Vasiliev ballet soloist personal life. Choreographer Vasiliev Vladimir: biography, personal life, family, photo

People's Artist of the USSR Vladimir Vasiliev - about how to combine painting and ballet, dance Shukshin and instill in choreographers a love of reading.

This year, ballet master and choreographer Vladimir Vasiliev celebrates the 60th anniversary of his creative activity.

In addition to the stage, there is another passion in his life - painting. On the occasion of the anniversary date, an exhibition of his paintings "Tales of Italy" has opened in the Gogol House, and the exhibition "The Dancing Brush" is opening in the Perm Art Gallery the other day.

The People's Artist of the USSR told Izvestia about how to combine classes in different types of art, not to look back at past merits and love the homeland.

Vladimir Viktorovich, you have reached all possible heights in ballet. And now we started painting. Do you think they treat her as demanding as the performances?

Probably ... I don't know ... The main thing is that I myself have a demanding attitude to my own painting. I like the process of work itself, and after that I have a huge number of complaints about myself. This is a normal, completely natural assessment. It seems to me that only amateurs admire the fruits of their creativity. They usually have everything - fine.

Take Chaliapin. He had constant dissatisfaction, the desire to do better tomorrow than today. And so on ad infinitum. Fyodor Ivanovich, by the way, was unusually talented: he sculpted very well, painted.

- You started drawing because you wanted to keep up everywhere, to show yourself in everything?

I just always felt cramped within the same profession! This is not to show: "I can do this, and I can do that." No. I have enough creativity, but everything is interesting to me. When I started to paint, I did it twice a year. She occupied the main profession all the time. Now I paint all the time, every day. And it fills me with the joy of creativity.

- What do you write?

Mostly watercolor, because it's easier to take with you on trips. When I go somewhere, I always grab paints. They were with me in Italy, and in Brazil, and on the Yenisei, and on the Volga. I also paint in oil, but this is only in Ryzhevka in the Kostroma region. It works there like nowhere - only me and nature, and nothing interferes with our merger.

- Have you thought about gaining recognition from major museums?

No. But I am pleased when artists and art critics say that I can call myself a professional artist, when they write reviews, they ask if I sell my paintings. Probably, the time has come for this as well. Especially now.

- Is the pension of the People's Artist of the USSR not enough?

Yes. I think I'm not the only one who would answer that way. But for now, thank God, I can work.

In recent years, you have been paying a lot of attention to young choreographers. With them you staged a performance based on Shukshin's stories. Is it possible to dance Shukshin?

Can. And Shukshin, and Platonov, and other greats. I decided to gather our domestic contemporary choreographers and give them the opportunity to try themselves in a special project.

Within the framework of various festivals, where there is interest in that, we organize creative workshops that are necessarily associated with literature. In them, our contemporary choreographers stage mini-ballets on the theme of the work of one or another writer.

So we made the first performance in Voronezh based on Platonov's works. Literary critics were perplexed: "How can you do a ballet after Platonov?" And after the performance, one of the literary critics told me that, perhaps, he had never seen anything better on stage after Platonov.

“You don’t lead them on the beaten path. Set challenging tasks.

Yes, it’s not easy. Modern choreographers usually do plotless productions. I want to show them how they can work with the plot, with the drama of the performance. Therefore, in my workshop, they should rely on literature and, preferably, on serious music.

It's no secret that nowadays young people read little. And they often lack this knowledge, this foundation. So they have to read more to create their miniatures.

We have already hosted several workshops - in addition to Platonov's, also according to Astafiev (at the Asia-Pacific festival in Krasnoyarsk), according to Shukshin (at the Shukshin festival in Barnaul), according to Gogol (at the opening of the Arabesque ballet competition named after Ekaterina Maximova).

And this month will open the jubilee, fifteenth "Arabesque". And there will also be a workshop - according to Tolstoy, to the 190th anniversary of his birth. It is fortunate that it will be filmed and even shown online on its website by the Kultura TV channel. And we will be able to show the opening of the competition to a larger number of spectators.

I cannot say that the workshop is some kind of lessons from Vladimir Vasiliev. Rather, I try to share with young people my experience and the valuable heritage that I myself received from my great teachers and predecessors.

- Why don't you give lessons at the Bolshoi Theater School?

I have not received any invitations to the Moscow Ballet Academy yet, but I have already done a lot for the Bolshoi Theater School in Brazil. I am happy to come and work where they love and wait for me. For ten years I headed the department of choreography at GITIS. And he was happy there.

Now the number one task in choreography is to captivate a person emotionally, to make him sympathize with the heroes on stage. And for this you need to know a lot in all areas of art.

I was shocked by the information that you received the title of People's Artist of the USSR after the Paris Academy of Dance awarded you the Vaslav Nijinsky Prize, calling you the "Best Dancer in the World". Did it really play a role?

In the Soviet Union, the recognition of the West, if it had any significance, was not to such an extent that, for this reason, the "people's" was given. Our title was not awarded for this. It took more than one year to seriously prove that you are worthy of this title. And it really was supreme and had great weight.

- What could have spurred the officials?

It was spurred on by the fact that I had the main roles and premieres at the Bolshoi Theater. By that time I had already danced Spartak.

- Still, after Spartak, not to give a "people's"!

For him I received the Lenin Prize. And I am philosophical about the definition of "The best dancer". What's the best? In this game, maybe the best, and in that - someone else.

- Some do not hesitate to say from the TV screen that they are the best.

Truly great masters, with whom I was fortunate enough to meet or work, the word "I" was uttered extremely rarely. And this only added to their greatness and dignity. However, times are different now: advertising and flashing on the screen are an important means of promotion.

- You can't remind yourself of yourself - no one will.

Maybe it’s important for young people now - I don’t know. But time puts everything in its place. It is the main and, in general, the only judge. Though everything will be forgotten someday. Recently, it has been 20 years since the death of Galina Ulanova. Did anyone on TV or radio remember this? And there are not so many quantities like it in the world.

You will turn 80 in 2020. They say you decided to celebrate your anniversary by staging the Requiem on the stage of the opera house in Kazan.

I had the idea a long time ago to stage Mozart's Requiem. This work has already been associated with my work - "Oh, Mozart, Mozart" with Evgeny Kolobov. This music is brilliant, to use it is, I think, the dream of any choreographer. There were such discussions, but the concept has not yet been finally formed.

- Superstitious?

No. Once I wanted to make a performance about an artist who has lived a long life and is moving towards his finale. And there is no better musical range than Mozart for this. And now I have completely different pictures in front of me. Let's see. But, of course, I would like my work to continue to be associated with the Tatar Academic Opera and Ballet Theater.

