“Dancing with Angelina, I see a white light ...” - irina_berezina. Pavel Dmitrichenko: “Everything that doesn’t kill us makes us stronger Feet and knees are covered in blood, but these are trifles

On the morning of March 5, at six o'clock, the doorbell rang. We looked into the video intercom and saw seven men. Among them was an investigator who interrogated us. We realized that it was the police and opened it. One of those who entered announced: "We are here with a search."

For three hours they were looking for something. Everyone in the apartment was dug up, but they behaved quite correctly. Things were put back in cupboards and drawers. When the search was over, the investigator said to Pasha:

And now we will drive to the place of your registration.

By coincidence, Dmitrichenko is registered in the same house on Troitskaya Street where Filin lives and in whose yard he was attacked. There is the apartment of Pasha's parents, but it has been rented out for eight years already.

Pasha began to explain:

You see, none of our family has been living on Troitskaya for a long time.

Let me at least call my father to warn the people who are filming it.

No, we will not call anyone,” the investigator said. - Not allowed.

It was only later that we realized that they were afraid that important “evidence” would be hidden there.

Pasha began to dress - in perfect prostration. I didn't feel much better than he did. Went to the elevator to see. I asked the investigator when to expect Pasha. He hesitated:

Don't know. After leaving the place of registration, we will take him for interrogation.

On March 8, the young soloist of the Mikhailovsky Theater Angelina Vorontsova will make her debut in Nacho Duato's Romeo and Juliet

On the eve of her premiere, the ballerina told VP about why she left the Bolshoi Theater, how she was met at Mikhailovsky, and why it is more difficult to dance in soft shoes than on pointe shoes.

At the Bolshoi Theater I had no creative growth

- Angelina, you left the Bolshoi Theater shortly after the resignation of Nikolai Tsiskaridze. For what reason? Is your dismissal related to the story of the attack on Sergei Filin?
— The most main reason I didn't have creative growth there. But I remained in the theater while my teacher Nikolai Maksimovich Tsiskaridze worked there. We rehearsed performances with him in which I did not dance. It was a huge job - luggage that could come in handy for me in further career. When he left the theater, I was left even without such an optional job. At that time, I already had several offers from different theaters. The invitation received from the Mikhailovsky Theater seemed the most tempting to me - to dance in the ballet The Flames of Paris, staged by Mikhail Messerer. I was not busy with the repertoire of the Bolshoi Theatre. Therefore, I asked the management to give me a vacation at my own expense for two months. But they didn't let me go. I realized that I could not be without work for two months, and went to Mikhailovsky. In the ballet "The Flames of Paris" I danced two parts - Diana Mireille and Jeanne.

Was it difficult to prepare two complex and different games so quickly?
- Mikhail Grigorievich Messerer said that I have a wide role and I can dance different roles. And these words inspired me a lot to work on the part of Zhanna. The rehearsal period lasted a month. First, when I arrived, I started rehearsing the part of Diana Mireille. I danced this part at the Bolshoi too, but it was in a completely different edition. Then Mikhail Messerer suggested that I try myself in the role of Zhanna. And this party is completely different, it is more characteristic, I have never performed in this role before. It so happened that on the day of the premiere I went on stage as Diana Mireille, and the next day I was already dancing Jeanne.

- And you were immediately offered a contract?
- Yes, I was immediately invited to the ballerina's bet.

How did your colleagues at the Mikhailovsky Theater welcome you? A young ballerina, came from Moscow, immediately the main parts ...
- What's so strange about that?

- So your colleagues were glad to see you?
- You know, it's some kind of delusion that any artist who comes to the theater from outside is met with disapproval. Believe me, it's not. When you go on stage, it immediately becomes clear to everyone whether you deserve it or not. If you do not reach this level, then some conversations begin. But all this passed me by. The troupe of the Mikhailovsky Theater is very friendly. I don't have any problems with anyone here.

- Was it more difficult at the Bolshoi Theater?
- Yes, because there is a very large troupe, many artists, serious competition, and the management does not always distribute the work correctly - so that the artists do not take offense at each other.

Feet and knees are covered in blood, but these are trifles!

- Tell us a little about the ballet in which you will dance on March 8 ...
— I will take the stage for the first time as Juliet in Romeo and Juliet, staged by Nacho Duato. I am lucky that my premiere will take place right now, because Nacho himself has arrived. He is no longer the artistic director of the Mikhailovsky Ballet Company, but has not severed his connection with the theatre. There are directors who tell the dancers how to do it. Nacho is amazing. You just need to look at it and try to repeat it. All his ballets are so musical. The ballet "Romeo and Juliet" is staged for every measure, for every note. He hears music in a way that, probably, no one from modern directors hears.

