, and in the spring of Maria participates in the new premiere, which her husband is preparing.

Masha, become a ballerina - was it a dream of childhood?

Yes, I was only three years old, but I could no longer live without dancing and music. Parents saw my passion and decided to give me to the dance circle. There began to manifest my abilities. I turned out to be very soft, moving joints - they in children in principle are soft, elastic, but I could simply "tie" in any node. (Smiles.) For some time I did in this circle, and then I was taken to the Locks song and dance ensemble. There I learned that all the girls come to some kind of mysterious academy of choreography. I decided that I needed there too.

- Your parents from the ballet world?

No, completely. Mom - economist, and dad - chemist. No connections in the ballet world they never had ...

- That is, you entered the choreography academy not by Blat.

What are you, in what blat? I do not recognize this approach at all. Just by virtue of my dumb character: I am twins on a horoscope - always achieve your own.

At the Academy, you probably dreamed of becoming a soloist, and not the "third swan right"?

Well, of course. (Smiles.) Appetite comes while eating. In the first grade of the school, I am not very good "stood on my feet" by ballet standards: I had a four classic dance, but already from the second class "excellent." I worked a lot, and over time I began to give solo parties. When I went to the scene of the Bolshoi Theater in "Bayaderka" - there is a small party that students of the Academy usually perform - I realized that I want to dance only here on this legendary scene. In 2006, after graduating from the Academy, I was invited to watch to the Bolshoi Theater and accepted into the troupe.

- In the Bolshoi Theater you started with the corpsoretole?

Yes, this is an ordinary practice: no matter what the leading parties you danced at the Academy, - in the theater you are all starting from scratch. I started with the second cord of ballet. Then he moved to the first. Then she became a Corofay, soloist, the first soloist. I passed all the way - from the very first stage to the leading soloist.

- Today what your role is the most favorite party? Giselle, probably?

Yes, Giselle. I still love the batch of wiring in the "Legend of Love" Yuri Grigorovich - Ballet, who returned to the historic stage in the past season. When theater was on the repair, the performance was left of the repertoire, and I consider it a great happiness that he was returned. Again, happiness to work with Yuri Nikolayevich Grigorovich. I first got in touch with him when I danced Anastasia in his ballet "Ivan Grozny", - he approved me for this role. Yuri Nikolaevich is a real genius.

In the ballet premiere of a big, play "Hero of our time", you dance Bal. Decoders saw your hot temperament?

I do not know. (Laughs.) But I really like my heroine, and the whole party is generally very beautiful. But not simple. All 30 minutes while the performance lasts, you are on stage, and there is no possibility even to translate the spirit. Plus a sophisticated costume. He is three-layer. In the course of the action, I expose it and remain in the top and pants, but before that you have to dance with such a cargo.

- Masha, and you daring and wild, like Bal?

- (laughs.) I'm not sure that wild, but unpredictable. This is best to ask my husband. Vanya tells me: "Every time I do not know what to expect from you."

You met, rehearsing Spartak. How did your novel arose? He is Spartak, you are Frigia. You are separated in the slaves market ...

- (smiles.) I do not think that it is worth carrying such parallels ...

- What could Ivan Vasilyev conquered you? In addition to talent, of course.

Very much ... I love him very much. He is just the best. Vanya has a stunning sense of humor. And he is honest, open and, most importantly, the responsible person.

- That is, behind him like a stone wall?

Yes exactly.

- And you are fragile, tender. Caprice?

Capricious. (Smiles.) It happens that my mood is changing often. But Vanya absolutely calmly always perceives. Never annoyed, never start. Perfect person for me. Absolutely.

It is not difficult to assume that you, among other things, have conquered him with their beauty. In general, beauty for the ballerina is a reward or "not the most important thing"?

I do not know ... Sometimes, it happens, I hear to my address: "Here, the face is cute, so it dances." I would not want people to think so about me. Moreover, I do not consider myself some kind of beauty. We have many beautiful girls in the theater.

- Gossip you grieve?