- How did your work with the Kazan theater begin?

As early as 30 years ago, I had the idea to stage a performance at Bach's Mass in B minor on the big stage. This is a grandiose work, incomparable, in my opinion, with anything else in music. It has never been placed anywhere.

But I wanted to do it to make something spectacular. I dreamed of the Vatican. It was in St. Peter's Square that I wanted to show him, to gather an international cast of performers. But in the late 1980s, this was difficult to do. Everyone said: "Yes, the idea is great!" - but it didn’t go any further.

Years passed, and the idea haunted me. The Bolshoi Theater or the Mariinsky Theater would be very suitable. They have a huge troupe, a stage, and opportunities. I wanted the choir, corps de ballet, singers and orchestra to be on stage at the same time. But I understood that it would hardly work out there.

And suddenly, by chance, in a conversation with the director of the opera house in Kazan, Raufal Mukhametzyanov, I shared my dream with him. And he immediately offered to stage the Bach Mass with them. It never crossed my mind. But when I listened to the choir of the theater, I realized that God was sending me a gift in the form of this troupe.

- Why is Russian ballet so appreciated in the world?

Because there is a wonderful school and traditions behind it. It was Russian art, Russian latitude, Russian exactingness both to yourself and to what you do that influenced and is influencing the West. It is not clear to me why the Western people are so worshiped in our country.

Chaliapin was proud of the fact that he is Russian and that he brings the light of his art precisely from Russia. Please note: he was not proud of himself, but of what he received in his homeland. In his memoirs, Chaliapin wrote that his soul was filled with joy when he heard a good singer who turned out to be Russian by origin.

You are talking about the Russian ballet school. But everyone knows what sacrifices are made for success. Is it possible to achieve a result without drills, without being kicked in the legs, criticized? Maybe it's better when you are praised?

It's not the same for everybody. Someone, perhaps, can be approached to the fullest extent, and others - only in an amicable way. I remember the first two years at school. It was very easy for me. The children were just learning to read, and in the first grade I read almost all of Dumas, and at the age of 10 I had already reached War and Peace. Nobody forced me. I needed it myself. It was the same in ballet, and in everything else, no matter what I did.

Performer of the main roles in ballet performances Nutcracker / Prince ( Nutcracker), Pan ( Walpurgis Night), Poet ( Chopiniana), Danila ( Stone Flower), Prnc, Stepmother (Cinderella), Batyr (Shurale), Andrey ( Life page), Basile ( Don Quixote), Albert (Giselle), Frondozo ( Laurencia), Spartak ( Spartacus), Majnun ( Layli and Majnun), Ivanushka ( The Little Humpbacked Horse), Parsley( Parsley), Icarus ( Icarus), Macbeth ( Macbeth), Prin Désiré ( sleeping Beauty), Narcissus ( Narcissus), Lukash ( Forest song), Paganini ( Paganini), Paul the First ( Second lieutenant Kizhe), Romeo ( Romeo and Juliet), Ivan the Terrible ( Ivan the Terrible), Sergey ( Angara), Baron ( Parisian fun), Zorba ( Greek Zorba), Nijinsky ( Nijinsky), Balda ( The tale of the Priest and his worker Balda), Petr Leontievich ( Anyuta), Professor Unrat ( Blue angel); Tchaikovsky ( The long journey into Christmas night); Nijinsky-Diaghilev ( Diaghilev-Musaget)

Vasiliev's career began in the fall of 1958 on the stage of the country's first theater, where he was admitted immediately after graduating from college.

Having entered the Bolshoi, he did not even think that he would become a classical dancer: he liked the parts in which you can play a role through dance, character. Therefore, he decided that his lot - characteristic and demi-character roles.

The first season in the theater began (albeit only for a couple of months) with work in the corps de ballet, the lessons of which Vasiliev always considered very useful in his development. Even then, his solo performance of ballet scenes in operas was noted: a lezginka in "The Demon", a gypsy dance in "Mermaid". The latter, with L. Trembovelskaya and I. Khmelnitsky, had such a wild success with the audience that he had to be encore. Pan's performance in "Walpurgis Night" from Gounod's opera "Faust" (post. L. Lavrovsky, 1958) next to his beloved ballerina Olga Lepeshinskaya amazed with exuberant energy, furious, Bacchic frenzy: a brilliant grotesque dancer was dancing.

Until now, Vasiliev wonders why it was him, an inexperienced young man who came to the theater just a few months ago, that Galina Sergeevna Ulanova chose as her partner in the purely classical Chopiniana (1958). He himself, as often happened to him, was dissatisfied with his debut performance, but the honor and responsibility were great, and the beginning of the "classical" path was laid. It was Galina Sergeevna who would later often direct him in the classical repertoire.

“Galina Sergeevna is a very demanding artist, very sensitive. With her creativity, with what she once did, she left such an indelible mark on our perception that we treat every word that Galina Sergeevna says differently than the words of some other choreographer or dancer who reprimand us. Because her creative life has passed before us, and the way she worked, how, what images she created on the stage, she certainly affects our work. …. The most important thing that distinguishes Galina Sergeevna is an unusually complex inner world with a minimum of external expressive means. That is why her work is valuable to me personally. In her, there is some kind of secrecy in the external plastic and at the same time - an extraordinary internal fullness. "

After "Chopiniana" there was an exquisite Prince in "Cinderella" by R. Zakharov (1959), colorful Ali-Batyr in "Shurale" by L. Yakobson (1960) and one of the most complex, virtuoso parts - Paganini (1962) - to the music of S. Rachmaninov in the production of the same name by L. Lavrovsky.

In 1959, together with a group of talented Soviet youth, Vladimir Vasiliev took part in the World Festival of Youth and Students in Vienna, where he received the 1st Prize and the Gold Medal.

In the final grade of the school, fate brought Vasiliev together with a wonderful person and an interesting choreographer, an outstanding personality, Kasyan Yaroslavovich Goleizovsky, who became a close friend and teacher to Vasiliev, who opened so much new and beautiful things to an inquisitive young man not only in the art of dance, but also in literature, history, painting, sculpture ... Vasiliev was friends with many artists before, visited their workshops, studied painting with them, began to paint his own paintings, and thanks to Goleizovsky he also became interested in sculpture.

Friendship with this most interesting choreographer and man gave Vasiliev several unforgettable works specially staged for him. With the famous "Narcissus" to music by N. Cherepnin (1960), he performed at the first International Ballet Competition in Varna in 1964, where he and Katya were literally ordered by the Ministry of Culture in the person of E. Furtseva (in ballet competitions Vasiliev never participated), and although he pulled out number 13 during the drawing of lots in the competition, he won the Grand Prix. Since then, the Grand Prix at this most prestigious world show has not been awarded to anyone for more than half a century.

