Tickets to the Bolshoi Theater of Russia. Main ballet of Maya Plisetskaya

Carmen suite - one-act ballet choreographer Alberto Alonso, based on the opera Carmen by Georges Bizet, orchestrated especially for this production by composer Rodion Shchedrin. The libretto of the ballet based on the novel by Prosper Mérimée was written by its director, Alberto Alonso. At the center of the ballet tragic fate the gypsy Carmen and the soldier Jose who fell in love with her, whom Carmen leaves for the sake of the young Torero. The relationship of the characters and the death of Carmen at the hands of Jose are predetermined by Fate. Thus, the story of Carmen (in comparison with the literary source and Bizet's opera) is resolved in a symbolic way, which is strengthened by the unity of the scene.
For the sake of staging the famous "Carmen" by Bizet-Shchedrin, the first choreographer of Plisetskaya, Alberto Alonso, arrived from Cuba.

"Plisetskaya is Carmen. Carmen is Plisetskaya." However, few now realize that Plisetskaya's main ballet was born by chance. “So the card lay down,” Maya Mikhailovna recalled. Although I dreamed of this role all my life. Back in 1966, she could not even imagine that she would find the choreographer of her dreams in the middle of winter at Luzhniki at an evening of Cuban ballet. After the very first bars of the incendiary flamenco, Plisetskaya could hardly stay in her chair and literally burst into the backstage during the intermission. All she could say, seeing the choreographer: "Will you put on Carmen for me?" "I dream about it," Alberto Alonso replied with a smile. The production was defiantly innovative, and main character- damn sexy, but no one dared to ban the performance of the choreographer from the Island of Freedom - it meant a quarrel with Fidel Castro. “You are a traitor to ballet,” Minister of Culture Furtseva threw in Plisetskaya’s face. “Your Carmen will die!” "Carmen will live as long as I live," Plisetskaya proudly replied then.

All the movements of Carmen-Plisetskaya carried a special meaning, a challenge, a protest: a mocking movement of the shoulder, and a retracted hip, and a sharp turn of the head, and a piercing glance from under the brows ... It is impossible to forget how Carmen Plisetskaya, like a frozen sphinx, looked at the dance of the Toreador, and all her static posture conveyed a colossal inner tension: she fascinated the audience, riveted their attention to herself, involuntarily (or consciously?) distracting from the spectacular solo of the Toreador.

Almost 40 years later, fate laid out a new solitaire. Her last stage partner Alexei Ratmansky became the director of the Bolshoi Ballet. And on the day of the resumption of "Carmen" on the main stage of the country on November 18, 2005, Maya Plisetskaya said: "I will die. Carmen will remain."

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It's no secret that in the Soviet Union, films that hinted at intimacy were ruthlessly censored. Too short a skirt, a frank neckline or immoral acts of the heroine of the picture could turn into a collapse not only for the work, but also for the performer of the role. Who are they - the first women who spoke about what was forbidden in the cinema, who agreed to undress in the frame, and how did their fate turn out? The editors of Woman's Day decided to find out.

Tatyana Samoilova

Photo: frame from the film "The Cranes Are Flying"

In the 1957 film "The Cranes Are Flying", where the beautiful Tatyana Samoilova played leading role, did not have explicit scenes. The challenge was the heroine herself - she cheated on her beloved! The regime took the picture negatively, Nikita Khrushchev himself called Veronika, whose image Samoilova embodied, a whore. Even such a prize as the Palme d'Or at the Cannes Film Festival did not make critics change their minds and shut up. Tatyana Samoilova returned to Moscow in triumph, offers from foreign directors simply rained down on the star. But Soviet officials banned Samoilova from acting in foreign films and forever destroyed the dream of getting into American cinema. The second triumph of the actress was the role of Anna Karenina in the drama of the same name. However, for unknown reasons, after the success of the picture, Tatyana was no longer offered the main roles. The actress was never able to reveal and demonstrate to the audience all her talent. Samoilova left the life of May 4, 2014 on her own birthday and 80th birthday.

Natalya Kustinskaya

Natalia first appeared in a blue swimsuit...

She was nicknamed the Soviet Brigitte Bardot. Natalia's career took off almost immediately after graduating from the Institute of Cinematography. In 1961, the actress received a diploma, and in 1963 the film “Three Plus Two” was released, in which the dazzling blonde appeared not in a baggy, but in a sexy swimsuit. The French magazine "Candide" named Natalia one of the most beautiful actresses world and domestic Bardo.