I have a hard character. I have already said: I, if I want, I will not pay attention to anything - that's how cut off. There are, of course, the moments that hurt me. In such cases, I begin to worry, and Vanya calms me: "Well, all, so enough to think about it ..."

- To criticism how are you?

Ivan Vasilyev

The problem was that we did not have time. We hardly found the date when we are both in Moscow. Vanya on the wedding day only at 3 o'clock flew to Moscow. We just painted and dinner with their parents ... But maybe we will arrange a holiday.

- How did Ivan make a sentence?

I returned home from the rehearsal. I went, I saw that the whole room was covered with rose petals.

- Does he pise you?

Yes, terrible. (Laughs.) He constantly makes me some gifts.

- What was the most memorable?

I had a premiere - Vanya was not in Moscow, and he sent me flowers to the theater. After the performance, I approach the service entrance, and there the basket is more than my car size. I left her there. And the next day the guys helped me convey it to the dressing room - she took almost the whole room.

- Do you like to do surprises yourself?

I love very much! I recently did a surprise. We had a week before the end of vacation, and I bought a small tour of Rome for three days. He booked everything, ordered wonderful excursions - to the Vatican and in the Colosseum. Vanya was in Rome many times, but always during the tour, so, in fact, he did not see anything, and he had a long-standing dream to visit the Colosseum. He dances in Spartacus, and it was important for him to see with his eyes arena, where the gladiator fights were passed, to penetrate this atmosphere. It seemed to me, Vanya was very happy.

Your husband tells that you are stunningly cook, and once for your meatball, he almost refused to meet with the President of Russia after the opening ceremony of the Olympiad in Sochi. What were these burgers such magic?

Turkey cutlets with buckwheat. (Laughs.)

- Where did you learn to cook so tasty?

My mother prepares very tasty - probably, this ability to me was transmitted from her. Plus, I have always been interested in different kitchens, I found recipes on the Internet.

People after all think that the ballerina and the kitchen are incomplete things, like genius and evil.

It's not like that at all. Ballerinas are prepared in the same way as everyone. In the summer, my girlfriend I looked dumplings. I cake pies, soups. Of course, when the time allows. If performances go every day, I do not do it. But I always do breakfast: porridge, omelets, scrambled eggs ...

Vasilyev and Vinogradov at home and Vasilyev and Vinogradov on stage - are these two different couples? Can you love each other in your free time and swear rehearsing?

In no case do not swear. I always listen to Vanya - for me, his opinion is very important. Although it happens that I do not have a mood or it is harmful.

- You have danced in his first ballet formulation "Ballet №1" and now cook something interesting ...

You know, I remember work on "ballet number 1" as a very difficult time. (Smiles.) Because it is not enough that we worked at the rehearsal hall all day, and Vanya continued to dance, invent something. I told him: "Will you ever quiet already? Rest." He sat down on the sofa, resting two minutes, got up and started dancing again: "But if so, look?" I remember, I was in the kitchen, and he is in the room. He "pulls out" the Pol Apartments and finds himself next to me. (Laughs.) Now we are proceeding with the rehearsals of the new performances of Vanya, and I feel that the story will repeat.

The season in the theater you started with the Swan Lake. You are executable Russian dance: Russian beauty in Kokoshnik - the role as if created for you. But you want to become Odeta-Odillia?

Yes, Odetta Odile is a dream. But for this image you need to "mature".

Makeup artist and hair stylist: Elena Zubareva (The Agent)
Set-designer: Ilya Nemirovsky
Photographer's assistants: Mikhail Kovynev, Andrei Kharybin
Stylist Assistant: Inga Sobolev
Producers: Yana Rudkovskaya, Natalia Oreshnikova
Clothing: Edem Couture

1997 - I Award of the International Ballet Artist Competition in Moscow.
1999 - the prize of the magazine "Ballet" "Dance Soul" (Nomination "Rising Star").
2004 - the national theater award "Golden Mask" for the execution of the party of the classic dancer in the ballet "Light Creek" by D.Shostakovich in the statement of Alexei Ratmansky (season 2002/03).
2005 - the title "Honored Artist of the Russian Federation".
2009 - the title "People's Artist of the Russian Federation".
2018 - awarded the Leonid Myasin Award (Positano) in the category "Dancer of the Year on International Scene".