In the same 1964, the Paris Academy of Dance presented him with the Vaslav Nijinsky Prize "Best Dancer in the World".

And "Narcissus" was later performed by other artists, to whom Vasiliev gave this number, but the image of primordiality, "childhood of mankind", complete fusion of man with nature, which the choreographer sought, with such expressive power, was no longer created by anyone.

Other works with Goleizovsky - lyric "Fantasy" (1960) to music by S. Vasilenko, grotesque role of the Jester in a scene from the ballet "A Tale for the Jester, who joked with seven fools" in a documentary film about Sergei Prokofiev (1960), and, of course, a unique image Kaisa / Majnun in the oriental fairy tale-legend about the extraordinary and tragic love “Leyli and Majnun” by the composer S. Balasanyan (1964). In this ballet, two scenes "Majnun's Monologue in the Desert" and the adagio with Leili became especially dear to Vasiliev. And today, many decades later, in these scenes, accidentally captured on film, the beauty of the "singing" human body, the flow of freely flowing plastic melodies and the "oriental flavor" of Vasiliev's dance are striking. It contains an amazing combination of painful bliss and sophistication with sudden outbursts of despair tearing the body apart. The dance is performed at such a crazy pace that the viewer invariably arises the question: "Isn't this an accelerated shooting?" Indeed, it is hard to believe that such perfection is possible in the dancer's comprehension of the sophisticated plastic form and complex, unique style proposed by the choreographer.

Goleizovsky often recalled the ballet idols of his time, and, above all, the legendary Nijinsky, whom he knew and loved well. Comparing Vasiliev with them, he still put him above everyone else, marveling at his originality and the scale of his talent.

In his article about K.Ya. Goleizovsky, Vasiliev noted: “ I am indebted to many people with whom my creative destiny has brought me. But there were two people who had a huge impact on my creative worldview. These are ballet masters Kasyan Goleizovsky and Yuri Grigorovich».

The meeting in the late fifties of the outstanding ballet master Yuri Grigorovich and the unique dancer Vladimir Vasiliev is probably among the fortunate destinies of both Masters. Grigorovich immediately noticed what an immense range of possibilities, equal both in technique and in artistic embodiment, this performer is endowed with. And in his very first production at the Bolshoi Theater - the ballet "Stone Flower" by S. Prokofiev (1959), the choreographer gives Vasiliev the main role. His partners Danila were E. Maksimova (Katerina) and M. Plisetskaya (Mistress of the Copper Mountain). The Bolshoi included this performance in the program of his first tour to the United States in 1959. For the 19-year-old artist, they also became the first - in life. And, although there were many of the most eminent masters on the tour, New York noted his extraordinary talent and charm from the very first performances.

The role of the craftsman and artist Danila in The Stone Flower, as well as the role of Ivanushka in the subsequent ballet The Little Humpbacked Horse by R. Shchedrin staged by A. Radunsky (1960), of course, was close to Vasiliev in its Russian style and character. His "Yesenin" appearance, "type" perfectly matched the image of the hero of Russian fairy tales and legends. But, if in the part of Ivanushka the dancer bathed in the element of humor, mischief, and the bright color of Russian popular prints, then in the role of Danila Vasiliev danced his selfless devotion, his ardent love for art. Vasiliev was surprisingly sensitive to the plastic Russian intonations in classical dance, which was especially clearly manifested in his Petrushka (1964). This "Russianness", or rather natural breadth and unique national pedigree, really marked the performing style of the first dancer of the twentieth century. But very soon it became obvious that "Russianness", without losing the leading, main place in its individual characteristics, bloodlessly and naturally converged with artistic cosmopolitanism. In each new performance, Vasiliev presented on the stage the truth that turned out to be above the time and national boundaries, lived above the frames of the role, swept away all genre restrictions and the boundaries of plastic systems. The patriarch of Russian ballet Fyodor Lopukhov wrote about this very emotionally: “ When I say the word "God" in relation to Vasiliev, I mean ... a miracle in art, perfection ... In terms of diversity, he cannot be compared with anyone else ... He is both a tenor and a baritone, and, if you like, a bass.". Later, Serge Lifar echoes this quote by Lopukhov, calling Vasiliev “ magician of Russian ballet».

In 1966, Grigorovich invited Vasiliev to play the main role in his production of The Nutcracker. Vasiliev's childhood and youth, his growing up in a choreographic school were connected with this ballet by another choreographer V. Vainonen. He started in it with soldiers, then performed in all folk dances, and only at the graduation he was entrusted to dance the main role with the charming Katya Maximova.

The joint creative life of these two young talents in the theater began to develop with the ballets of Yuri Grigorovich, an innovative choreographer, whose arrival they both warmly welcomed to the Bolshoi, and with whom they were close friends and associates for a long time. Vasiliev always subtly felt what the choreographer wants from him, rethinking what the director proposed to him and constantly being with him in a creative search, constantly improvising and trying and proposing new movements, shades and strokes of the role.

The impression of the improvisation of Vasiliev's dance has always been one of his most important traits as a performer, one of the "secrets" of his influence on the audience.

With Grigorovich of that "golden" time of the Bolshoi, he felt a spiritual and creative community. The Nutcracker was probably the brightest performance in the work of both the choreographer and his main performers: the fragile and tender atmosphere of a Christmas fairy tale created by them is so tangible in it. Nutcracker Vasiliev, according to the choreographer, is "an ideal fairytale hero - a touching doll and a poetic prince, courageous and bold, and, as befits a true prince, truly elegant."

It was The Nutcracker with Maximova and Vasiliev in the lead roles on the Bolshoi Theater tour in 1966 that the old Metropolitan Opera building in New York was closed.

In The Nutcracker, Vasiliev twice received a severe back burn: first at the Bolshoi in 1968 during the steam effect, and then in the same scene at the Metropolitan Opera, but with the use of chemicals. Both times Vasiliev brought the performance to the end, but in the auditorium no one suspected what it cost him!

However, other stories happened in Vasiliev's professional life as examples of the endurance and courage of the first soloist of the Bolshoi, which he had to show more than once during his performing career. Periostitis of the bones manifested itself in him from the first steps in the theater, when every movement was given with incredible pain Vasiliev overcame only through patience and perseverance. A torn minisk, when only thanks to strong muscles he danced "Giselle" with A. Alonso and three "Don Quixote". Already on the operating table, the doctors could not believe that this was possible. And the torn ligaments on encores in France, when he fell on stage as if knocked down. - these are just a few of the difficulties of the ballet profession that this favorite of the audience overcame from day to day, often dancing through incredible pain that no one should have seen. Even with the most difficult injuries, he went on stage and danced, not daring to deceive the expectations of the viewer.

