At the Bolshoi Theater, as a lighting designer, he takes part in opera and ballet performances and in the creation of artistic lighting design concert programs.
As a lighting designer, she designed the performances “Classical Symphony” to the music of S. Prokofiev (choreographer Yuri Posokhov, 2012) and “Guide to the Orchestra for young listeners"B. Britten (director Igor Ushakov, 2013), as an artist for adapting lighting design, took part in the production of the ballet Apollo Musaget by I. Stravinsky (choreography by George Balanchine, lighting concept by Ronald Bates, 2012).
As an assistant to the lighting designer, she took part in productions of the ballets “La Sylphide” by H. S. Levenskold (staged by Johan Kobborg, 2008), the Grand Classical Pas from the ballet “Paquita” by L. Minkus (staged by Yuri Burlaki, 2008), “Russian Seasons” by L. Desyatnikov (choreography by Alexei Ratmansky, 2008), “Coppelia” by L. Delibes (staged by Sergei Vikharev, 2009), “Young Man and Death” to the music of J. S. Bach (choreography by Roland Petit, 2010), “And then a millennium of peace” by L. Garnier (choreography by Angelin Preljocaj, 2010), “Chroma” by J. Talbot and J. White (choreography by Wayne McGregor, 2011), “Symphony of Psalms” on music by I. Stravinsky (choreography by Jiri Kylian, 2011), “Dream of dream” by music by S. Rachmaninov (choreography by Jorma Elo, 2012), “Hamlet” by music by D. Shostakovich (choreography by Radu Poklitaru, director - Declan Donnellan, 2015); operas Queen of Spades"P. Tchaikovsky (director Valery Fokin, 2007), "Carmen" by J. Bizet (director David Pountney, 2008), "Ruslan and Lyudmila" by M. Glinka (director Dmitry Chernyakov, 2011).
She took part in the international projects “Kings of Dance” and “Reflections”, worked on tours of the Netherlands Dance Theater, the Béjart Ballet Lausanne troupe, Pina Bausch Tanztheater Wuppertal, the American Ballet Theater and other ballet troupes at the Bolshoi Theater.
Participated in tours Bolshoi Theater in Russia and abroad.
Took part in international project“Kremlin Gala - Ballet Stars of the 21st Century” and in many other opera and ballet festivals.
She collaborated with private Russian ballet companies.
As a guest lighting designer, he works in theaters in Voronezh, Krasnoyarsk, Minsk, Samara, Ufa, Chelyabinsk, Irkutsk, Ulan-Ude, Astrakhan and other cities.
She has collaborated with choreographers Vladimir Vasiliev, Georgy Kovtun, Nikolai Androsov, Larisa Alexandrova, Sergei Bobrov, Yuri Posokhov, Konstantin Uralsky.
Among the works recent years:
At the Chelyabinsk Opera and Ballet Theater named after M.I. Glinka:
Grand pas from the ballet “Paquita” (staged by Yuri Burlaka, 2009)
At the Krasnoyarsk State Opera and Ballet Theater:
“The Queen of Spades” by P. Tchaikovsky (production by Sergei Bobrov and Yuliana Malkhasyants, 2009)
“The Rite of Spring” by I. Stravinsky (choreography by Sergei Bobrov, 2010)
“Red Poppy” (choreography by Vladimir Vasiliev, 2010)
At the Buryat State Academic Opera and Ballet Theater and the Irkutsk Musical Theater named after. N.M. Zagursky:
"The Flying Dutchman" by R. Wagner (directed by Hans-Joachim Frey, 2012)
At the Astrakhan State Opera and Ballet Theater:
“Swan Lake” by P. Tchaikovsky (edited by Konstantin Uralsky, 2012)
“Romeo and Juliet” by S. Prokofiev (choreographer - Konstantin Uralsky, 2013)
“Waltz of the White Orchids” to music by M. Ravel (choreography by Konstantin Uralsky, 2013)
“The Nutcracker” by P. Tchaikovsky (choreography by Konstantin Uralsky, 2013)
“Don Quixote” by L. Minkus (production by Konstantin Uralsky, 2014)
At the Bolshoi Opera and Ballet Theater of the Republic of Belarus:
“The Flying Dutchman” by R. Wagner (directed by Hans-Joachim Frei, 2013 - the performance received the National theater award Republic of Belarus in the nomination “Best Opera Performance”)
At the Bashkir State Opera and Ballet Theater:
“Anyuta” by V. Gavrilin (choreography by Vladimir Vasiliev, 2015)
Among the works in drama theater: “The Last Idol” by A. Zvyagintsev (Maly Theatre, director Vladimir Dragunov, 2013).
Russian ballet is a brand that has developed over long years, and famous all over the world. Respect for Russian dancers was born thanks to strong technique and deep psychologism. An exhibition dedicated to the play “Waltz of the White Orchids”, staged by world-famous director Konstantin Uralsky, opened in the creative space “TeleLeto”. How and where was the choreographer’s language formed? Why did he exchange the states for Russia? And what attracts him most to Astrakhan? Read our brave interview.