And then in separate

The next high-profile role was the 1973 comedy "Ivan Vasilyevich Changes His Profession." Director Yakin's girlfriend performed by Kustinskaya and her catchphrase: “Hello, Checkmark, you are about to die! Yakin abandoned his kikimora and persuaded me to fly with him to Gagra,” the whole country knew. It would seem that the Russian Brigitte is provided with a happy personal life and the main roles of leading directors, but, alas, fate decreed otherwise. Last time the actress starred in a movie in 1989, and not a single film became an event. Six unsuccessful marriages, the death of the only son and grandson affected the health and career of the star. On December 13, 2012, at the age of 74, the actress passed away.

Photo: frame from the film "Ivan Vasilyevich Changes Profession"

Maya Plisetskaya

The great ballerina fought the regime for the ballet Carmen Suite. At the end of 1966, the Cuban choreographer Alberto Alonso arrived in Moscow. Maya, already a recognized star, persuaded the Minister of Culture Ekaterina Furtseva to invite Alberto to stage the ballet Carmen. The official went forward, because such cooperation will help strengthen the Soviet-Cuban friendship. The ballet was staged in the shortest possible time, the role of Carmen was performed, of course, by Plisetskaya. But even her talent did not save the performance from criticism. Too much eroticism was seen in it. Furtseva left the theater without waiting for the end of the action, and then delivered her verdict: “This is a big failure, comrades. The performance is raw. Sheer erotica." And there was no question of going on tour with him. But when Plisetskaya announced the decision, the ballerina said: "Carmen will die only with me."

Plisetskaya managed to return the ballet to the stage only after a promise to cut all objectionable scenes. The incident did not affect Maya's career, she was and remains the greatest Russian ballerina.

Svetlana Svetlichnaya

Photo: frame from the film "The Diamond Arm"

The actress has dozens of films on her account, but the first thing that comes to mind at the mention of her name is the comedy "The Diamond Arm". famous phrase seductress Anna Sergeevna "It's not my fault, he came himself!" everyone remembers. For 1968, such a sexually liberated fatal beauty in a bathing suit as Svetlichnaya, who loves to drink main character, and also prostitutes - it was an unthinkable cocktail in feature film. But nevertheless, all the scenes were included in the tape thanks to the director's trick. Leonid Gaidai put in the final picture nuclear explosion and told the Goskino commission that they could cut out anything, but not an explosion-catastrophe - this is the main highlight of the film. And the trick worked: the scenes of light erotica remained untouched, since the main task of the censors was to remove the nuclear “mushroom” from the picture. Svetlana Svetlichnaya glorified this role.

Svetlana Toma

Photo: frame from the film "The camp goes to the sky"

Another actress who was not afraid to take risks. In the 1976 film "The Tabor Goes to the Sky" Svetlana Toma played the gypsy Radu and in one of the scenes showed her bare chest. The male audience was inflamed with devoted love for Svetlana. Cinema from the actress also did not turn away. Despite such a frank scene at that time, the censors let it through, and Svetlana got a job in 20 more films over the next decade.

Natalya Negoda

Photo: frame from the film "Little Vera"

Natalya Negoda in 1988 made a real sexual revolution. The drama film "Little Vera" was released, in which there was an intimate scene. This audience has never seen! In the picture of Vasily Pichul, the main character was not accidentally or briefly naked, she walked around the apartment in her shorts. For this role, Natalya Negoda was awarded the Nika Prize as best actress, a prize for the best female role at the 1988 International Film Festival in Bogota, first place at the 1989 International Film Festival in Geneva. It is not surprising that the most daring actress of the USSR was invited to star in the American Playboy magazine, which she did. Then Negoda continued her career in the United States, where she starred in the comedy "Summer Companions", the series "Law & Order" and several other films. The actress returned to Russia 17 years later and did not particularly flicker on the screen.

She has become a symbol of ballet and Russian culture in general for the whole world. But besides dancing, she had a difficult childhood in her life, military youth and one of the happiest amazing stories love - the one that stronger than death. A real fighter and an amazing woman - Maya Plisetskaya.

From orphanage the future ballerina was saved by her own aunt, Shulamith Messerer, who was a soloist of the Bolshoi Theater. She adopted Maya and helped her sister to return to Moscow earlier than the term prescribed by Soviet law (the wives of traitors to the motherland were subject to imprisonment in camps for 5-8 years). But until March 1956, when Plisetskaya's father was posthumously rehabilitated, the ballerina was considered the daughter of an enemy of the people.

2. Ballet during the war

Maya's mother Rakhil Mikhailovna Messerer-Plisetskaya was a silent film actress, and her aunt Shulamith, who adopted her, was a ballerina, ballet dancer and choreographer, and Maya's uncle Asaf Mikhailovich Messerer was also. In other words, ballet surrounded the girl from birth, and it is not surprising that her fate turned out to be connected with this particular art.