A new version of The Sleeping Beauty ballet was staged by Grigorovich for this duet in 1973. Again - an unexpected turn, because, it would seem, the party of the gallant French prince is far from Vasiliev's individuality. He generally disliked the "blue" princes: the sphere of ceremonial pantomime gestures was far from his creative aspirations. In addition, he always felt that his physical characteristics were not very suitable for such roles. His figure, built rather according to Leonardo's scheme - proportional, with developed male muscles, is seen in the sculptural works of old Italian masters or in the antique images of the dancing gods. Fedor Lopukhov wrote about it this way: “ Vasiliev remains a man in his dances, .. graceful like a man and graceful like a man ... He is powerfully handsome in dance, like the creations of Michelangelo».

So it was in this version of The Sleeping Beauty, where the joint search for a choreographer and dancer led to the creation of an innovative image of the Prince - a living young man, different from the prim palace stamp and at the same time organically fitting into the drawing of the role.

In "Giselle" (1964) Vasiliev did not immediately come to the decision of the image of the protagonist. His Albert did not become a scoundrel, as other performers of that time saw him - rather, an unreasonable, inexperienced young man who did not think about the consequences of his actions. His interpretation of this role, shown in 1968 in Rome, made a splash. It was this version that later became widespread in the world.

G.S. Ulanova persuaded him to dance Romeo in the play by Lavrovsky Vasiliev (1973). The legendary Juliet of the ballet scene and Maksimova's teacher also helped him prepare the performance. The nuances of acting and the plastic performance of this part that they found together presented to the viewer not only a boy in love, but also showed the process of his spiritual growth and maturation, the versatility of his nature.

« Then there was a completely marvelous teacher, tutor and himself - an amazing actor, the pioneer of heroic dance on the Soviet ballet stage - Alexei Nikolaevich Ermolaev.

Aleksey Nikolaevich Ermolaev was distinguished by one quality - he was not interested in whether we would do the pirouette for sure or not. Rather, he ... believed that every dancer, a professional dancer, is simply obliged to do two rounds or three, if necessary, from the fifth position to the fifth. It was a matter of course. But he always paid attention to his rehearsals - and it was very interesting - to the circumstances, everyday details and the meaning of what we are doing. That was very valuable. " (from the memoirs of V.V. Vasiliev)

And yet the ballet Don Quixote (1962), prepared together with his teacher, the renowned Bolshoi ballet dancer Alexei Ermolaev, was destined to become the most revolutionary in the work of this remarkable artist. Vasiliev's performance of the part of Basil presented to the ballet world a new, revised version, with movements and mise-en-scenes invented anew. This choreographic version of the role has so successfully and firmly entered the fabric of this already "middle-aged" performance that it has come to be considered canonical throughout the world. In his article about Vladimir Vasiliev, Yuri Grigorovich described this event as follows:

« 1962 ... He was remembered by everyone who is somehow connected with ballet, with the art of choreography. In May of this year, Vladimir Vasiliev performed in the ballet Don Quixote for the first time, and I will not be mistaken if I say that he opened a new era in the history of male classical dance ... He created a new standard that has become classical both in our country and in everything the world. Basil Vasilieva gave birth to completely new criteria not only in relation to "Don Quixote", but also in men's dance in general».

A year after the premiere of Vasiliev in Don Quixote, another famous destroyer of the old canons in the ballet Vakhtang Chabukiani gave him one of his favorite parts - Frondoso in the ballet Laurencia (1963).

Of course, the revolution made by Vasiliev in the male dance of the second half of the last century cannot be called a sole act: there were predecessors, associates, and self-manifested "followers". But it was Vasiliev who was recorded in the history of ballet as the first and main innovator: he rethought everything new that took place on the territory of dance of that time in accordance with his ideas about choreographic theater; I believed everything with my own attitude to art.

By the mid-60s, the talent given to Vasiliev by God had already acquired a magnificent cut, turning his dance into a holiday of human plasticity in all its diversity. It had everything: irresistible charm, organicity, musicality, expressiveness combined with a virtuoso technique that amazed with an incredible soaring jump with an instant takeoff and inaudible softness of landings, beauty of pirouettes and lightness of the most difficult supports. Is it possible to describe in words the "boundless dance" of Vasiliev? !! Pavel Gusev, the most authoritative in the ballet world, concluded: “ A bright and powerful master, Vladimir Vasiliev “rules the ball” at the Bolshoi Theater. It is impossible to dance better than him, just as it is difficult, and worse, it is pointless!»

The special, unique plastic expressiveness of Vasiliev's hands will also remain unforgettable, in which there is either incredible masculine strength and power, or almost childish tenderness and timidity! It was as if the song was sung about them: “like two big birds” - their swing was such a bewitching sight. Vasiliev soared over the stage with his arms wide open, and, it seemed, could embrace the whole of humanity with them. Ballet critics called these hands "Versailles", and they are in shape - an exact cast of the large working hands of his father. But their endless cantilena created the feeling of incredibly long, endless lines. The audience saw the artist covering the huge stage of the Bolshoi, although in life Vasiliev was not a giant. But it is precisely the illusion, in which they unconditionally believe, that creates real art, the art of theater in particular.

Vasiliev presented this illusion to his audience in many bright and unique roles. And yet the world still associates his name with the image of the rebellious Roman gladiator in Yuri Grigorovich's ballet "Spartacus" (1968), which has become, without exaggeration, a cult. The choice of the protagonist was, apparently, a daunting task for the choreographer. For Vasiliev himself, this proposal was unexpected: in previous productions by I. Moiseev and L. Yakobson, the role of Spartacus was played by tall and stately actors of a heroic role, to which he himself did not really fit. But the dancer was instantly carried away by the idea proposed by the choreographer, and this choice became truly historical. According to A. Messerer: “ at twenty-eight years old, Vasiliev made a role that immediately stood in the "chosen, which has a general cultural and timeless significance series". For many generations of ballet lovers in Russia, Vasiliev became “our Spartacus” not only on stage: the will and striving for victory, courage and stamina in the name of justice and happiness, embodied by him in the performance, and in life he inspired people to overcome any obstacles and difficulties for the sake of cherished goal. The legendary Italian ballerina, also Vasiliev's partner, Carla Fracci wrote about him: “ Vladimir Vasiliev is a symbol for the generation that grew up with him. The embodiment of a beautiful dream».

