Career Maya Plisetskaya

1 career

1.1 performing in soviet union
1.2 international tours
1.3 style
1.4 performances
1.5 acting , choreography
1.6 death

1.6.1 tributes

career
performing in soviet union

from beginning, plisetskaya different kind of ballerina. spent short time in corps de ballet after graduation , named soloist. bright red hair , striking looks made glamorous figure on , off stage. “she remarkably fluid dancer powerful one”, according oxford dictionary of dance. “the robust theatricality , passion brought roles made ideal soviet ballerina.” interpretation of dying swan, short showcase piece made famous anna pavlova, became calling card. plisetskaya known height of jumps, extremely flexible back, technical strength of dancing, , charisma. excelled both in adagio , allegro, unusual in dancers.

plisetskaya performing in carmen (1974)

despite acclaim, plisetskaya not treated bolshoi management. jewish @ time of soviet anti-zionist campaigns combined other oppression of suspected dissidents. family had been purged during stalinist era , had defiant personality. result, plisetskaya not allowed tour outside country sixteen years after had become member of bolshoi.

the soviet union used artistry of such dancers plisetskaya project achievements during cold war period united states. historian christina ezrahi notes, “in quest cultural legitimacy, soviet ballet shown off foreign leaders , nations.” plisetskaya recalls foreigners taken ballet. , always, swan lake ... khrushchev high guests in loge,” including mao zedong , stalin.

ezrahi writes, “the intrinsic paranoia of soviet regime made ban plisetskaya, 1 of celebrated dancers, bolshoi ballet’s first major international tour,” considered “politically suspect” , “non-exportable.” in 1948 zhdanov doctrine took effect, , family history, , being jewish, became natural target . . . publicly humiliated , excoriated not attending political meetings. result, dancing roles continually denied , sixteen years tour within soviet bloc. became provincial artist, consigned grimy, unrewarding bus tours, exclusively local consumption”, writes homans.

in 1958 plisetskaya received title of people s artist of ussr. same year married young composer rodion shchedrin, subsequent fame shared. wanting dance internationally, rebelled , defied soviet expectations. on 1 occasion, gain attention , respect of country’s leaders, gave 1 of powerful performances of career, in swan lake, 1956 concert in moscow. homans describes extraordinary performance:

we can feel steely contempt , defiance taking hold of dancing. when curtain came down on first act, crowd exploded. kgb toughs muffled audience’s applauding hands , dragged people out of theater kicking, screaming, , scratching. end of evening government thugs had retreated, unable (or unwilling) contain public enthusiasm. plisetskaya had won.

international tours




in swan lake bolshoi ballet, 1966

soviet leader khrushchev still concerned, writes historian david caute, “her defection have been useful west anti-soviet propaganda.” wrote him “a long , forthright expression of patriotism , indignation should doubted.” subsequently, travel ban lifted in 1959 on khrushchev’s personal intercession, became clear him striking plisetskaya bolshoi s participants have serious consequences tour’s success. in memoirs, khrushchev writes plisetskaya “was not best ballerina in soviet union, best in world.”

able travel world member of bolshoi, plisetskaya changed world of ballet skills , technique, setting higher standard ballerinas both in terms of technical brilliance , dramatic presence. having allowed tour in new york, khrushchev immensely satisfied upon reading reviews of performances. “he embraced upon return: ‘good girl, coming back. not making me fool. didn’t let me down.’”

within few years, plisetskaya recognized “an international superstar” , continuous “box office hit throughout world.” soviet union treated favored cultural emissary, “the dancer did not defect.” although toured extensively during same years other dancers defected, including rudolf nureyev, natalia makarova , mikhail baryshnikov, “plisetskaya returned russia”, wrote historian tim scholl.

plisetskaya explains generation, , family in particular, defecting moral issue: “he runs enemy s side traitor.” had once asked mother why family didn t leave soviet union when had chance, @ time living in norway. mother said father “would have abandoned me children instantly” asking. “misha never have been traitor.”

style

in romeo , juliet, 1961

although lacked first-rate training , coaching of contemporaries, plisetskaya compensated developing individual, iconoclastic style capitalized on electrifying stage presence , writes historian tim scholl, adding amounted daring seen on ballet stages today, , jump of masculine power.

her personal style angular, dramatic, , theatrical, exploiting gifts in mother’s family seemed possess.... saw plisetskaya s first performances in west still speak of ability wrap theater in gaze, convey powerful emotions in terse gestures.

