Lepeshinskaya Olga Biography

The country of the USSR possessing impeccable choreographic technique, Lepeshinskaya managed to reflect her own, alive and looking for her own in every female image, created by her on the ballet stage. Olga Lepeshinskaya was born on September 15 28. The father of the future ballerina, Vasily Lepeshinsky, was an engineer, the largest specialist in the construction of bridges, a responsible employee of the USSR State Planning Commission.

Docke's enthusiasm for dance and the dream of ballet did not support, considering this activity frivolous and frivolous. In his opinion, a good engineer or doctor could bring much more benefit to the country. Mother, Maria Sergeyevna, belonged to the dream of little Olya with understanding, but the girl received the greatest support from the friends of their family - the artist of the Bolshoi Theater Fedorov and his wife, who in the past was a ballerina herself.

In the summer of the year, the Fedorov managed to persuade Maria Sergeevna secretly from her husband to take the girl to look at the ballet technical school. And she was credited with a candidate for a student of the technical school. Mother convinced her father that a girl who dreams of ballet needs to be taught. And she began to take the first lessons of choreography from the teacher O.

in the winter of the year, a student's place in a ballet technical school was freed. And when Lepeshinskaya came to classes, it turned out that she was not behind her fellow practitioners who had been involved in a technical school for several months. But Olga had to be better than them. With her hard work, she was surprising among fellow practitioners and teachers. Soon, Lepeshinskaya really became the first in her class, despite the fact that nature did not give her exceptional capabilities.

For the first time on the stage of the Bolshoi Theater, Olga Lepeshinskaya reached the age of ten. In the gap of the Opera of the Snow Maiden, she played the role of the “bee”, welcoming the arrival of spring. And the first serious performance of Olga on the stage of the Bolshoi Theater was to participate in the anniversary evening in the year. The future ballerina then studied in the eighth grade.

In the same year, a student production of the Nutcracker took place on the stage of the Bolshoi Theater. Lepeshinskaya fulfilled the main part of divertissement - the party of Fairy Drazhe and earned the recognition of the public and critics. At the end of the school in the year, Lepeshinskaya was immediately credited to the leading position in the troupe of the Bolshoi Theater, which contradicted ordinary rules.

She made her debut in the party of Lisa from "vain precaution." The Swanilda Party from Coppelia Ballet also entered her repertoire. However, the most loud success brought the young ballerina the performance of the role of Suok in the ballet based on the fairy tale of Yuri Olesha “Three Fat Men” in the year. The party of Suok was very difficult for execution.

Lepeshinskaya had to be embodied in this image both live, mobility of suck-girls, and constraint, connected simultaneously with grace, suck-dolls. She coped with the task of the ballerina, which cost her great work. However, despite the undoubted success, after some time the ballet “Three Fat Men” was removed from the repertoire of the Bolshoi Theater and renewed only in the year.

Earlier, the ballet was in the canonical setting of a petip, and a new interpretation of Chekrygin and Messerer, as well as a new libretto made many changes to it, more consonant modernity. The Aurora Party is the most difficult exam for any ballerina, and Olga Lepeshinskaya withstood him with honor, managing to introduce his own features into it - liveliness, dynamism, life -affirming power.

In the year, Lepeshinskaya played the role of Polina in the ballet "Caucasian captive" according to Pushkin’s poem. Lepeshinskaya danced brilliantly. But she herself remained unhappy with the performance. The ballerina has always been in relation to himself the most stringent critic. The Party of Masha in the Nutcracker did not bring her satisfaction, and even the party that each ballerina dreams of-Odette-Odillia in Lake Swan.

She decided that she should not dance Odette-single, because she did not find in herself those external and internal qualities that would allow her to merge with these images, to create their perfect stage incarnation. And the ballerina committed an unprecedented act - despite the glory that the Swan Lake brought her, she asked the Bolshoi Theater leaders to free her from participating in this performance.

In the year, Olga Lepeshinskaya included a new party in her repertoire, which became one of her beloved for her - a batch of Kitri from the Don Quixote ballet. The Great Patriotic War began. Olga Lepeshinskaya immediately came to the district committee of the Komsomol and demanded that she be sent to the front. And she was offered to sign up for nursing courses.

The artist was outraged - how so, because she passed all the TRP standards and has the Voroshilovsky shooter icon! She began to be on duty during enemy aircraft raids, and escort the soldiers and officers who had left for the front. Once, during such wires, she performed, urging the fighters to beat the enemy tightly, when suddenly one of the audience shouted: "Lepeshinskaya, you better dance." Those present formed a circle, and the artist began to dance.

