Grigorovich Yuri Baletmeister Biography

His work was not only the national treasure of Russia, but also a stage in the development of the world ballet theater. The author of the eleven original ballets and his own editions of almost all classic ballets, which form the basis of the repertoire of the Bolshoi Theater, Grigorovich opened the door to a large ballet fate to many talented performers. The illustrated biography from the book “Who is Who is in Modern Russia” was born on January 2 of the year in Leningrad.

Father - Grigorovich Nikolai Evgenievich was an employee. Mother - Grigorovich Rosei Claudia Alfredovna led the household. The parents of Yu. Grigorovich were not connected with art, but they loved him and treated him very seriously. Uncle Yuri Nikolaevich for his mother - G. Rosea was a prominent dancer, a graduate of the St. Petersburg ballet school, a participant in the Parisian seasons in the Entreprise S.

This was largely influenced by the boy’s interest in the ballet, and therefore he was given to study at the famous Leningrad Choreographic School of the State Academy of Choreographic Art named after A. Vaganova, where he was engaged in the leadership of teachers B. Shavrov and A. Immediately after the end of the choreographic school in the year, Yu. Grigorovich was enrolled in the ballet troupe of the State Academic Opera and Ballet named after S.

Kirov, now the Mariinsky Theater, where he worked as a soloist up to a year. Here he performed characteristic dances and grotesque parties in classical and modern ballets. Among his roles of this time is the Polovchanin in the opera Prince Igor Borodin, Nurali in the Bakhchisarai Fontan B. Asafiev, Shurale in Shural F. Yarullin, Seversyan in the Stone Flower, S. Prokofiev, Retiary in Spartak A.

Khachaturian and others. Despite the successes in dance art, a young artist from the very beginning was drawn to an independent choreographer, to compose dances and to produce large performances. Very young men, in the year he put in the Leningrad House of Culture named after A. Gorky the Aistenok, D. Klebanov and the Seven Brothers to the music of A. The performances were a success and drew the attention of specialists to the novice choreographer.

However, genuine success came to Yu. After the production of S. Kirov Ballets “Stone Flower” by S. Prokofiev, Grigorovich, after the production of the Stone Flower Theater, according to the word of P. Bazhov, and “Legend of Love” by A. Melikov based on the play by N. Hikmet, later these performances were transferred to the scene of the Bolshoi Theater, Grigorovich also put in Novosibirsk, Talloline, Stockholm, Sofia and other cities; “Legend of love” - in Novosibirsk, Baku, Prague and in other cities.

These performances were a deafening success, caused many publications in the press, laid the foundation for the discussion about the ways of developing domestic ballet. The first mature works of Grigorovich summarized the conquests of the previous ballet theater, raised it to a new level. They deepened the traditions of choreographic art, reviving the forgotten forms of classics, and at the same time enriched the ballet with innovative achievements.

Unlike the unilaterally dramatized ballets-peszes of the previous period, where the dance was often sacrificed to the pantomime, and the ballet was likened to the dramatic performance, the developed dance reigned on the stage, the action is expressed primarily by dance. The basis of a choreographic solution in these performances was a classic dance enriched with elements of other dance systems, including folk dance.

High development in Yu. Grigorovich reaches complex forms of symphonic dance Fair in the "Stone Flower", the procession and vision of Mehmene Ban in "Legend of Love". Grigorovich gives here not dancing at the fair as it would be in ballets of the previous stage, but a fair in the dance, not a household procession, but a dance image of a solemn procession. Both of these performances were decorated with an outstanding theater artist S.

Virsaladze, who then collaborated with Yu. Grigorovich until his death in the year. The costumes created by him, as it were, develop the “picturesque theme” of the scenery, reviving it in motion and implementing it into a kind of “symphonic painting”, corresponding to the spirit and course of music. They rightly said about S. Virsaladze that he dresses not so much the characters of the performance as the dance itself.

Together with the performances of Yu. Grigorovich, a new generation of talented performers who determined the achievements of domestic ballet in the next decades entered into life. In Leningrad, these are A. Osipenko, I. Kolpakov, A. Gribov, in Moscow - V. Vasiliev and E. Maksimova, M. Lavrovsky and N. Immortnova and many others.

All of them grew up on the performances of Yu. The performance of leading roles in his ballets was a stage on their creative path. It is natural that after such a bright choreographer, Yu. Grigorovich, he was first appointed choreographer of the S. Kirov Theater in this position for a year, and then invited as the main choreographer to the Bolshoi Theater and held this position from a year in the year - he was called the artistic director of the ballet troupe.

In the Bolshoi Theater of Yu.Grigorovich after the transfer of the “Stone Flower” and “Legends of Love” staged another twelve performances. The first of them was P. Tchaikovsky’s Nutcracker, who, in his interpretation from a children's fairy tale, turned into a philosophical and choreographic poem with great and serious content. Grigorovich created a whole new choreography here on the basis of complete, without any changes in the score of P.

The whole performance in the scenery and costumes of S. Virsaladze is distinguished by the enchanting magical beauty, which becomes a symbol of good on the stage of good. He was a huge success, a lot of positive reviews in the press and still goes on the stage of the theater. Further development of the work of Yu. Grigorovich received in the production of the Spartak ballet A.

Khachaturian, departing from the original descriptive and tedimentation scenario N. Volkov, Yu. Grigorovich built a performance in his own scenario based on large choreographic scenes alternating with the dance monologues of the main characters. Just as in musical art there is a concert genre for a solo violin instrument, piano with an orchestra, Yu. Grigorovich jokingly said that his production is like a performance for four soloists with corps de ballet.

Together with composer A. Khachaturian Yu. Grigorovich created a new musical edition of the work. Each act ended with a kind of “final point”: a bas -relief plastic composition, as in a focus collecting a past action. In addition to such static groups that finish each picture, there were still many other spectacular moments in the play. When Spartak raised the warriors of Crassus to the peaks piercing him, the hall gasped with the power of this effect.

But the success of Spartak was determined not only by the brightness of the dance and stage and setting finds, but also by its huge generalizing force. This was not an illustration of an episode from ancient history, but a poem about the struggle against the invasion and oppressive forces in general, about the tragic irresistibility of evil, about the immortality of heroic feat. And therefore, what was happening on the stage was perceived surprisingly modern.

The success of Yu. Grigorovich here was divided, as always, the artist S. Virsaladze and the wonderful composition of the performers. Spartak was danced by V. Vasiliev and M. Lavrovsky, Frigi - E. Maksimova and N. Immortnova, Egin - N. Timofeeva and S.