Biography

Born in Moscow. Being another student of the Moscow State Academy of Choreography (class) took part in the international competition of ballet artists in Moscow (1997), I won the I award and was adopted in the Bolshoi Theater's troupe. The solo parties began to receive in the first season of work in the theater, which became the last for her, which she spent in the rank of the core-hearth artist. The teacher-tutor Mary Alexandrova was. Currently rehearsed under the guidance. Since 2017, it works in the contract under the contract.

Repertoire

1997
Belle of the ball ("Fantasy on the topic of Casanov" to the music of V.A. Mozart in the formulation of M. Lavrovsky)
first variation in Gran Pa ("Don Quixote" L. Minkus, choreography M. Petipa, A. Gorsky, as amended by Y. Grigorovich)
Mirta ("Giselle" A. Adana, choreography Zh. Coraline, J. Pershot, M. Petipa, in the editorial office V. Vasilyev, and then in the play in the editorial office of Yu. Grigorovich)
freilins ("Sleeping Beauty" P. Tchaikovsky, choreography M. Petipa in the editorial office of Yu. Grigorovich)

1998
Street dancer ("Don Quixote")
Fairy courage ("Sleeping Beauty" P. Tchaikovsky, choreography M. Petipa in the editorial office of Yu.Grigorovich)
soloist ("Dreams about Japan" on the music of L. Eto, N. Yamaguchi and A. Tosh, in the formulation of A. Ratmansky)

1999
all variations in the painting "Shadows" ("Bayaderka" L. Minkus, choreography M. Petypa in the editorial office of Y.Grigorovich)
three DRIADS ("Don Quixote")
soloist III Parts ("Symphony to Major" to the music of J. Balaza, choreography, J. Balanchina) - the first performer in the Bolshoi Theater
mazurka ("Shopenian" on the music of F.Sopen, choreography M. Fokina)
kobylitsa ("Konk-Gorboon" R. Streges in the formulation of N. Lrosova)

2000
Empress ("Russian Hamlet" to the music of L. Van Beethoven and the city of Malera in the formulation of B. Eifman)
Kitrie ("Don Quixote", choreography M. Petipa, A. Gorsky in the editorial office of A. Fadehech)
Ramesa (first performer), Congo ("The daughter of Pharaoh" C. Puni in the formulation of P. Lakotta by M. Petipa)
Gamzatty ("Bayaderka")

2001
Eleventh Waltz ("Shopenian")
prince Peers, Spanish Bride ("Swan Lake" P. Tchaikovsky in the second edition of Yu. Grigorovich, fragments of choreography M. Petipa, L. Ivanova, A. Gorsky) - was among the first performers of the ballet in this edition

2002
Eagina (Spartak A. Khachaturian, Choreography Y. Grigorovich)
Sylphide ("Sylphide" H. Levenchell, choreography A. Bournonville in the editorial office of E.M. Background Rosen)

2003
Classic dancer ("Light Creek" D. Shostakovich in the formulation of A. Ratmansky) - first performer
Clemence ("Raymond" A. Glazunova, choreography M. Petipa in the editorial office of Yu. Grigorovich)
Esmeralda ("Cathedral of the Paris Our Lady" M. Zharra in the formulation of R. Petit)
Mehmen Banu. ("Legend of Love" A. Melikova, Choreography Y. Grigorovich)
Aspicchia ("Pharaoh's daughter")
Juliet ("Romeo and Juliet" S. Prokofiev in the formulation of D. Donnellan and R. Poklitar) - first performer

2004
Fairy Lilan. ("Sleeping Beauty")
pa de de Tchaikovsky (choreography, J. Balanchina)
Lea ("Lea" to the music of L. Bernstain in the formulation of A. Ratmansky, the second edition)
Hermia ("Sleeping in the summer night" to the music of F. Madelson-Bartholdi and D. Liegeti in the production of J. Nomayer) - the first performer by the Bolshoi Theater