Ironically, it was Spartak that became the apogee in the creative collaboration of Yuri Grigorovich and Vladimir Vasiliev. As it often happens, having reached the highest point, their relationship both in creativity and in life began to decline. Vasiliev has always been a principled and straightforward person. Straightforwardness was a natural state for Vasiliev. The fact that he criticized several of Grigorovich's "post-Spartak" works at the Theater's Artistic Council, there was no hidden intent or built strategy. At that time he sincerely believed that it was not only possible, but also necessary, without hiding, to speak openly the truth "in the eyes" of everyone, even the chief choreographer and especially a friend. Such criticism, in his simple-minded conviction, should have helped and benefited the common cause. Naturally, she strongly touched Grigorovich to the quick. He perceived and interpreted it differently, and after the production of Ivan the Terrible, the part of which Vasiliev was already preparing with Galina Ulanova (1975), and the ballet on the Soviet theme "Angara" (1976), there was a final break, painful for both: their paths parted forever ...

Fate decreed that Vasiliev never had a "creative emptiness". In 1977, a master appeared in his life, whom he always admired. The famous choreographer Maurice Béjart staged Petrushka on it in his 20th Century Ballet troupe. Working with Bejart brought a lot of new and interesting things. The original artistic vision of this unique choreographer opened new horizons for Vasiliev in the art of choreography. In 1979, Bejart gave him and Katya a duet of extraordinary beauty and plasticity from his ballet Romeo and Julia to the music of G. Berlioz, which they performed on the set of the film White Nights. The great choreographer admitted in an interview that he had never met such a dancer before who “ combines everything: virtuosity, technique, dramatic talent, versatility and power».

Each performance of Vasiliev, regardless of its geographical point, was unique and unforgettable, each invariably gave birth to an increasing number of fans around the world, many of whom followed him on all his foreign trips. From role to role, from ballet to ballet, Vasiliev created the image of the dancer of the world, which no one will be able to repeat or recreate after his departure from the stage for a long time.

Short, but interesting and fruitful was the work of Vasiliev and Maksimova with the famous Italian director, student of Visconti, Franco Zeffirelli in 1982 in the film-opera La Traviata. Their meeting took place thanks to a friend - the English lady Saint Just, nee Princess Obolenskaya. When her friend Zeffirelli asked whom he could invite as the best ballet couple in the world, she exclaimed: “How, you don’t know? Of course, Katya and Volodya! " True, Vasiliev did not like the choreography initially proposed for the film, and he decided to refuse filming. But, having received "carte blanche" from Zeffirelli, he changed the choreographic pattern of Spanish dance, staging it in his own way, and together with Maximova splendidly performed to the delight of the discerning Italian master. The applause and enthusiastic exclamations of the chorus and mimans on the set after their performance is not a specially invented scene built by the director, but just a spontaneous, sincere reaction of the audience, successfully included in the film.

In 1987 Roland Petit invited Vasiliev to play the lead role in Blue Angel with the Marseille Ballet. The performances in Paris were a great success.

The premiere of Lorca Massine's production of The Greek Zorba (1988) to the music of M. Teodorakis with Vasiliev in the title role at the grandiose Verona Arena made a splash. The spectators who filled the square near the walls of the antique Arena after the performance chanted “Zorba!” To him. For Italy, which for over thirty years has provided Vasiliev with its best stages and arenas, Vasiliev will forever remain “Il Dio della Danza”. He was recognized everywhere, bowed in the streets, arranged photo exhibitions, vied with each other to participate in a variety of events and projects.

In addition to his constant partner, Vasiliev danced with other outstanding ballerinas, such as Maya Plisetskaya, Raisa Struchkova, Marina Kondratyeva, Nina Timofeeva, Irina Kolpakova, Alicia Alonso, Carla Fracci, Noella Pontois, Josephine Mendes and others. It was easy and reliable for partners with him on stage - they loved to perform with him - there were legends about his ability to "hold" the ballerina. He danced with Alicia Alonso only once at the request of the ballerina herself. It was Giselle at the Bolshoi Theater in Havana (1980). Despite Vasiliev's injury, which, of course, was known only behind the scenes, his performance shocked the Cuban audience. With the wonderful Italian ballerina Carla Fracci, Vasiliev danced Giselle a lot throughout Italy. In a gala performance at the Teatro alla Scala in honor of the great Charlie Chaplin, they danced the pas de deux from Giselle. Later, with Carla Fracci, they performed together in the play Nijinsky (1984) at the Teatro San Carlo and Diaghilev-Musaget at the Rome Opera (2009) directed by B. Menegatti.

Unoccupied, and in 1988, completely dismissed from the Bolshoi Theater, Maksimova and Vasiliev toured a lot in the USA, France, Italy, Argentina with a group that the choreographer V.Vasiliev organized and for which he created his repertoire. As a guest star, he performed with the Kirov Theater and MALEGOT, the Perm Theater, the Polish Ballet, as well as in the Kremlin Ballet, the development of which Vasiliev significantly contributed by staging for him, with the support of the French company Nina Ricci, the lyrical, humorous ballet Cinderella ( 1991), where he first performed in the female role of Stepmother (Cinderella was brilliantly performed by Ekaterina Maksimova).

Ironically, this Russian dancer, who glorified the art of his homeland, performed his last classical performance at the American stage of the Metropolitan Opera in 1990 with the American Ballet Company. The New York Times wrote about this last Giselle by Vasiliev and Maximova: “ soulful and emotional performance ... Their performance, filled with deep romanticism, became a real event».

On April 18, 2000, a grandiose gala concert took place at the Bolshoi Theater in honor of Vasiliev's anniversary, which brought together all the cultural elite of Moscow, foreign guests arrived. For this event, an exhibition of his paintings was organized in the White Foyer of the theater, commemorative silver and bronze medals with the image of the legendary flying Spartak-Vasiliev (sculptor F. Feveisky), a collection of his poems "The Chain of Days" and "Encyclopedia of a Creative Personality - Vladimir Vasiliev" ... The idol of many generations of ballet lovers last appeared on his native stage as an artist - he danced "Sirtaki" from the ballet "The Greek Zorba", which had never been seen in Moscow. In his 60s, he was still the same great dancer and artist capable of capturing and captivating any audience.

But he will still appear on stage as a dancer and dramatic actor. This opportunity will be given to him by the Roman Opera and director Beppe Menegatti in the performances "The Long Journey into Christmas Night" in 2000 (the role of Maestro-Tchaikovsky) and "Diaghilev-Musaget" (the double role of Nijinsky and Diaghilev) in 2009. After Katya Maximova passed away his performance of Chopin's "Ballad" dedicated to her in his own production at the New York City Center, and then in Perm, Voronezh and Donetsk in 2010 will become confessional and tragic.