Everything takes place in the same century as in Shakespeare's play, during the Renaissance, the costumes are historical, close to that era. And this is a ballet in which they dance not on pointe shoes, but in soft shoes. This is a new technique for me, and it was very interesting for me to master it. A modern dancer must be able to work in different styles, genres, techniques. Of course, the transition from pointe shoes to soft shoes is fraught with injuries. But now my repertoire is so built that I only rehearse Romeo and Juliet. Of course, the feet and knees are covered in blood, all bruised, but these are trifles!

- Do you think such love as Juliet's is possible these days?
“I think women have changed. Maybe it happens to someone else as well. But the majority modern women they have their own tasks, goals in life, work ... So, to take one's own life in the name of love ... Few people are capable of this.

I got into ballet from rhythmic gymnastics

What family are you from? Are your parents - people of art, connected with ballet?
— No, my parents are doctors, my older sister is a dentist. And I got into ballet from rhythmic gymnastics, which I have been doing since the age of 5. I had some success, I became a candidate for master of sports at the age of 10. And when I quit gymnastics, my choreographer, who gave me numbers, got upset. And he advised me to go to ballet. I did so. I passed the exams at the ballet school in Voronezh, and I was accepted immediately into the third grade.

What do you have to give up for ballet?
“I realized a long time ago that I can’t live without my profession. Therefore, all restrictions for me are self-evident. If we talk about the diet, then, of course, I eat a little. It often happens that for the whole day it is not possible to eat at all. I rehearse all the time. Today, let's say, I had a class, and then six hours of rehearsal - a general rehearsal, then an hour and a half we attended a rehearsal with Natasha Osipova, then an hour and a half I had my own rehearsal, then I immediately ran to you, and by seven I need to return to the run.

- But with such loads, energy is needed! Maybe, although sweet is possible?
- I eat sweets. For example, chocolate, because it gives energy. I can’t say that I don’t eat after six, because sometimes we don’t eat until six.

There is no time for food and for many other things. But it doesn't bother me. Work for the artist is the main thing. I noticed that when I have a lot of work, I feel better. When there is little work, I feel uncomfortable. I'm used to this rhythm.

- Well, do you find time to read, watch films, go to theaters?
- I go to the theater, I recently watched Eifman's ballets, I go to the Mariinsky Theater if possible, I watch movies at home, I read books before going to bed, thereby calming down.

- Do you have any idols?
- I have always admired Ekaterina Maximova, Nadezhda Pavlova and Lyudmila Semenyaka.

Angelina Vorontsova, ballerina Mikhailovsky Theater ah, told website, what cosmetics she prefers to use, how she takes care of herself and how she manages to keep her figure.

website: Do you use decorative cosmetics in everyday life?

Angelina Vorontsova: Of course, I use it, but not intensively. I usually color my eyelashes and apply lip balm. If there is any kind of meeting, then I will definitely even out the tone of the skin of the face, allow myself a brighter lipstick or gloss, apply light blush, highlight the eyebrows and use mascara. I don’t like to paint my eyes much, so I don’t draw arrows and don’t use shadows.

website: What is your daily self-care ritual?

Angelina Vorontsova: First of all, it is cleansing. Definitely in the morning and evening. Then thermal water, then moisturizer. During the day, between rehearsals, I wipe my face with tonic, but I don’t do it often, so as not to dry the skin and not disturb the water balance. I put on masks twice a week. Eve Lom Moisture Mask or Masque Eclat Express nettoyant à l'argile rouge Formule Intensive from Sisley. There are no special secrets, the main thing is the right means.

website: What kind of care do you provide for your hair?

Angelina Vorontsova: I do not dye my hair, I am very pleased with my natural hair color. I don't cut them often, but if I go to a salon, it's only the one where they use hot scissors. This method really helps me, I don’t have a single split end. I pay special attention to products that protect my hair from pliers and invisible hairpins, because no one spares my hair at performances: great amount varnish, and sometimes even glue. Before going on stage, I always use MoltoBene Hair Dresser Salon Feel Hair Dresser. This tool protects the hair very well from damage.

website: Your last beauty purchase?

Angelina Vorontsova: Not so long ago I switched to creams and cleansing drugstore brands. And the last beauty purchase is the company's creams Noreva Laboratoires Exfoliac: revitalizing cream and Global 6. As well as a mask from the same series Masque desincrustant.

website: What beauty products can you not do without?