2005
Melnichikha ("Tripolt" M. de Fali, Hokerography L. Myasin) - first performer in Russia
Odetta Odile ("Swan Lake")
soloist ("The game in the card" I. Stravinsky in the formulation of A. Ratmansky) - participant of the premiere of this ballet
Raymond ("Raymond")

2006
Carmen ("Carmen-Suite" J. Bizet - R. Shchedrin in the formulation of A. Alonso)

2007
soloist (Misericordes to music A. Pärket in the formulation of K. Wildon) - participant of the world premiere of this ballet
soloist ("In the room at the top" F. Glass, choreography TIP)
Medora ("Corsair" A. Adana, choreography M. Petipa, Staging and new choreography A. Ratmansky and Y. Burlaki)
soloist ("Class-Concert" to the music of A. Glazunov, A. Lyadov, A. Rubinstein, D. Shostakovich, choreography A. Messer)
Schoolgirl ("Lesson" J. Dellerya in the formulation of F. Flidt)

2008
Zhanna ("Flame of Paris" B. Asafieva in the formulation of A. Ratmansky using the choreography V. Winonen) - first performer
variation (participant in the premiere of the ballet in this edition), dirty (Big classic PA from the ballet "Pakhta" L. Minkus, choreography M. Petipa, production and new choreographic editors Y. Burlaki)

2009
Svanilda ("Coppelia" L. Delibe, choreography M. Petipa and E. Cheketti, production and new choreographic editors S. Vikhareva) - first performer
Nikia. ("Bayaderka") - debuted on a large ballet tour in the US
Esmeralda ("Esmeralda" C. Puni, choreography M. Petipa, Staging and new choreography Y. Burlaki, V. Medvedev) - first performer

2010
Countess ("Peak Lady" to the music of P. Tchaikovsky in the formulation of R. Petit)
Princess Aurora ("Sleeping Beauty")

2012
duet ("Dream of Dream" to the music of S. Rakhmaninov in the formulation of J. Elo)
Home Merchal ("Moidodyr" E. Podgaitsa in the formulation of Yu. Skalov) - first performer

2013
plate, Waltz,pylexoSS("Apartment", Music Fleshquartet, setting M. ECA) - premiere participant in the Bolshoi Theater

2014
Katharina ("Taming Stropive" to the music of D. Shostakovich, choreography Zh.-k. Mayo)

2015
Para ("Classical Symphony" on the music of S. Prokofiev in the formulation of Y. Posokhov)
Giselle ("Giselle" in the editorial office of Yu. Grigorovich)
Undine("Mr. oh our time"I. Dhemutsky , part "Taman",choreography Y.Posokhova, director K. Serebrennikov)

2016
Undine ("Undina" H. V. Henz, choreography V. Samodurova)
Cylfida ("Sylphide" in the editorial office of J. Kobborg)

2017
Margo ("Nureyev" I. Dhemutsky, choreography Y. Posokhov, director K. Serebrennikov) - first performer

Participated in the youth "New Year premieres" of the Bolshoi Theater (1997-98), performing in the ballet "Black Out" in the statement of Stephen Frederraya and fulfilling the solo parties in the ballets of Yorga Mannes "Four Kisses" to the music of I.S. Bach and "Love Peripetia" to the music of V.A. Mozart.

In 2001, twice performed in the Bolshoi Theater in Don Quixote Ballet with Prime Minister Abt José Manuel Carreno.

In 2003, he participated in the Gala-concert of soloists of the Bolshoi Theater and the Royal Ballet (Covent Garden) on the stage of the Bolshoi Theater. Performed Pa de de from Ballet "Corsair" A. Aada (choreography M. Petipa), partner Karlos Actuat.

He performed as Romery in the three ideas of the "Pharaoh's daughter", which in 2003 removed the French company Bel Air Media in the Bolshoi Theater for the subsequent release of ballet on DVD.