Then Lepeshinskaya, along with the entire ballet troupe of the Bolshoi Theater, was evacuated to Kuibyshev. Despite domestic inconvenience, the work did not stop in evacuation.In August, the concerts of the Lepeshinskaya - both solo and the front -line concert brigade of the Bolshoi Theater began. Throughout the years of the war, Lepeshinskaya not only continued to perform on stage, but also managed to travele with concerts many cities, villages, hospitals.

She also visited the front line, inspiring the fighters with her art. The main performer of the Assol party was Lepeshinskaya. And the next morning I received a telegram. The choreographer Rostislav Zakharov reported that he was putting the Cinderella for her to the music of Sergei Prokofiev, and asked to urgently come. This was the first post -war premiere of the Bolshoi Theater.

After the premiere of Cinderella, the leadership of the Bolshoi Theater faced the problem of ballet repertoire. We decided to turn to the classics. At the end of the year, work was completed on the ballet on the story of Pushkin "Baryshnya-Peasant". The party of Lisa was danced by Olga Lepeshinskaya. In this role, she had to develop the motive of the duality of her heroine.

Critics noted that Lepeshinskaya surprisingly subtly showed the process of “reincarnation” of Lisa in a simple peasant girl, then in a stiff young lady, without losing grace, measures and tact. The images, close in spirit to Olga Lepeshinskaya herself, became Jeanne from the ballet Flame Paris for her in the year Lepeshinskaya received the State Prize and Tao Hoa from the Ballet “Krasny Mack” was also awarded the State Prize.

In the year, Lepeshinskaya became the first performer of the party of Mirandolina from the ballet Vasilenko of the same name. Work on this role was carried away by Olga Lepeshinskaya, as she made it possible to show her brilliant choreographic technique and outstanding comedic talent. A lively, festive, joyful ballet for a long time became beloved by the audience. The further fate of the ballerina was not easy.

She tried to find out anything about her husband’s fate, but Beria personally forbade her to these attempts. In fact, the Lepeshinskaya itself at that time was saved only by the fact that Stalin looked with pleasure with the participation of his beloved ballerina, calling the Lepeshinsky Dragonfly. However, it was excluded from the party and all public organizations.

Nevertheless, her work continued. In the year, the premiere of the ballet "Fadetta" took place, in which the Lepeshinskaya danced the main party. The heroine again turned out to be the one to whom the soul of the ballerina weighed - a pure, direct girl from the people who have to overcome many hardships and defend her rights. However, the Fadetta party, unfortunately, was not distinguished by interesting choreography.

Nevertheless, work on this image helped Lepeshinskaya in understanding the character of her next heroine - Sari from the ballet “Thunder path”. Here again a tragic theme of unequal love arose, very popular in those years. The ballet "Topia of Thunder" was dedicated to the love of a white girl for a mulatto. The Sari party was the last prime minister of the wonderful ballerina Olga Lepeshinskaya, completing the gallery of images she created.

Lepeshinskaya continued to perform in its former parties, but the number of performances by the ballerina had to be reduced due to the consequences of a serious injury in the year. Dancing in the ballet "Red Mac", the ballerina suddenly felt a sharp pain in her leg. She brought the party with great difficulty to the end, and after the end of the performance it turned out that her foot was broken at once in four places.

True, after a long treatment, she found the strength to return to the stage. In the year, after one of the receptions in the Kremlin, Olga Vasilievna went outside. It rained, and for some reason the cars were not sent after it. A person who came out in military uniform, seeing her confusion, suggested that he suggested. Olga Vasilievna had no idea that next to her a large military leader, Army General Alexei Innokentyevich Antonov, and her companion did not think that he was traveling with the famous artist Olga Lepeshinskaya.

A short conversation on the way laid the foundation for a big feeling. Soon they became husband and wife. Lepeshinskaya spoke up to a year, ending her career shortly after the death of Alexei Antonov. The shock was so strong that she lost her eyesight. In the year, the government sent Olga Vasilievna for treatment to Italy. She was restored vision, but for some time she needed a constant observation of doctors.

However, the boiling energy of Lepeshinskaya could not remain idle. Therefore, when the Roman Dance Academy “Santa Chechilia” turned to the ballerina with a request to conduct several indicative lessons with the students, she agreed, took the class and began to work. Thus began her pedagogical life in art. Her knowledge and experience were not in demand either in the native theater or in the choreographic school.

And at this time, the leaders of the German “comic operas” Walter Felzenstein and Tom Shilling invited Lepeshinskaya to help them create a ballet troupe. She gave for ten years the comic opera to the collective. Then there were other cities, other countries. Olga Lepeshinskaya died in Moscow on December 20.