Angelina Vorontsova: It must be a lip balm Clarins (Moisture Replenishing Lip Balm). I have not found anything better for moisturizing lips.

website: Do you have a list of beauty taboos?

Angelina Vorontsova: I can’t imagine myself falling asleep with makeup on my face. I believe that removing makeup should not be neglected under any circumstances. Still peeling nail polish. Although I read somewhere that it seems to be in vogue now. I don't understand this innovation.

website: How do you manage to keep your figure?

Angelina Vorontsova: I have noticed that the happiest and healthiest people are those who only eat when they really want to. And this is probably the most important rule. Now open terrible secret- ballerinas often eat at night. We rehearse the whole day, then the performance and sometimes there is simply no time to eat physically. And at night, finally, we are free and it's time to eat. Of course, I don’t eat every night, every other time I try to arrange fasting days. And so best diet- it's work.

website: Do you prefer hardware salon cosmetology or do you trust folk remedies more?

Angelina Vorontsova: I definitely prefer modern cosmetology. Not so often I go to a beautician, although I do my best to make it a system. But folk remedies I don't use at all. I believe that science is so far advanced that it is possible to use egg yolk as a hair mask is no longer relevant.

website: How do you feel about plastic surgery and braces?

Angelina Vorontsova: I am quite positive. Here the main thing is a sense of proportion and a good doctor. If there is an opportunity to correct what does not suit you in yourself, and no other measures other than surgical intervention can no longer help, then why not resort to help plastic surgery. The main thing is not to abuse.

site: What advice would you give to readers of the site?

Angelina Vorontsova: Don't get angry and don't scold. There is nothing worse than angry, envious and quarrelsome women. Then you will look better. After all, beauty comes from within.

A photo: Sergey Misenko, Tatiana Bochkareva.

“The ballet is a downright depraved performance,” said Leo Tolstoy. Contemporaries hardly agreed with him, and now hardly anyone will subscribe to the words of the classic. However, at all times, ballerinas not only twirled fouettes, but also twirled men as they wanted. A rare representative of the stronger sex can resist the charms of graceful actresses. AT modern Russia they are credited with affairs with the oligarchs, and in the tsarist one they conquered the emperors. Today the site will tell you the stories of four ballerinas who forever changed the fate of the men who fell in love with them.

It is perhaps difficult to remember a profession surrounded by the same veil of mystery as a ballerina. Fragile dancers, as if conquering gravity and time, have always admired and attracted the mighty of the world of this, and their life, in which there was a place for both strict discipline and hot passions, aroused the interest of the public. Reading the memoirs of Matilda Kshesinskaya, a ballerina who became famous thanks to her short-term romance with Tsarevich Nikolai, it’s hard not to notice that men fell in love with her easily, and she skillfully manipulated them.

The dancer had such charm that almost the entire environment of the heir was speechless at the very second when she entered the stage. However, there are other femme fatales in the history of Russian ballet.

Recall at least Avdotya Istomina, whose image on stage was immortalized by Alexander Pushkin. Her attention was sought by the richest and most influential suitors, but she was always guided solely by the voice of her heart. Once a dancer caused a "quadruple duel", which almost cost her life. famous writer Alexander Griboyedov.

Today we invite you to meet four ballerinas different eras who went down in history not only because of their skill, but also as skillful heartbreakers.

Avdotya Istomina, 1799-1848

Avdotya was born in relatively poor family, and by the age of six she remained an orphan. In the 19th century, the profession of an artist was not as prestigious as it is now, so the schools were mainly attended by offspring from poor families. It is not surprising that Istomina ended up in one of these institutions. The girl got on the course of the dance maestro Charles Louis Didelot, who was specially invited to St. Petersburg to guide ballet troupe Russian imperial theaters. Like all other students, Avdotya began to go on stage early. Already at the age of nine, she participated in the corps de ballet of the play Zephyr and Flora, which brought her real success. After graduating from college, Istomin, recommended by Didlo himself, was immediately taken to the stage.

At the age of 17, she made her full-fledged debut in the ballet Acis and Galatea. Thanks to her brilliant talent, Avdotya in an instant became the dream of all representatives of the golden youth.

At that time, Russian ballet was not just a dance, but a mixture of it with dramatic art. Istomina skillfully used acting talent, conveying the experiences of her characters with precise facial expressions and gestures. Thanks to incredible love spectators, the young beauty quickly took a leading position in the St. Petersburg troupe of the imperial theaters. It was she who was the first Russian dancer to take pointe shoes (before that, everyone danced in narrow shoes with small heels).