Tour

In 1997, he spoke in New York on the stage of the Lincoln-Center in the Gala concert of Russian ballet stars, dedicated to Sergey Dyagilev, fulfilled with Nikolai Tsiskaridze a large classic PA to the music of D. Obera (choreography V. Gzovsky).
In 2000, he took part in the gala concert of ballet stars in Madrid (partner Igor Yebra).
In 2001, he danced with a soloist of the Bolshoi Theater Mark Peretokyn Main Parties in the Don Quixote Ballet in the Bashkir Opera and Ballet Theater within International Ballet Festival named after R. Nureyev.
In the same year, took part in the formulation of the dance of Alexei Fadeecheev, fulfilling the part of the soloist I part in the ballet "between the sky and the Earth" (choreography, T. Makintejra) and became the first executor of the Kitrie party in the play Russian chamber ballet "Moscow" (editors M. Lavrovsky).
In 2001-02 Speaker in the role of Mirates in a series of visual representations of Giselle's ballet with star formulations (Julia Makhalin, Diana Vishneva, Vladimir Malakhov, Igor Zelensky) on stage of the Athenian Concert Hall "Megaron".
In 2002, he took part in the Gala concert, accompanied the opening ceremony of the new theater in the city of Apollo (USA). Partner - Nikolai Tsiskaridze.
In 2003, as part of Antprep "Malakhov and Friends" Speaking at the Gala concerts in Athens on the stage of the Hall of Megaron and took part in the International Ballet Festival in Japan (in both cases, Sergey Filin was partner). The program "Malakhov and friends" then took part repeatedly.
In 2007, performed on VII International Ballet Festival "Mariinsky" - in Gamzatti's party in Bayadka ballet (choreography M. Petipa, in the editorial office of V. Ponomareva and V. Chabukiani; Nikia - Ulyana Lopatkin, Solor - Nikolai Tsiskaridze); In the final gala concert, Pa De de de de de de de de de de de de from the ballet "Swan Lake" (partner - a soloist of the Mariinsky Theater Igor Kolb); He participated in the gala concert in honor of Maya Plisetskaya on the scene of the Royal Theater / Teatro Real in Madrid.
2008 - danced the party Odette-Odillia in the ballet "Swan Lake" (choreography M. Petipa, L. Ivanova, in the editorial office of K. Sergeyev) within the framework of the VIII International Festival of Ballet "Mariinsky" (partner - Soloist of the Mariinsky Theater Danil Korsounts);
twice performed in gala concerts International Festival of Classical Ballet named after Rudolph Nureyev (Kazan), fulfilling a classic pa de de for music by D.F.E. Burue (partner - Premier Great Ballet Dmitry Gudanov);
As part of the first Siberian festival, ballet performed in performances Novosibirsk State Academic Opera and Ballet Theater, Having performed the game of Gamzatti ("Bayaderka" in the editorial office of I. Zelensky; Solor - Kryukruk Ballet troupe Ngatob Igor Zelensky, Nikia - Soloist Ngatobe Anna Zharova; soloist Dresden Zemper Opera Elena Elena) and debuting in the party of Princess Aurora ("Sleeping Beauty" in the party Editorial part of K. Sergeeva, setting S. Vikhareva; Prince Desire - Soloist ballet Zurich Opera Semyon Chudin);
Paris in Paris in the Raymond Party in the ballet "Raymond" (choreography M. Petipa in the editorial office R. Nureyev) with ballet troupe Paris National Opera (Jean de Brien - Premier Great Ballet Alexander Volchkov).
2009 - In Novosibirsk, Ngatob performed in the play "Swan Lake" (editors of K. Sergeeva, V. Vibremister) and Don Quixote (Statement S. Vikhareva), fulfilling the party Odettes-Odillia (Prince Siegfried - Soloist Ngatobe Roman Colonels) and Kitri (Bazil - Soloist Ngatobe Maxim Gershenkov).
In the same year, together with Dmitry Gudanov, took part in organizing a concert of ballet stars "Gran Ballet Gala. Masterpieces "held on the scene of the Moscow Academic Music Theater. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko.
Within the framework of this concert, the premiere of the Les Deux Genres Room (Choreography S. Zaronsky) was held performed by the Heroes of the evening, Mary Alexandrova and Dmitry Gudanova, who spoke at this evening and in several other classic and modern rooms.
In 2010, he performed at the Jubilee X International Festival of Ballet "Mariinsky" - again in the party of Gamzatti (Nikia - Victoria Tereshkin, Solor - Igor Zelensky).
Became a regular participant of the project "Russian seasons of the XXI century", initiated by the charity foundation. Marisa Liepa, Sav Entertainment and the Kremlin Ballet Theater. New seasons are designed to revive the new life of the once famous productions of the legendary entreprise of Sergey Dyagilev - "Russian seasons" of the 20th century. Alexandrov became the first executor of the Armid party in the ballet "Pavilion Armida" N. Cherepnin (director-director A. Liepa, Choreography Y. Smorigigasas), whose premiere was held in 2009 on the stage of the State Kremlin Palace. In December 2010, the artist's creative evening was held on the same stage: she spoke in three re-recreated "Dyagilevsky" ballets, fulfilling the capital party in the "Fire-Bird" I. Stravinsky (according to M. Fokin, resumed A. Liepi), solo The party in the "Bolero" M. Ravel (according to B. Nizhinsky, resumed with the participation of H. Mitchell) and became the first woman in the history of the ballet, speaking in the head of Petrushki, I. Stravinsky (according to M. Fokin, resumed A. Lipery) . Within the framework of this project, he repeatedly participated in the tour - in 2009, in Riga in Riga on the stage of the Latvian National Opera and in a number of Russian cities (Yaroslavl, Ryazan, Ivanovo, Izhevsk, etc.), in 2010 - in Paris on the scene of the theater Elysee fields and in several cities of Russia (Yaroslavl, Nizhny Novgorod, Tula).

