Galina Rozanova Biography

The ballerinas, whose art determined the face of a theatrical era, formed couples. One conquered the audience hearts with the talent of the actress, the other delighted with the skill of the dance itself. Such a “alignment” was born by the genetics of ballet art, which crossed the theater and dance. What names are forever inscribed in history? Who is remembered first of all?

After the war - Shelest - Dudinskaya. This pattern was violated at the end of X - during the period of “perestroika”, when leadership alternately moved from one ballerina to another. Asylmuratov reigned for several years, then Mahalin. From the middle of X, the undivided championship belonged to Lopatkina despite the fact that the talents of the younger peers bloomed nearby - Vishneva, Zakharova, Dumchenko.

Which of them will become a symbol of a new era will become clear in the future. In the meantime, we will return two decades ago and recall the two ballerinas of the “stagnation” period, thanks to which life was boiling on stage. By the way, there is a reason: in the year Tatyana Terekhova and Galina Mezentseva celebrated the anniversary. Outwardly, the biographies of the dancers are almost identical.

In one year they entered the Vaganovsky ballet academy, studied in parallel classes. Both gave high hopes and were accepted into the troupe of the Kirov Theater, where, having passed the school of corps de ballet, they took the leading position. Almost simultaneously, they received the title of laureates of international ballet competitions in Moscow and Japan, became honored, and then folk artists of Russia.

Finally, both, having completed a career at the Mariinsky Theater, continued to work in America. There is a common one in the stage path of actresses. They predominantly danced the classics, without waiting for the “author” role in a new performance that meets the scale of their talents. At first, Mezentseva readily collaborated with the novice choreographer Alexander Polobentsev, participating in his extravagant student experiments.

Once Boris Eifman's ballet “Master and Margarita” performed in Boris. Terekhova met with Eifman as a graduate of the academy one -act ballet of life towards, and ended his career with new battles in the first choreographers of Alexei Ratmansky “delights of mannerism” and “Dreams of Japan”. This circle of non -) Ballerin is exhausted. Both did not show the proper initiative to expand it, and, apparently, they were not particularly burdened by that.

Their diverse repertoire was so extensive that there must have no time or effort to experiment. In addition, both suffered severe injuries of the legs, operations, a long and painful return to duty. The similarity ends on this, and if you take out the level of skill over the brackets, we will come to the antipoda ballerina. One nature gave everything necessary to take a place on the ballet Olympus, the other rose there itself.

Mezentseva was not just different from everyone. According to the gift warehouse, she could be ranked to the Higher Petersburg ballet “aristocracy”, which in the twentieth century opened the name of Anna Pavlova. The debut in Lake Swan allowed critics to see the successor of the unique Alla Osipenko, who left the Kirov Theater in the year in the beginning ballerina.

Some of the execution errors did not interfere with evaluating the exquisite beauty and spirituality of the newborn ballerina, to feel the extraordinary of her personality. The scale of this person was primarily affected by the essence of ballet and his own role. Odetta presented to the Mezenz heroine of a romantic tragedy. The fairy-tale Virgin-Swed with proud dignity accepted the fate that had fallen to her.

The meeting with the prince made confusion, tempted with unrealizable hopes, but the outcome of events for this Odette was a foregone conclusion. In the famous Adagio with Prince Mezentsev, she danced not nascent love, but mournful confession. Moreover, her heroine did not allow a drop of sensitivity and did not wait for response. The dancer's face was calm, almost impassive, and in plastic there were no almost indispensable for other performers of intonation of tenderness and sadness.

The gravity of the lines, the pathetics of air ups did not cancel the wary “closed” of the heroine. The dance was so academic strict and perfect in form, so noble in order of feelings that the swan of Mezentseva was perceived by the personification of beauty. Tchaikovsky’s music, obeying a romantic plot, prescribed Oditette death in a collision with the forces of evil. It could not be otherwise when Odilia Mezentseva performed the will of these forces.

Having discarded the tricks of the seducer, the ballerina raised the topic of victorious authority. Her dazzling Odilia circled around the stage with a black tornado, not losing control of what was happening for a minute. She was not inferior to Odette's sophisticated beauty and royal article, but the secret of her magnetism was a confident calculation and the devilish will. Only sometimes Mezentseva splashed the temperament, as the Toreador suddenly reveals the red panel, and immediately extinguished the sensual impulse.

She cheerfully played a party, the result of which was a foregone conclusion, and having achieved the goal, hid as rapidly as she appeared. The involuntary betrayal of the chosen one Odette Mezentseva transferred to stoically.No reproaches, no walls, no regrets, only the mournful acceptance of the inevitable. The last Adagio and the prince sounded like a farewell forever, but here the ballerina excluded sentiment, only sometimes she lingered her gaze at the partner, staring at his face.