Avdotya conquered a lot male hearts. Reading how one of the theater critics described her, we understand how she did it. “Istomina was of medium height, a brunette, of beautiful appearance, very slender, had black fiery eyes, covered with long eyelashes, which gave special character her physiognomy, she had great strength in her legs, aplomb on the stage and at the same time grace, lightness, speed in her movements, ”said the famous Pimen Arapov, the first historiographer of the Russian theater, about her.

Avdotya became not only the main star of the ballet, but also a constant participant in scandals. Numerous aristocratic admirers sought her favor. Once Istomina became the cause of the “duel of four”.

The fact is that the ballerina was the lover of the staff captain Vasily Sheremetev for two years, but one day a quarrel broke out between them. Avdotya left the chosen one and accepted the invitation of her close friend, writer Alexander Griboyedov, who called her to Alexander Zavadovsky, a well-known spendthrift throughout St. Petersburg. There the dancer stayed for a couple of days, but soon reconciled with her lover and returned to him.

It would seem that everything was resolved perfectly, but Sheremetev, instigated by his friend Alexander Yakubovich, decided to challenge Zavadovsky to a duel. Griboedov volunteered to be a friend's second and was supposed to shoot with Yakubovich on the same day, but this did not happen due to tragic outcome first duel. Zavadovsky hit Sheremetev and mortally wounded him in the stomach. The seconds met each other only a year later. The duel ended for Griboyedov with a hand wound. The writer himself at the same time decided to shoot in the air.

This tragic incident did not affect Istomina's success in any way. She shone on stage in almost all productions of her talented teacher Didlo. In 1823, the premiere of the ballet "Prisoner of the Caucasus, or the Bride's Shadow" (based on the plot of the poem by Alexander Pushkin), which seemed to have been created for Avdotya, took place. After that, rumors circulated in the world for a long time that Istomina really had Circassian roots. Pushkin himself did not see this production, since he was in Chisinau, but he asked his brother: “Write to me ... about Circassian Istomina, whom I once dragged, like Caucasian prisoner". The poet was really carried away by the ballerina so much that he immortalized her image in the first chapter of "Eugene Onegin":

Brilliant, half-air,
obedient to the magic bow,
Surrounded by a crowd of nymphs
Worth Istomin; she is,
One foot touching the floor
Another slowly circles
And suddenly a jump, and suddenly it flies,
It flies like fluff from the mouth of Eol;
Now the camp will soviet, then it will develop,
And he beats his leg with a quick leg.

Despite such a breathtaking rise, last years Avdotya's life turned out to be difficult. Because of the pain in her legs, Istomina could no longer dance and keep fit. When the ballerina asked Nicholas I to send her to the waters, he refused her request and ordered her to be fired from the theater altogether. The disfavor of the emperor was explained by the "duel of four" and the friendship of the dancer with the Decembrists. Avdotya managed to be married twice, but she had no children. In 1848, at the age of 49, Istomina died of cholera.

Matilda Kshesinskaya, 1872-1971

Matilda was born in the family of a famous dancer and theater artist, so her fate was sealed in advance. At the Imperial School, Kshesinskaya did significant progress, but did not stand out in anything, except for a rather well-known surname in ballet. At the final exams, the girl met the son of Alexander III, Nicholas, and fell in love with the heir without memory. Their short and frivolous romance influenced the career of Matilda, who almost immediately became one of the leading ballerinas. Mariinsky Theater, and later primo. This was not prevented even by the numerous protests of the chief choreographer Marius Petipa, whose opinion was usually decisive in resolving such issues.

Despite the fact that the affair with Tsarevich Nicholas ended rather quickly, Matilda managed to fall in love with two other members of the Romanov family. Grand Duke Sergei Mikhailovich (grandson of Nicholas I, uncle of Nicholas II, - site note) lost his head because of the black-haired ballerina and was ready to put all the world at her feet.

It was thanks to his patronage that Kshesinskaya's position at the Mariinsky Theater remained quite strong, despite the break with the heir to the throne. Matilda herself never had the same feelings for the closed and unsociable Grand Duke, but, judging by her diary, she was infinitely grateful to him for everything he did for her. Sergei Mikhailovich even gave his middle name to the ballerina's son Vladimir. Kshesinskaya herself, speaking about this act, always emphasized that Grand Duke"took the blame."

The grandson of Nicholas I was shot in 1918 in Alapaevsk along with other members of the Romanov family, but there is no doubt that he loved the dancer with all his heart until his very last breath.