In 2014, in the framework of the VI International Festival of Ballet "In honor of Catherine Maximova" spoke in Kitrie's party in the Don Quixote Ballet L. Minkus (Editorial Kokorev, Basil - Vladislav Lantratov) with ballet troupe Chelyabinsk State Academic Opera and Ballet Theater. M.I. Glinka.
In 2015, he performed the batch of ballerina in the ballet "Curtain" to the music of O. Repaigs in the formulation of V. Samodurova with a troupe Yekaterinburg State Academic Opera and Ballet Theater (world Premiere).
In 2017, he performed the title party in the ballet "Laurencia" A. Kruin (choreography V. Chabukyani, the editors and production of N. Ananiashvili) with ballet troupe Tbilisi Opera and Ballet Theater. Z.Paliashvili (Frondoso - Vladislav Lantratov);
The party Odettes-Odillia ("Swan Lake" in the editorial office of K. Sergeeva) with ballet troupe Ekaterinburg Opera and Ballet Theater (Prince Siegfried Ilya Borodulin).
2018 - spoke in the Kitrie party in the ballet "Don Quixote" (choreography by A. Gorsky) with ballet troupe Mariinsky Theater (Bazil - Vladislav Lantratov);
Performed the title party in Ballet "Giselle" (O. Korzenkov. E. Ivanova) with ballet troupe Rostov State Music Theater(Graf Albert - Vladislav Lantratov).

Eleganceallure. ; Cloak of silk fabric Masterpeace. AXENOFF JEWELLERY. Jimmy Choo.

Photo: Yaroslav Kloos.
Style: Arina Lomtev
Make-up: Kirill Shabalin @yves Saint Laurent
Hair: Evgenia Lenz
Thank you restaurant SPICES. For help in organizing

Prima Big Theater Maria Alexandrova,

i became the heroine of our festive fashion-shooting, told posta-magazine about the new play, the price of words, "their" and "strangers" and most important in life.