At the age of 9, Maya entered the Moscow Choreographic School. Among teachers future star were Elizaveta Gerdt and Maria Leontieva.

The ballerina had to learn the art of dance during the terrible war years. Then one of the first notable performances of Plisetskaya took place - in 1942 in Sverdlovsk, where she was evacuated. It was a miniature "The Dying Swan" created by Mikhail Fokin for Anna Pavlova. Subsequently, the number became one of business cards Plisetskaya, and she is one of the most famous ballerinas who have ever performed it, and in our time, "The Dying Swan" is associated primarily with her name.

After graduating from college, Plisetskaya was accepted into the troupe of the Bolshoi Theater and soon became a soloist and one of the leading ballerinas. She began her professional career in the critical years of the Great Patriotic War. And critics note that the dance of young Maya was a premonition of victory, which the whole country lived in those years, a premonition of liberation. The ballerina affirmed this victorious, liberating power of art all her life.

3. Plisetskaya as a symbol

After Galina Ulanova left the stage in 1960, Plisetskaya became the prima ballerina of the Bolshoi Theater. By that time, she had already performed many iconic parts. For example, back in 1945 she became the first performer of Autumn in Sergei Prokofiev's ballet Cinderella, and in 1947 she impressed the audience with her Odette-Odile in Swan Lake.

Then there were the parts of Mirtha in the ballet Giselle, a street dancer in Don Quixote, the Tsar Maiden in The Little Humpbacked Horse and many other works.

But it was in the sixties that the magnificent Plisetskaya began to flourish, she not only becomes the prima ballerina of the Bolshoi, but achieves world fame. The best choreographers of the world create performances for her: Cuban Alberto Alonso (ballet "Carmen Suite"), classics French ballet Roland Petit (ballet The Death of the Rose) and Maurice Bejart (Isadora) and many others.

The ballerina eventually becomes a symbol of art and a symbol of classical Russian culture, and plays this role until her death. Moreover, Plisetskaya was distinguished by her unprecedented creative longevity: she ended her regular dancing career at the age of 65, but even after that she periodically appeared on stage, for example, she celebrated her 70th birthday with a performance of a special number “Ave Maya”, which was staged for her by Maurice Bejart.

4. Carmen

Alberto Alonso's ballet "Carmen Suite" played one of the main roles in professional life Maya Plisetskaya - he most clearly expressed the extraordinary dance style ballerina, and it was with him that her world fame began. But this number was not easy. Plisetskaya had to make a lot of efforts so that the ballet first came true, and then the same amount more to get the right to dance it.

Tired of the endless classics in the repertoire, by 1964 Plisetskaya firmly decided to do something new, something of her own. She always dreamed of dancing Carmen, so there were no problems with the choice of material, it only remained to find a choreographer and composer.

Here the matter dragged on, but when in 1966 Plisetskaya saw the performance of the Cuban National Ballet in Moscow, she realized that this was the very language that would be ideal for her Carmen.

Cuban choreographer Alberto Alonso immediately agreed to cooperate, but the main difficulty was to convince Soviet officials to invite him to work in the Bolshoi Theater, because foreigners were not favored in the USSR. The recently received Lenin Prize and the fact that Alonso was from the right country - from the Island of Freedom, which means that his work at the Bolshoi could strengthen the Soviet-Cuban friendship, helped to convince the Minister of Culture Ekaterina Furtseva Plisetskaya.

However, after the very first viewing of the new ballet, Furtseva was clearly disappointed - there was too much eroticism and, in general, sheer formalism. She called Plisetskaya "a traitor classical ballet". The ballerina only miraculously managed to persuade the minister not to ban the production - after promising to shorten the love adagio.

But that was only the beginning. Then there was a battle for the right to show the ballet "Carmen Suite" on foreign tours of the Bolshoi Theater. “- You made a woman of easy virtue out of the heroine of the Spanish people ...”, Furtseva smashed the dance, forbidding the performance of “Carmen” at Expo-67 in Canada. Only after the Chairman of the Council of Ministers Kosygin came to one of the performances in 1968, Furtseva allowed to show "Carmen" to foreign audiences.

Since then, Plisetskaya has danced Carmen about 350 times and the audience has always received this ballet with delight. The world fame of the ballerina began with him, so her stubbornness and perseverance in the fight against the hypocrisy of the Soviet bosses paid off in full. They say that when the French president awarded Plisetskaya with the Order of the Legion of Honor, one of the Soviet officials said to her in bewilderment: "I thought that this order was given only to resistance fighters." To which the ballerina rightly replied: “But I have been resisting all my life!”