Here is how the famous theater critic S. Korobkov wrote about this performance of Vasiliev's "Ballads" (with D. Khokhlova):

“A handsome and flexible man, in whom nature has preserved both become and his habits, by the power of his gift and the flight of his thought, pushed the theater space to the cosmic vastness. Slightly supporting the young ballerina and barely touching her face, he continued the moments of important dialogue, as Chopin continued his pianisticbrio, dreaming to penetrate the secrets of the universe and accept new souls into their world of eternally elusive beauty. The magic of Vasiliev's confession snatched from memory the great artistic images of the century in which he was formed as an artist, and confirmed the commonality - personal and artistic - of great artistic natures. Here, in addition to Vasiliev's world, a parallel world was also formed: from the riddles of Hamlet John Gielgud, from the piercing glances of Othello Lawrence Olivier, from the subtle spiritual movements of Marlon Brando, from the melody of paintings by Bergman and Fellini. All those who sooner or later stopped hiding themselves behind a character and dared to tell themselves who dared to confess their era. "

Vasiliev was remembered with the same heartfelt performance in the second number “Smile”, dedicated to Maksimova, to the song by Ch.Chaplin (in Spanish by M. Jackson) at the gala evening at the Bolshoi Theater “And everything that has been done by you. Dedicated to Ekaterina Maximova "in 2014.

Ballet lovers still called Vasiliev wonderful when he appeared as Natasha Rostova's father in the short miniature Natasha Rostova's First Ball at the opening ceremony of the 2014 Winter Olympic Games in Sochi (choreographer R. Poklitaru).

Art is a difficult path. External harmony, sophistication and elegance of lines are fraught with hard work not even for years, but for decades. If the great choreographer Vasiliev was involved in the production of the dance, then there is no doubt about the quality of the final result. He is a star, with the reflections of which both young and eminent artists strive to touch. Man-era, man-legend - choreographer Vladimir Vasiliev. His biography is filled with constant work, creativity and love for a single woman.

On the eve of the war

In the family of workers of the felt factory back in 1940, on April 18, a boy was born. Mom held a responsible post of sales manager, and my father was a simple driver. The sincere love that united their hearts gave them a talented personality who never ceases to be admired by the whole world on both sides of the ocean.

Difficult, tragic events that began on June 22, 1941, divided the family. Vladimir Viktorovich's father went to the front, and his mother worked at her plant in 3 shifts, torn between her one-year-old son and work. The salvation was six of my mother's older sisters - aunt, for whom the little boy made sense not to lose his mind at that terrible and difficult time. Warm intimate gatherings in the evening over a cup of hot tea, unhurried conversations over the preparation of another cake and merry New Year celebrations remain the best memories of childhood.

Tempering character

Vladimir Viktorovich Vasiliev, a choreographer in the future, survived the hungry years that the war brought. Destruction, ruins of houses, death and an irresistible thirst for life in the still unformed personality left an imprint forever. The trials that dot the path of a person cleanse his soul, and those that have fallen in childhood form him to be honest, noble and generous to good deeds.

In 1945, his father returned from the front, and the family began to live in full force. Some disagreements in the life positions of the parents (mom attended church, and dad was an ideological communist) did not prevent the couple from being happy. While the adults were reviving the country from the ashes, the future choreographer Vasiliev played ball, deftly jumped on the roofs and was not inferior in courage and fearlessness to his older comrades, which earned the respect of the entire court.

First steps to dance

The choreographer in the future, from childhood, was surrounded by a huge number of friends. And now one of the many friends, and part-time a neighbor, invited him to a dance club in the Kirov House of Pioneers. At first glance, the sensitive teacher Elena Romanovna Rosse saw in the blond tomboy a love of dance. Eight-year-old Vladimir Vasiliev was a natural-born choreographer. He played new material the first time. On his example, they learned the movements and considered the best student.

Once on the stage of the Bolshoi Theater with a solo performance of folk dances, he realized that his fate was finally a foregone conclusion. The chiseled and flexible ballerinas, stunning jumps and supports seized the boy's thoughts. Natural determination and dedication to his dream allowed him to enter the choreographic school of the Bolshoi Theater in 1949, and a year later to achieve the championship among fellow students.

Master's handwriting

Vladimir Vasiliev, a student choreographer, formed his own unique style early. His teacher Mikhail Markovich Gabovich noted the inner fire of the young student, reflected in his every movement. Light virtuoso jumps, filigree lines, power that conquers from the first movements, that expression and irrepressible energy that fills the entire space of the stage on which the future great choreographer Vasilyev performed ... Actor's inclinations and incredible charisma allowed the viewer to convey the whole gamut of his feelings and thoughts heroes.

Debut

In 1958 he was admitted to the troupe of the Bolshoi Theater, where he immediately established himself as a dancer of characteristic images. The future choreographer Vladimir Viktorovich Vasiliev began with the performance of bright, colorful characters in the operas "Mermaid" and "The Demon". The solo part in "Walpurgis Night" became for him. It was in the role of Pan that he drew attention to a meeting with which influenced his entire future life.

The great ballerina has become one of the most important chapters in the book of her life entitled “Vasiliev - choreographer. Biography ”written by fate itself. Her pedagogical talent, friendship and faith in the professional future of the young man helped shape the personality of the great director, stage director and dancer. The joint work at Chopiniana became an invaluable experience and opened Vladimir Viktorovich as an excellent performer of classical parts.

Meteoric rise

After joining the Bolshoi Theater, Yu.N. Grigorovich, the young dancer took part in his production of "Stone Flower", which won the favor not only of the choreographer, but also the love of the most fastidious critic - the viewer. After such a triumph, Vladimir Viktorovich was involved in the main roles of the entire diverse repertoire of the Bolshoi Theater: Cinderella, Pages of Life, Don Quixote, Paganini in the production of the same name, Laurencia, Giselle, Romeo and Juliet.

Darling of fate

He was not yet 25 years old when he was embodied on stage in the solo part in the "Dance Suite" (staged by Ivanushka in RK Shchedrin's ballet The Little Humpbacked Horse (staged by A.I. Radunsky, 1960), Slave in Spartacus A. I. Khachaturyan (productions by L. V. Yakobson), Lukash in the "Forest Song" by G. L. Zhukovsky (staged by O. G. Tarasova and A. A. Lapauri) .Difficult task - after another success to prove that you the best, and this is not the limit of your capabilities.

Perseverance, which helped in childhood not to give up in front of older children, faith in herself, leading Ariadne's thread through the prairies of backstage life, and love of dance allowed him to prove his skills again and again by deeds. Accurate understanding of the musical material, perfect mastery of every cell of the flexible body, the organic nature of the embodied image delighted and surprised not only the audience, but also the eminent meters of ballet art. Vasiliev Vladimir (choreographer) easily plunged into the kind, sincere Ivanushka, passionate Basil, a cruel tyrant steeped in blood.