We met with Maria Alexandrova a few days before the premiere of "Kaligula" in the Moscow Gubernsky Theater. In the formulation of the director and choreographer, Sergey Zemlyansky, based on the eponymous play of Alber, the Bolshoi-theater, the Caligules of the Bolshoi Theater playing the wife of Caligules, who in his love for him is ready to take all the blood that he sheds for his own pleasure. It is indifferent to the murders and the inconsistencies of her husband, whose monstrous ingenuity seems to not know the borders. She can't compare in cruelty with Caligula, about which Seneca said that nature created it "Then, to show that unlimited vanity is capable of combined with endless power," but it takes the rules of a dangerous game that in the end leads it to death.

The cesconium performed by Mary Alexandrova is powerful, arrogant, sensual. Its image folds out of the miser depotable movements, barely noticeable turns of the head and rapid views - on the contrast with the clarity of the caligules. It creates anxious voltage by one appearance on stage.

Watching Alexandrova at the premiere, I remembered our conversation with her when she said that I would definitely be a dramatic actress if I hadn't chosen my ballet. It is organic in any image, whether it is an angular student in the "lesson" of Flidt, insane Giselle or proud and self-sufficient Carmen. With the same ease, she was transformed during our shooting: it was a mixed girl, then a Wamps woman, then a comical Naffman from Zoshchenko's stories.

It has the inner force and wisdom adult female - and at the same time some kind of childhood, which is expressed in the ability to appreciate trifles and rejoice in the trifles. And for simplicity in communication, a complex person is felt with principles. Which is very interesting to disclose.

Silk and viscose dress Laroom ; Silver Earrings with Black Spinel, Black Silver Ring with Grenades - AXENOFF JEWELLERY. ; Leather shoes decorated with feathers - Jimmy Choo.

Silk and viscose dress Laroom ; Children's necklace and rhinestone, black silver ring with grenades - AXENOFF JEWELLERY.

Inna Logunova: "Caligula" - plastic, and not a choreographic performance. What is interested in this form? After all, technically for you it is a much less difficult task than ballet statement.

Maria Alexandrov : For two reasons. First, because it is somehow a continuation of the theater - which I as a person who spends all his life on stage is interesting in all forms. The second reason is Sergey Zemlyansky.

Have you worked with him before?

Yes, for the first time we met in 2009 - he set a room for my creative evening. Then for quite a long time in work we did not cross. Three years ago, I got on his "lady with camellias" in the theater of Pushkina and followed by the "Demon" in the Ermolova Theater - incredibly strong performances that I treated me for living. And last year, I literally "flew" in his "auditor" everything in the same Yermolovsky and was simply stunned by a sulfur talent. I got a tremendous pleasure from participating in this performance - from the very formulation and from the team, it was a sip of an incredible positive. Of those moments that stay with you for life. Therefore, when Serezha called me a couple of months ago and offered to take part in a new play, I, without thinking, agreed - and only then began to ask questions: what, where, why?

Dress made of fate and silk, embroidered beads - Eleganceallure. ; Cloak of silk fabric Masterpeace. ; Tiara from silver and mountain crystal, silver earrings with rodolites, a ring of black silver with grenades and a ring of silver with coral - AXENOFF JEWELLERY. ; Leather shoes decorated with feathers - Jimmy Choo.

In the play, you go to the scene together with the hearing hearing actors - it was easy for you to find a common language with them?

We communicate with them as hearing and speaking, there is no cautiousness in this sense. At rehearsals, they helped us when they had to use the language of gestures along the course of action. We also explain to them something, show. We had an amazing atmosphere in the team: everyone understands each other literally from the turn of the back. There were a lot of comic situations. For example, once the guys, sitting in the corner, talked lively on his silent language, and here Seryozha turns to them with the words: "Well, what did you have accepted?"

You say that in a plastic or dance performance is not related to speech, voice. And yet - would like to try yourself in drama?

Sure. I am often asked in an interview: if not a ballerina, who I would become. And I always answer: a dramatic actress. The scene is a world in which I am very interested in where there is no borders and everything is possible. I feel good there.