But the dance lines were still perfectly pure, the waves of the Kryllyev hands are royal-grievously, the arabesques of the shooting "Gothic" outlines are fantastically beautiful. Is it not because, contrary to the drama of the situation, Odette Mezentseva did not look like a victim, nor a chapter, but, as before, the heroine of the swan world. And could his living soul leave this magical world - Odette?

A peculiar epilogue of the “Swan Lake” turned into a concert number “Dying Swan”, which became performed by Mezentseva “Gvozoz” of any concert. Fokin's ingenious miniature received a congenial embodiment. In essence, Mezentseva returned to the fact that he originally composed a choreographer, depicting a sliding swan along the surface of the waters. Her successors developed the found, varying to their own taste and the original choreography.

Mezentsev dances its option. The eye of an expert will look for the rudiments of previous editions, but still the number seems pristine. It should be stipulated that he did not immediately become so. It is worth comparing the video of the year of the television film “Ballerina Galina Mezentseva” with the last concerts of the ballerina in the middle of X, and the same difference will be found between the draft sketches and the completed work of the master.

Mezentseva Swan. Photo from the archive of the theater of Mezentsev Esmeralda. Photos from the theater archive in a television film, shot on the thirty years of Mezentseva, her swan delights with the endless variety and expressiveness of plasticity, painting bubbles of feelings. In its own way, this swan is beautiful. But Mezentsev consistently got rid of all this luxury.

The pathetic of struggle and suffering has gone, plastic was cleansed of visual effects - gusty and wave -like wriggling hands. The drawing of the dance became restrained and strict, and the rhythm of movements is leisurely and alleged so that the whole number is perceived as a cantylene melody whispering in one breath. What is this swan singing about? No, not about a sorrowful parting with the world and not about the thirst for life.

Rather, not only about this - mortal, earthly. And the heroine of Mezentseva is not just a swan-a conditionally ballet image of a bird, but something mysterious, like the Chekhov "world soul." The ballerina introduces us to the metaphysical sphere, and only she knows how she succeeds. Of course, the appearance of Mezentseva plays an important role in this artistic witchcraft: the exquisite image of the figure, the unthinkable beauty of any of its pose.

Significant and her plastic - incredibly flexible hands and torso - with a calligraphically impeccable dance. But the secret of the transformation of even the most perfect matter into the substance is impossible to explain intangible: it is equivalent to the secret of talent. Intuition and it is the Talent indicator prompted Mezentseva unusually slowed down the dance tempo, its unpredictable course, then echoing music, then interacting with it according to the principle of counterpoint.

Confident skill and without it what talent is capable of? It was in the consciousness of the actress that the meaningful pose was born, “gesture”, sounding as a questioning of heaven, as an appeal to the Creator. The ballerina deliberately lasts this pose, which arises in the very descent of the room, to repeat it in different angles again and again, making a figurative dance leitmotif.

Mezentseva dances, improvising, surrendering to the mood of a minute, enjoying artistic freedom. However, the dramatic frame of the number is built firmly, with an unmistakable sense of shape and logic. The movements of the hands are repeatedly verified, which in the old days would be called the "whole choreographic poem", and this would not be a duty stamp or an exaggeration.

Mesentseva's hands, her plastic, indeed, is a unique phenomenon. Nature was connected here with an artistic instinct and a conscious cult of beauty. The education of these qualities was helped by the teachers of the Leningrad Choreographic School named after Vaganova-N. Belikova, who released Mezentsev, E. Shiripina, who occupied with her in the class of improvement and her theater teacher-refiter O.

Mezentseva received from her hands the entire classical repertoire, and with him-the ability to build a stage image based on his poetic essence contained In music. Many found that Mezentseva resembles a mentor with a dance manner and even features. The similarity could also be found in the approach to the choreographic text of the parties-responsible and strict, excluding any “gag”: arbitrary accents, unjustifiably wasteful nuances for the sake of self-expression at all costs.

Any Party of Mezentseva was distinguished by the purity of the formation and classic clarity of the form, which did not prevent her from being recognizable, not like anyone from the first appearance on the stage. Own - “Mezentsevskoye” - consisted of intensive living on the role, musical responsiveness, which informed canonical texts a high emotional tone.Mezentsev was loved by the audience, she had many admirers, her name at the poster guaranteed a crowded hall.

But it took several years after her last performance in St. Petersburg, and the era of Mezentseva turned out to be a respectable past, exciting tradition. Well, such is the inexorable law of the theater, which lives real and carries in the hands of today's idols. Fortunately, there were videos of fragments of Mezensevo parties, there is a television film “Stranger” on the Drama of the Blok, where Mezentsev plays a title role, there is a video cassett “Swan Lake” and “Giselle”.