Alone and for life

A beautiful first touching affection filled the heart of Vladimir Viktorovich during his years of study at a dance school. Ekaterina Maksimova was distinguished by her special adherence to principles, sometimes turning into stubbornness, which prevented her in subject teaching, but was decisive in mastering the dance. The power contained in such a fragile girl attracted and at the same time frightened Vladimir Vasiliev. But the unexpected illness of Maximova brought them closer, and the nascent feelings helped to overcome the terrible migraines that tormented the girl for a year.

Quarrels characteristic of this age separated young people for three whole years. Everyone used this time for their professional growth, and both managed to be invited to work at the Bolshoi Theater without any support.

One love story

Vladimir Viktorovich Vasiliev is a choreographer, whose personal life has always been associated with one woman. Three years apart - and fate gave them a meeting with mutual acquaintances, after which the couple did not part. In the summer of 1961, young people legalized their relationship, and the honeymoon took place in the most romantic city on the planet - Paris.

This is a unique case, because in the Soviet Union spouses were not allowed to go abroad together. There was presented a picture in which, by a mystical coincidence, Maksimova and Vasiliev played lovers. "USSR with an open heart" allowed newlyweds to enjoy the heady air of France, even under the close supervision of officials.

Life twists and turns

The great Vladimir Vasiliev is a choreographer whose family and work are closely intertwined in his life. A beloved woman, a priceless Muse, a wonderful partner was always there, she understood all the subtleties and aspects of such a difficult art.

In 1971, the couple had a car accident. Suddenly, an elk ran out onto the track, and a foreign car racing at high speed miraculously did not turn into a pressed tin can. Ekaterina Maksimova received a serious health problem. Another health problem manifested itself during a rehearsal, five years after the accident on the road. The injury was so serious that the ballerina could remain in a wheelchair. Vladimir Vasiliev was ready to move mountains, and he turned, having obtained treatment for his wife in the Kremlin hospital, where she quickly recovered and was able to dance again.

Unfortunately, the family always consisted of two people, and children's laughter never visited their home. But talented teachers put their hearts into their many students, for whom they became creative parents.

Worldwide recognition

Stunning plasticity and acting talent were highly appreciated abroad, where they always greeted the pearl of Russian ballet with ovations. Vladimir Vasiliev actively collaborated with many outstanding choreographers. Maurice Béjart, Roland Petit, Lorca Massine invited him to play the main roles in their productions. The public's love knew no bounds - the French idolized the Russian legend, the Argentines proclaimed them a national hero, and in the United States, despite the difficult political situation, Vasiliev became an honorary citizen of one of the cities. A special relationship has developed with hospitable Italy. The Roman opera, La Scala, San Carlo more than once hosted the choreographer on their stages, where the audience enjoyed his virtuoso performance and perfect plasticity.

Creative searches

The seething energy did not fit within the framework of a performer, even such a brilliant one. The choreographer Vasiliev staged his first work in 1971, it was the ballet Icarus. The creator was not interested in storylines, genre, he was attracted by the development of the image through music, versatility conveyed by dance. The master embodied his attitude to the world in "Fragments of a Biography", "Nostalgia", "Swan Lake" and many other works.

Acting talent is captured in such films as "Fouett", "Gigalo and Gigolette". Vasiliev did a huge amount of work as a director and stage director in Anyuta, House by the Road, The Gospel for the Evil One, The Princess and the Woodcutter, Juno and Avos. The versatility of the works is once again revealed by the multifaceted choreographer Vasiliev, without looking back, opens up to his beloved viewer.

After graduating from GITIS in 1982, he began teaching as a choreographer, and a few years later became a professor and headed the department of choreography. In the mid-90s, he was appointed artistic director of his native Bolshoi Theater. In this crisis period for art, V.V. Vasiliev manages not only to preserve, but also to revive the temple of Melpomene, attracting the attention of the viewer through television, the Internet, and printed publications. By conducting charity events and concerts, the great choreographer has increased the former glory of the Bolshoi Theater.

Since the beginning of the new century, the People's Artist, laureate of many awards has been actively working all over the world, giving master classes, staging performances, and participating in charity concerts. Passion for literature is poured onto paper by a whole collection of poems. Inspired by painting, Viktor Vladimirovich paints his native landscapes, which are successfully exhibited.

In 2009, the main person for the famous choreographer passed away - Ekaterina Maksimova, who for half a century shared the successes and failures, all the joys and sorrows, was his inspiration and like-minded person. For a strong, energetic Vasiliev, surrounded by the love of friends and students, this is an irreparable loss, but the strength of the spirit of such a perfect divine work makes him wake up every day and create new masterpieces that make people feel, realize the harmony of the world around him.

Viktor Vasiliev is a choreographer, whose photos are always heartfelt. The look of beautiful, wise eyes hides in itself a whole universe of emotions that such a talented great man shares with his beloved viewer.

Vladimir Vasiliev has become a truly man-era in Russian ballet. Meanwhile, the beginning of the life of the future dancer, it would seem, did not bode well for a ballet career.

The future famous dancer was born in 1940 in Moscow. His parents were not associated with art in general and with ballet in particular: his father was a driver, his mother was a sales manager. The family was happy, despite the ideological differences (the father was a staunch atheist, and the mother was an Orthodox Christian). Vladimir's early childhood fell on the difficult years of the war - the boy's father was at the front, his mother worked in a factory in three shifts.

As a child, Vladimir had many friends, and one of them invited him to a choreographic circle in the House of Pioneers, where he studied himself. The teacher E.R. Rosse saw his talent, and seven-year-old Vladimir began to study the art of dance. In the circle, he quickly became the best student - so much so that other guys learned the movements on his example. In 1948, the children's choreographic ensemble performed on the stage of the Bolshoi Theater, Vladimir took part in the performance of Ukrainian and Russian dances - and it was then that he fully realized his desire to connect life with ballet.

In 1949, Vladimir Vasiliev entered the Moscow Choreographic School, where he also became one of the best. Already in his student years, those qualities are manifested that will later become the distinctive features of the dancer: expression, ease of jump, strength and masculinity of the dance, acting skills. He is taught by Mikhail Gabovich, who characterized his student as follows: "Volodya Vasiliev dances not only with his whole body, but with every cell of him, with a pulsating rhythm." T. Tkachenko spoke about him even more definitely after his performance in the ballet "Francesca da Rimini", where the young man convincingly revealed the deeply tragic image of the heroine's old husband: "We are present at the birth of a genius!"