Bezel with a veil, embroidered sequins - Polyakov Couture. ; Ring of silver with agate, black silver ring with grenades - AXENOFF JEWELLERY.

Better than in ordinary life?

Not that better, rather, clearer.

And what is interesting - reincarnation?

He himself step on stage. Yes, in general everything is interesting. Even like the beam shines. Or does not shine when it needs you so much - and how do you get out of it. In my ballet profession, it is not always possible to reincarnation, sometimes it is simply inaccessible, because we are still very connected by the physical component. And the image consists of different things - rehearsals in the hall, interaction with the partner, from how costume sits.

I always go to the scene when I have something to say. That is why there are also interesting non-classical performances in which you do not have a certain set of movements for which you can hide. If you can sometimes turn off the soul in the ballet and completely go into a bodily incarnation, then you should initially be spiritually filled here, otherwise nothing will happen.

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Somehow, remembering childhood, you said that I still understood that "the ballet would teach you life." The most important thing is what he taught you?

On the one hand, he fence me from a huge amount of misunderstanding, with which we are faced in this life. On the other hand, the feeling of his world and the calling is that I have your own way. Relationship towards people and understanding that we are all different - not bad and not good, just everyone has its own play. And what I always liked in the ballet - this is the opportunity to do without words.

Why do you feel easier without words? You do not impress a closed person.

Because the word for me is very important. If a person said, it means to do. I do not like words for whom there is nothing. I am already adult girl and people judging in actions. In this regard, the ballet is clear to me. I do not argue, it may not work, a role may not work out, but you are trying, that is, you still have a man of business.

About ballet often speak as a closed world, things in themselves. Does your Middle Circle are also predominantly ballet people?

Different. Fortunately. Another thing is that this circle is small. In this sense, I am not a very sociable person.

Velvet dress with mesh - Alexandra Serova. ; Bezel, decorated with feathers - Polyakov Couture. ; Silver earrings with rodolites and a ring of black silver with grenades - AXENOFF JEWELLERY.

We are all intuitively divide people on our own and strangers. I'm not talking about sympathy or dislike. Just with one there is a mental connection, and with others ... while others are just the stists in our lives. Here is your person - what is he?

Talented. Clever. With humor. Reviving in kindness. Let him be mistaken, sometimes it loops on some of his degrongas, but still it is a person who believes in love. Which knows how to work and appreciate what has now. Without causing himself on trifles.

The greatest value in life?

You can not say in one word. A person determines the ability to love, the ability to look at life through this word.

How important is recognition, fame?

Recognition and fame have never been my dream. I always wanted to be interested.

What, even in a school, let's say a fifteen-year-old teenager? At this age, it seems to me, many are cut about glory.

No, there was no such. Never dreamed of money, glory and greatness. How much I remember, always said: I do not want to be the first, I want to be the best. And always believed in love.

Everyone has their own fears that we have to overcome. How do you cope with your own?

And I carry on the steam locomotive. I understand that I'm afraid - and negotiate with myself, I say: yes, there is some loss on the way, but I get much more. With fear, in principle, you can fight only in two ways: either run towards either from him.

What are you not ready to put up with people?

With a lie.

Who are your idols in ballet?

I never had idols, somehow since my childhood I had my own opinion. But always relaxed with great respect to the talent, strong personality, individuality - because it is such people who drive this world. And I never wanted to imitate.

But one way or another the teachers influenced you, because it is inevitable ...

All my teachers in the school in one way or another left their mark. Thanks to one, I have excellent hands, the body is well delivered in the professional sense, the third is the acting personality. I was lucky that the teacher with whom I worked in the theater, Tatiana Nikolaevna Golikova, never interfered with the manifestation of this personality. Probably, she bothered something in me, but she is extremely delicately and competently correcting me and led, for which I am very grateful to her.

Are you a happy person?

What makes you happy?

Very much ... But first of all - I am going dear love: I am engaged in a favorite profession, I work in the beloved theater, I have a loved one and a loving person. And I wonder.

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