critic , dance historian vadim gaevsky said of influence on ballet began creating own style , ended creating own theater. among notable performances 1975 free-form dance, in modern style, set ravel’s boléro. in it, dances solo piece on elevated round stage, surrounded , accompanied 40 male dancers. 1 reviewer wrote, words cannot compare majesty , raw beauty of plisetskaya s performance:

what makes piece compelling although plisetskaya may accompanied dozens of other dancers mirroring movement, first , focus on prima ballerina herself. continual rocking , swaying @ points, rhythmically timed syncopation of orchestra, create mesmerizing effect demonstrated absolute control on every nuance of body, smallest toe fingertips, top of head.

performances

she created number of leading roles, including ones in lavrovsky s stone flower (1954), moiseyev s spartacus (1958), grigorovich’s moscow version of stone flower (1959), aurora in grigorovich s staging sleeping beauty (1963), grigorovich s moscow version of legend of love (1965), title role in alberto alonso s carmen suite (1967), petit s la rose malade (paris, 1973), bejart s isadora (monte carlo, 1976) , moscow staging of leda (1979), granero s maria estuardo (madrid, 1988), , lopez s el renedero (buenos aires, 1990).

performing in don quixote in 1974

after performing in spartacus during 1959 u.s. debut tour, life magazine, in issue featuring bolshoi, rated second galina ulanova. spartacus became significant ballet bolshoi, 1 critic describing rage perform , personified plisetskaya ballerina, defined bolshoi. during travels appeared guest artist paris opera ballet, ballet national de marseilles, , ballet of 20th century in brussels.

by 1962, following ulanova s retirement, plisetskaya embarked on three-month world tour. performer, notes homans, excelled in hard-edged, technically demanding roles ulanova eschewed, including raymonda, black swan in swan lake, , kitri in don quixote. in performances, plisetskaya unpretentious, refreshing, direct. did not hold back. ulanova added plisetskaya s artistic temperament, bubbling optimism of youth reveal in ballet full force. world-famous impresario sol hurok said plisetskaya ballerina after pavlova gave him shock of electricity when came on stage. rudolf nureyev watched debut kitri in don quixote , told afterwards, sobbed happiness. set stage on fire.

at conclusion of 1 performance @ metropolitan opera, received half-hour ovation. choreographer jerome robbins, had finished broadway play, west side story, told wanted create ballet her.

plisetskaya s acclaimed roles included odette-odile in swan lake (1947) , aurora in sleeping beauty (1961). dancing partner in swan lake states twenty years, , plisetskaya shared world stage ballet, performance consistently producing powerful impression on audience.

equally notable ballets dying swan. critic walter terry described 1 performance: did discard own identity ballerina , human , assume characteristics of magical creature. audience became hysterical, , had perform encore. danced particular ballet until late 60s, giving 1 of last performances of in philippines, similarly, applause wouldn t stop until came out , performed encore.

novelist truman capote remembered similar performance in moscow, seeing grown men crying in aisles , worshiping girls holding crumpled bouquets her. saw white spectre leaping in smooth rainbow arcs , royal head . said of style secret of ballerina make audience say, yes, believe.

fashion designers yves saint laurent , pierre cardin considered plisetskaya 1 of inspirations, cardin alone having traveled moscow on 30 times see plisetskaya perform. credits cardin s costume designs success , recognition received ballets of anna karenina, seagull, , lady dog. recalls reaction when suggested design 1 of costumes: cardin s eyes lit batteries. if electrical current passed through them. within week had created design anna karenina, , on course of career created ten different costumes karenina.

in 1967, performed carmen in carmen suite, choreographed cuban choreographer alberto alonso. music re-scored bizet’s original husband, rodion shchedrin, , themes re-worked modernist , abstract narrative. dancer olympia dowd, performed alongside her, writes plisetskaya’s dramatic portrayal of carmen, favorite role, made legend, , became landmark in bolshoi s repertoire. carmen, however, @ first rattled soviet establishment, shaken latin sensuality. aware dance style radical , new, saying every gesture, every look, every movement had meaning, different other ballets... soviet union not ready sort of choreography. war, accused me of betraying classical dance.

some critics outside of russia saw departure classical styles necessary bolshoi s success in west. new york times critic anna kisselgoff observed, without presence, poverty of movement invention make them untenable in performance. tragedy of soviet ballet dancer of singular genius never extended creatively.” russian news commentator wrote, never afraid bring ardor , vehemence onto stage, contributing becoming true queen of bolshoi. life , work described french ballet critic andré philippe hersin genius, audacity , avant-garde.