In 1958, after completing his studies, Vladimir Vasiliev became an artist of the Bolshoi Theater. He performs in characteristic characters in opera choreographic scenes - a gypsy dance in A. Dargomyzhsky's "Mermaid", a lezghinka in N. Rubinstein's "The Demon". His performance of the role of Pan in Walpurgis Night in Faust by Charles Gounod drew attention to him, and with her he performed his first classical role at the Bolshoi Theater - a soloist in the ballet "".

The performance of Vladimir Vasiliev in the ballet "" in 1959, staged, turned out to be truly triumphant. The choreographer entrusted him with the main role - Danila. This success opened the way for the young dancer to various central roles: Prince in "", Batyr in "Shural", Frondoso in "", title roles in the ballets "Paganini" and "" and others.

For some parts, Vladimir Vasiliev became the first performer: soloist in A. Varlamov's "Dance Suite" to music, Lukash in the ballet by O. Tarasova and A. Lapauri, music by M. Skorulsky's "Forest Song", Ivanushka in R. Shchedrin's "" staged by A. Radunsky. The dancer took part in the first performance of two choreographic versions of A. Khachaturian's ballet "": in the production he played the role of a slave, and in the production - the title role. He took part in the first performance and other ballets in the production: the main role in "", Prince Désiré in "The Sleeping Beauty", in the ballet of the same name to music, Sergei in "Hangar" to music by A. Eshpai. He was the first dancer to perform the role of Romeo in M. Bejart's ballet to music by G. Berlioz in the USSR. The dancer was also appreciated by another choreographer - K. Goleizovsky, who created for him the miniature "Narcissus" and the part of Majnun in the ballet "Leili and Majnun" to the music of S. Balasanyan.

An outstanding Russian dancer called V. Vasiliev "a brilliant exception to the rule", referring to his exceptional ability to reincarnate. He was equally convincing in the image of the lyrical Nutcracker-Prince, the heroic Spartacus, the passionate Basil in "". Choreographer F. Lopukhov, comparing ballet images with operatic voices, said that V. Vasiliev is "both a tenor, and a baritone, and a bass." V. Vasiliev's performances abroad were as successful as at home: he was called the "god of dance" in France, he was awarded the title of honorary citizen of the American city of Tucson and Buenos Aires. His talent was appreciated by such a famous Italian director as Franco Zefirelli - in his film-opera "" V. Vasiliev staged and performed a Spanish dance.

Even in his student years, a feeling arose between Vladimir Vasiliev and the ballerina. In 1961, they became spouses, and became not only a wife for the dancer, but also a constant partner, whom he called his muse. " to music by V. Gavrilin based on the story of A. P. Chekhov "Anna on the neck", "Macbeth" to music by K. Molchanov. He also staged plotless ballets, in which the main "characters" were the music and the dance that revealed it: "These enchanting sounds" to the music of A. Corelli, J. F. Rameau and V. A. Mozart, "Nostalgia" to the piano music of the Russians composites, "Fragments of a Biography" to the music of Argentine composers. In 2015, V. Vasiliev created a unique production to the music of the Mass in B minor "Grant us peace", which combines elements of oratorio, ballet and dramatic action.

Ballet is the main, but not the only area of ​​creativity of Vladimir Vasiliev: he is engaged in painting and writes poetry.

Music Seasons

VLADIMIR VASILIEV ENCYCLOPEDIA OF A CREATIVE PERSONALITY.

The second (expanded and supplemented) edition of the unique book “Vladimir Vasiliev. Encyclopedia of Creative Personality ". The first edition was published in 2000 - to the anniversary of Vasiliev, who became the first and only living person to whom a personal encyclopedia was dedicated. - a huge work about the life and work of the great ballet dancer, choreographer, director, set designer, artist, poet: 326 pages of the encyclopedia contain more than 900 articles. The author of the book, Elena Fetisova, a psychologist by education (she is also the author of scientific publications on the psychology of personality and creativity) and a photographer by vocation (which was marked by the presentation of the Soul of Dance prize to her in 2015), for more than 40 years she has photographed Vasilyeva at performances. rehearsals, concerts, filming, creative evenings, etc. She collected, systematized and arranged in articles a huge amount of information about all the roles of Vladimir Vasiliev in ballets, all performances with his participation and performances staged by him with a full description of stage stories; all his roles in television ballets, feature films; about the films in which Vasiliev starred and staged; about the performances and gala concerts that he directed; about international ballet competitions, where he was the chairman of the jury; about his awards, prizes, awards, honorary titles; photo albums, books, exhibitions dedicated to him; personal exhibitions of Vasiliev the artist, editions of his poetry and much, much more. Among the persons represented in the encyclopedia: artists - the first performers of Vasiliev's productions; his partners and partners in performances and films; choreographers who staged specially for it; composers, conductors, artists, choirmasters, accompanists - participants in Vasiliev's creative projects, directors and cameramen who made films about Vasiliev or together with him; Vasiliev's teachers at Moscow Art University and teachers at the Bolshoi Theater, his students at GITIS; ballet researchers and photographers, especially interested in the work of Vasiliev, etc.

The rich illustrative material (more than 450 photographs, of which almost half were taken by the author of the book) include rare photographs from the personal archive of Vladimir Vasiliev, the Bolshoi Theater Museum, the State Central Theater Museum named after V.I. A.A. Bakhrushin, the New Birth of Art Charitable Foundation, private collections, works of famous Russian and foreign photographers, many of whom are published for the first time. The articles are arranged in alphabetical order, and each of the letters opens with a photograph of that production by Vasiliev, which begins with this letter: A - "Anyuta", I - "Icarus", M - "Macbeth", etc. In addition to scenes from performances, articles about performances are illustrated with posters, performance programs, photographs from rehearsals.

The encyclopedia includes an Appendix - "About creativity and not only" - containing information about Vasiliev's performances (including comic ones) at various festivities, congratulations from colleagues and friends on his anniversaries, original gifts and dedications to Vladimir Vasiliev, as well as friendly cartoons , epigrams, mosaic of geographical names associated with his stay and many others. other. Articles in the Appendix are also illustrated with rare photographs, mostly unknown to the general public.

The book presents the works of Vasiliev as an artist and set designer, his poetic works, as well as for the first time published small fragments of the memoirs of Vladimir Vasiliev, exclusively provided by him for this publication.

You can buy the book:
In the shop of the Bolshoi Theater.
Address: Moscow, st. Theater Square, 1. 9th entrance of the main building.

In the bookstore Moscow
Address: st. Tverskaya 8, building 1
They also have an online store www.moscowbooks.ru

In the store of the Mariinsky Theater
Address: St. Petersburg, st. Theater Square, 1

On the website of the publishing house http://www.bookmusic.ru/