Matilda also conquered the Grand Duke Andrei Vladimirovich (grandson of Alexander II, cousin of Nicholas II, - approx. site). Despite the fact that Kshesinskaya cohabited with Sergei Mikhailovich, she gave birth to her son precisely from Andrei Vladimirovich, at least that is how she claims in her memoirs. Maybe the Grand Duke reminded the ballerina of Nicholas II, so she treated him with more warmth. Since February 1920, Andrei Vladimirovich and Matilda were together in exile in France.

Almost immediately after leaving, the ballerina and her lover got married. The Grand Duke recognized the son of Vladimir and gave him his patronymic.

Andrei Vladimirovich died in 1956 at the age of 77. Without a husband, Matilda lived for about 15 years. In Paris, Kshesinskaya no longer danced. She opened her own ballet studio, where she worked hard. The former dancer with all her students was unusually delicate and tactful, she never raised her voice. In the 1960s, Kshesinskaya published her own memoirs, in which she described in detail all the events of her life, which are still of interest to the public.

Anna Kuznetsova, 1847-1922

Anna and her twin brother Alexander are the illegitimate children of the great tragic actor Vasily Karatygin. Despite the fact that the man could not officially recognize the twins, he did not refuse them and helped in every possible way. When Anna and Alexander were 6 years old, Vasily died suddenly. The children were enrolled in the imperial theater school which ended successfully. After that, Anna was accepted into the St. Petersburg imperial troupe.

Kuznetsova did not play prominent roles, which did not prevent Grand Duke Konstantin Nikolayevich (son of Nicholas I, brother of Alexander II, - site note) pay attention to her.

According to the notes of some theater critics, although Anna was not exceptionally talented, she had extraordinary beauty. Novels of royalty with ballerinas in those days were not uncommon. Almost all the Grand Dukes had favorites among the dancers, but they never acquired the status of official life partners and did not replace real wives.

Konstantin Nikolaevich also had his own family, but love turned out to be stronger. The Grand Duke honestly told his wife Alexandra Iosifovna, who bore him six children, that he no longer intended to live with her and would move in with a ballerina.

Konstantin Nikolaevich acquired new house, in which he settled with Anna (it is this mansion that Matilda Kshesinskaya will acquire a few years later). Kuznetsova was everywhere accepted according to the position of the wife of the Grand Duke. She practically stopped dancing, and her contemporaries family life seemed much more interesting than the new roles. It is not known how Alexandra Iosifovna, whom Konstantin Nikolayevich called the “state wife”, treated all this, but she did not fix any intrigues for her husband and his “real wife”.

Anna gave birth to the Grand Duke of five children, but three of them common sons died back in early childhood. In 1892, Konstantin Nikolayevich died. Kuznetsova outlived her husband by 30 years.

Anzhelina Vorontsova, born in 1991

Angelina was born in Voronezh, and she became interested in ballet at the age of 12, which is quite late for professional dancers. Vorontsova had practically no chance of becoming a soloist major theater, but at the competition held in Perm, the real stars of the Bolshoi Theater - Ekaterina Maksimova and Vladimir Vasiliev, drew attention to the girl. After this fateful meeting Angelina went to the capital to finish her studies. After graduating from the Moscow State Academy of Choreography, Vorontsova was accepted into the troupe of the Bolshoi Theater.

Vorontsova rehearsed under the strict guidance of Nikolai Tsiskaridze. He was also Angelina's first partner in performances. In 2011 artistic director Sergei Filin became the Bolshoi Theater, which at first was very liked by many of his colleagues.

However, the dancers soon changed their minds about the new artistic director. Even Tsiskaridze, who usually avoids conflicts, could not hide his dislike for Filin.

In 2013, shocking news appeared in the media that an attempt had been made on the artistic director of the Bolshoi Theater. A certain Yuri Zarutsky called out to Sergei and splashed acid in his face. As investigators later found out, the attacker was a close acquaintance of Pavel Dmitrichenko, a dancer and lover of Anzhelina Vorontsova. According to rumors, it was because of her that Pavel persuaded his comrade to commit an assassination attempt.

The ballerina did not hide the fact that after Sergei was appointed artistic director, she was removed from most of the tour and stopped giving solo parts. “Filin said that Dmitrichenko was an uncomfortable character, that if I was with him, there would be no promotion,” Angelina recalled at the trial.

Dmitrichenko spent a little over three years in prison, after which he was released on parole. However, Vorontsova did not expect a lover. She left the Bolshoi Theater and got a job at Mikhailovsky.

In 2015, Angelina married another - Mikhail Tatarnikov, conductor of the Mikhailovsky Theater. But after that tragic history in the press she is not called otherwise than the "fatal ballerina".