5. Muse of Pierre Cardin

Plisetskaya dreamed of dressing the best couturiers in the world. This honor was awarded to Pierre Cardin, Yves Saint Laurent, Coco Chanel. But it was Cardin who became the ballerina's favorite and unsurpassed fashion designer, who proudly called Plisetskaya his muse. His creative union with Maya lasted long years. In her memoirs, the ballerina wrote: “I know for sure that thanks to the costumes of Cardin, my ballets Anna Karenina, The Seagull, and The Lady with the Dog were recognized. Without his refined imagination, which reliably conveyed to the viewer the flavor of the eras of Tolstoy and Chekhov, I would not have been able to fulfill my dream.

AT Everyday life Plisetskaya preferred, as fashion historian Alexander Vasiliev put it, "sports-space style." She is perhaps the first woman in the USSR who used the military style to create her image.

And in general, Plisetskaya dressed as freely as she danced - not interested in the opinion of experts from women's magazines and not paying much attention to fashion trends but creating them.

She never emphasized her slimness, preferring voluminous things, she loved patent leather shoes with low heels, leather, unusual geometric proportions and all kinds of angularities. It is hardly possible to repeat Plisetskaya's style - and the point is not only that the best fashion designers of France specially sewed clothes for her, the point is the extraordinary plasticity of the ballerina, the ability to wear "strange" things beautifully and calmly - the point is that Plisetskaya danced not only on the stage.

6. Shchedrin

Maya Plisetskaya married composer Rodion Shchedrin in 1958. The story of their love lasted until the death of the ballerina in 2015, and in a sense continues to this day: Plisetskaya left a will, according to which her ashes will be joined together with the ashes of Rodion Shchedrin after his death and scattered over Russia.

The ballerina was connected with Shchedrin not only by feelings (and this is a truly bright, happy story love), but also creative relationships. The composer wrote the ballets Anna Karenina, The Seagull, The Lady with the Dog especially for his wife - in all these productions, Plisetskaya danced the main parts and acted as a choreographer.

Moreover, Shchedrin honestly admitted that he had never been a great ballet lover and wrote them solely for the sake of his beloved wife. “I still can’t call myself a balletomane. I am Mayaman,” the composer said in one of his interviews.

Plisetskaya always spoke with admiration of her husband: “He kept me afloat. He wrote me ballets. He gave ideas. He inspired. It's unique. It is a rarity. Because he is rare. He is unique. I don't know people like him. So holistic, so independent in thought, so talented, even brilliant. I admire my husband all my life. He has never disappointed me."

It seems that it is Shchedrin who owes Plisetskaya and her creative longevity, at least that’s what she herself thought: “He extended my creative life for at least twenty-five years."

7. In the name of art

From childhood, Plisetskaya lived for ballet and for the sake of ballet. For his sake, she had to sacrifice the happiness of motherhood. At the very beginning of her relationship with Shchedrin, the ballerina became pregnant. She thought about leaving the child, but the desire to dance took over.

Plisetskaya believed that it was still possible to wait, “there is still a deadline”, but choosing motherhood at that moment meant seriously jeopardizing her future professional destiny. “Shchedrin was not enthusiastic, but he agreed,” Plisetskaya wrote in her autobiography.

However, the couple did not have more children. Dance and a beloved husband remained two unconditional priorities in the life of the great Plisetskaya.

Prepared by the editors of the site "April"

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Maya Mikhailovna Plisetskaya(November 20, 1925, Moscow) - the great Soviet and Russian ballet dancer, choreographer, writer.

Most Outstanding Roles: Odette-Odile in Swan Lake, Aurora in Tchaikovsky's Sleeping Beauty, The Hostess copper mountain in " stone flower» Prokofiev, Raymond in the ballet of the same name by Glazunov.

Especially for Plisetskaya, the Cuban choreographer Alberto Alonso staged the ballet Carmen Suite. Other choreographers who created ballets for her were Roland Petit and Maurice Béjart.

Plisetskaya and Shchedrin spent a lot of time abroad, where she worked artistic director Rome Opera and Ballet Theatre, as well as the Spanish National Ballet in Madrid.

At the age of 65, she left creativity, leaving the Bolshoi Theater as a soloist. On the day of her 70th birthday, she made her debut in a number specially written for her by Maurice Béjart called "Ave Maria".

For more than fifteen years, she has been the chairman of the annual international ballet competition called Maya.

Rodion Shchedrin and Maya Plisetskaya were granted citizenship of the Republic of Lithuania as an exception for outstanding services, where they often lived and were engaged in creative work.

Suite(from French Suite- series, sequence) - cyclic musical form, consisting of several independent contrasting parts, united by a common idea.

www.classic-online.ru(Shchedrin. Carmen Suite - listen)