acting , choreography

after galina ulanova left stage in 1960, maya plisetskaya proclaimed prima ballerina assoluta of bolshoi theatre. in 1971, husband shchedrin wrote ballet on same subject, play leading role. anna karenina first attempt @ choreography. other choreographers created ballets include yury grigorovich, roland petit, alberto alonso, , maurice béjart isadora . created seagull , lady lapdog. starred in 1961 film, humpbacked horse, , appeared straight actress in several films, including soviet version of anna karenina (1968). own ballet of same name filmed in 1974.

plisetskaya husband, rodion shchedrin, in 2009

while on tour in united states in 1987, plisetskaya gave master classes @ david howard dance center. review in new york magazine noted although 61 when giving classes, “she displayed suppleness , power of performer in physical prime.” in october year performed rudolf nureyev , mikhail baryshnikov opening night of season martha graham dance company in new york.

plisetskaya s husband, composer rodion shchedrin, wrote score number of ballets, including anna karenina, sea gull, carmen, , lady small dog. in 1980s, considered successor shostakovich, , became soviet union s leading composer. plisetskaya , shchedrin spent time abroad, worked artistic director of rome opera ballet in 1984–85, spanish national ballet of madrid 1987 1989. retired soloist bolshoi @ age 65, , on 70th birthday, debuted in maurice béjart s piece choreographed her, ave maya . since 1994, has presided on annual international ballet competitions, called maya. , in 1996 named president of imperial russian ballet.

she ballet director of rome opera (1983–84), , artistic director of ballet del teatro lirico nacional in madrid (1987–90). beginning in 1994, presided on annual international ballet competition in saint petersburg, called maya. in 1996 named president of imperial russian ballet, moscow private dance company.

she awarded prince of asturias award arts in 2005 ballerina tamara rojo also. awarded spanish gold medal of fine art. in 1996 danced dying swan, signature role, @ gala in honor in st. petersburg.

on 80th birthday, financial times wrote:

she was, , still is, star, ballet s monstre sacre, final statement theatrical glamour, flaring, flaming beacon in world of dimly twinkling talents, beauty in world of prettiness.

in 2006, emperor akihito of japan presented praemium imperiale, informally considered nobel prize art.

death

plisetskaya died in munich, germany, on 2 may 2015 heart attack. plisetskaya survived husband, , brother, former dancer azari plisetsky, teacher of choreography @ bejart ballet in lausanne, switzerland. according last , testament, cremated, , after death of widower, rodion shchedrin, cremated, ashes combined , spread on russia.

russian president vladimir putin expressed condolences, , russian prime minister dmitry medvedev said whole era of ballet gone plisetskaya. belarusian president alexander lukashenko extended condolences family , friends:

the passing of great maya mikhailovna [plisetskaya] creative work embodied whole cultural era irretrievable loss russian , world art. brilliant choreography , wonderful grace, fantastic power of dramatic identification , outstanding mastery dazzled audience. selfless service art , commitment stage, respected on world.

tributes

brazilian mural artist eduardo kobra painted 40-foot tall mural of plisetskaya in 2013, located in moscow s central theater district, near bolshoi theatre.
conductor , artistic director valery gergiev, close friend of plisetskya, gave concert in moscow on november 18, 2015, dedicated memory.
on november 20, 2015, government of russia named square in honor in central moscow, on ulitsa bolshaya dmitrovka, near bolshoi theatre. bronze plaque affixed @ square included engraving: “maya plisetskaya square named after outstanding russian ballerina. opened nov. 20, 2015.”
in st.petersburg, mariinsky theater symphony orchestra paid homage plisetskaya’s memory concert on december 27, 2015. conducted valery gergiev , included performance ballet dancer diana vishneva. mariinsky ballet later performed four-program tribute of maya plisetskaya @ brooklyn academy of music in february 2016.
the bolshoi theater performed concert in memory of plisetskaya @ london coliseum on march 6, 2016.
a monument maya plisetskaya unveiled in center of moscow, on bolshaya dmitrovka, in square named after her. opening took place on november 20, 2016, date of birth, , shows in pose carmen . describing monument, 1 observer commented sculpturist viktor mitroshin , statue s design:

in choosing carmen, mitroshin emphasized not plisetskaya’s physical prowess, grace , beauty, put big exclamation point after character... @ gorgeous arms, hands, legs. @ sassy sway of dress. @ dark, hard eyes , tight, determined mouth. @ sway of back. @ crazy flower on head. @ how of strains upward sky. i’m telling you, whole thing beautiful.