Guide I, Maya Plisetskaya

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by Maya Plisetskaya, translated from the Russian by Antonia W. Bouis (Yale; $35)

Plisetskaya undertook the grueling whirl of Bolshoi training. The grim realities of Stalinist rule, however, formed an overwhelming backdrop that would color her memories. Mao Zedong was among the guests. She also admitted to pleasure and relief at seeing her name in the report of TASS, the official Soviet news agency, on the birthday celebration. It was a sign of approval and would give her some modicum of artistic freedom, she hoped. Until , she was not allowed to tour abroad. That year, she was allowed to go to the United States with the Bolshoi.

Others who have studied the Bolshoi of that era have disputed that claim as an exaggeration. Reviewing the year-old Ms. Without her presence, their poverty of movement invention would make them untenable in performance. It is a tragedy of Soviet ballet that a dancer of her singular genius was never extended creatively.

Celebrated Russian ballerina Maya Plisetskaya dies at 89

Speaking to reporters during her 80th-birthday festivities, Ms. In the s, ideology played a trick in her favor, at least at first. But officials, unnerved by its eroticism, tried to scuttle the production. Plisetskaya became director of the Spanish National Ballet in and traveled extensively, giving master classes around the world, as the Soviet system eased and then collapsed. Sulamif, indefatigable, armed with medals, got her sister transferred from the labor camp to a shabby Kazakh town, where Plisetskaya visited her in It was here, to a potpourri of Tchaikovsky played by another exile, that the future ballerina danced a version of The Dying Swan , one of her most celebrated solos.

Maya Plisetskaya. Carmen Suite

In her mother was released, but within months, with the country at war with Germany, the family was again displaced, this time to Sverdlovsk. After a year of enforced idleness, Plisetskaya returned illegally to Moscow to resume her studies. In she joined the Bolshoi. Her rise was rapid. In the first season she performed more than twenty important roles, rehearsing some of them, including the Mazurka in Chopiniana and the Lilac Fairy in The Sleeping Beauty , with the legendary pedagogue Agrippina Vaganova.

In the years that followed plum roles came her way—Myrtha in Giselle , the title role in Raymonda , the dual role of Odette-Odile in Swan Lake , Kitri in Don Quixote , the Bacchante in the Walpurgis Night scene from Faust and the title role in Laurencia She also appeared in both The Stone Flower and Legend of Love , early ballets by her future nemesis Yuri Grigorovich, who became artistic director of the Bolshoi in Few of these roles were created for Plisetskaya, but she infused them with the force of her remarkable personality. Her extensions were high, her line long, and in films of the period she looks unusually contemporary.

She was intensely dramatic.

She believed in telling stories, and danced them with passion. In Plisetskaya danced with the Bolshoi on its first, headline-making tour of the United States. Previously barred from foreign travel because of her family history, she now became an international star. In she produced the Carmen Suite, the first of several collaborations with her husband, the composer Rodion Shchedrin, whom she had married in The Seagull and Lady with a Dog , works staged by Plisetskaya herself, capitalized on her magnetic stage presence and dramatic powers.

By the late s an open breach existed between her and Grigorovich, and she no longer toured with the main Bolshoi company but at the head of a small ensemble of Bolshoi dancers. Increasingly, she spent time abroad.

In — she served as artistic director of the Rome Opera Ballet. Since the s she has been living in Munich.

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In her seventh year, she danced the lead in Paquita, and her interpretation aroused much interest. She demonstrated sharp footwork, a remarkably high and seemingly effortless leap, and expressive movement—which would become one of her trademarks. When she graduated from the school in , she was immediately accepted into the Bolshoi company—not as a member of the corps de ballet, but as a soloist. Plisetskaya died in Munich , Germany, on May 2, from a heart attack. From the beginning, Maya was a different kind of ballerina. Her bypass of the corps de ballet directly to featured performer was highly unusual.

Her red hair and striking looks made her a glamorous figure on and off the stage. Her long arms had a fluidity that to this day remains unmatched; her interpretation of The Dying Swan, a short showcase piece made famous by Anna Pavlova , became Maya's calling card. Maya was known for the height of her jumps, her extremely flexible back, the technical strength of her dancing, and her charisma.

She made her debut in , performing Swan Lake for the first of what would end up being over times. Despite her acclaim, Maya was not treated well by the Bolshoi management. Because she was Jewish [6] in an anti-Semitic climate, her family had been purged during the Stalinist era and her personality was defiant, so she was not allowed to tour outside the country for six years after joining the Bolshoi. Her first stop after the lifting of the ban, in , was a tour of the United States. She was forced to be a member of the Anti-Zionist Committee of the Soviet Public, threatened to be left without passport for appearances abroad.

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With the Bolshoi, Plisetskaya performed many classical roles, interpreting them uniquely but convincingly. Her arms moved with such pliability as to seem boneless. She would attack the choreography of contemporary Soviet works with enthusiasm, throwing herself into the character and the dance with passion. Her presence dominated the stage, encompassing it with large, expansive movements.

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She expressed great musicality in her dancing. In , she was honored with the title of the People's Artist of the USSR and married the young composer Rodion Shchedrin, in whose subsequent fame she shared. After Galina Ulanova left the stage in , Maya Plisetskaya was promoted to prima ballerina assoluta of the Bolshoi Theatre. In , she took on the role of Carmen, in the ballet Carmen-Suite. In the s, Plisetskaya and Shchedrin spent much time abroad, with Plisetskaya working as the artistic director of the Rome Opera Ballet in —5, then the Spanish National Ballet of Madrid from —9.

At the age of 65, she finally retired from her position as a soloist with the Bolshoi Ballet.

The Legacy of Maya Plisetskaya, Cold War-Era Bolshoi Ballerina

On her 70th birthday, she debuted in a new ballet choreographed for her by Maurice Bejart entitled Ave Maya. In , she was named President of the Imperial Russian Ballet. Maya Plisetskaya's career stretched over sixty years. As her age made it harder for her to perform at the same athletic she did in her youth, she turned to teaching, influencing an entirely new generation of ballet dancers.

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  • In , she founded the Russian Imperial Ballet. The same year, she presented her memoirs in Moscow , I, Maya Plisetskaya, which has been translated into fourteen languages, including German , Italian , Serbian , Japanese , and English.