Reference: Graduated from the Moscow Academic Choreographic School (now the Moscow state academy choreography), choreography department of RATI-GITIS (course of Professor O.G. Tarasova). He began his career as a dancer at the Bolshoi Theater of Russia. Improved in art modern dance in Germany and the USA. In 1991-1997 Konstantin Uralsky, at the invitation of the American side, directed the Iowa Ballet (USA). In 1998 he opened his own ballet school in New York. At the same time, the artistic director of the New York chamber ballet. Since April 2008, Konstantin Uralsky became the artistic director of the Chelyabinsky ballet academic theater Opera and Ballet named after. Glinka. Since September 2011, artistic director of the ballet and chief choreographer Astrakhan state theater opera and ballet.
I don't think we decide our fate Only sometimes, out of stupidity, we miss the right “turns”. It happens that you go along life path, suddenly there is an intersection, you don’t pay attention to it, you move on. And he takes it and comes across you again. Now you're starting to think about it. I had many different moments when fate seemed to guide me. At one point, when I succumbed to the will of fate, I found myself on an internship in the USA.
I was an aspiring choreographer back then.. When I arrived, I discovered absolutely new world. The emotions are unforgettable. There are wonderful lines in the memoirs of the Russian dancer-choreographer, participant of the Diaghilev Seasons, Leonid Myasine. He describes how he sailed to New York from Europe on a ship. And an avalanche of freedom of thought literally fell on him. An avalanche is an exact description of what I experienced at first. In American culture, "freedom" is keyword. Do as you feel, as you see.
However, in order to invent, you need to have a good foundation. If there is no good knowledge, then there is nothing to build on. Any innovation can only be based on a good school. If we talk about choreography, then only having a very strong conservative school behind you (and many European ballet schools are quite conservative) can you develop and break out of the framework.
I spent many years of my life in the USA. The formation of my language was influenced by the study of modern dance schools: jazz dance and modern dance. But I remain a choreographer classical ballet. And, of course, the people around me.
With virtually no experience, I headed the Iowa Ballet. We had various productions, but we did everything quickly and clearly. The economy of the capitalist world does not allow spending years on rehearsals; everything needs to be done at a pace. You also need to be able to present yourself and promote yourself. In the states all cultural projects rely on sponsorship funds, which can only be obtained by proving that your product is better than others. For this reason, I even went to school for marketing and PR. In general, I am always ready to learn.
I'm always looking for a middle ground. Working at Ballet Iowa, first of all, I learned how to communicate with people. There was simply no such thing as “they owe me” there. It was necessary to act only with convictions - it was necessary to interest and inspire people. This law still applies in my work today. Each artist in my troupe is an individual.
IN Russian theaters Small troupes are rare. Often, to create scale, they use a large number of of people. But try to create a crowd if you only have 20 people on stage? Here you already need to compose, come up with diagrams, draw the arrangement of compositions in which a feeling of mass character will be born. I searched and staged compositions, remembering the experience of my teachers. The ability to work with small numbers of people is very valuable, so today I teach my students how to put 15-17 people on stage and make the audience believe that there was a crowd.
Once upon a time, in one of the residential areas of New York I came across a luxurious ballet hall, which was left over from a Russian teacher. The room was empty. And I didn’t miss this “turn” - I took over the hall, recruited a team and everything started to roll. This is how my dance school appeared in New York. Russian ballet is highly respected all over the world, so there were no problems finding students. For me it was one of the most interesting periods life.
In this hall I composed my famous productions – “Rachmaninov’s Second Piano Concerto”, “Waltz of the White Orchids”. Interesting feature The thing about this place was that there was a residential apartment above the ballet hall. I lived in it, so I had the opportunity to go down and work at any time of the day. By the way, returning to Massine’s memoirs, I’ll make a small remark: in his book he says that he had a long-standing dream of having a house with a ballet hall so he could practice whenever he wanted. Over time, this dream of his came true - he had big house with a venue on Long Island. So, my hall with an apartment upstairs was also on Long Island.
I really missed it in the states repertory theater with a large hall and orchestra. I missed the “Russian dancer” and really hoped that my experience would help him develop. Today I can say that I was not mistaken. And an example of this is the Astrakhan ballet troupe that I assembled. My message was not to “poach” experienced artists from other theaters, but to make my own team of young dancers. Therefore, I invite graduates of leading ballet educational institutions: from St. Petersburg, Moscow, Kazan, Perm, Novosibirsk, Ufa. From them the basis of our ballet troupe was created. Of course, I had to work a lot with beginning artists, but I love working with young people. This troupe is unique in its own way, the artists are about the same age. Over six years of work, we have raised strong dancers and developed our own style. The assistant choreographers who came to Astrakhan at my invitation helped me a lot with this. I am especially grateful to the former dancer of the Bolshoi Theater, a wonderful teacher Yuri Romashko.
It’s hard for me to say which of my productions is the best. Each has its own charm and its own difficulties. Each one is loved in its own way.
I don't like the word "innovation". Because art is a constant search. If in artistic design(it doesn’t matter if you are an artist, composer, director, choreographer) if there is no search, then your whole idea is a stillborn child. For me, every performance is life. This is the world into which I plunge myself, and into which I try to immerse the artists, and then the audience. For example, in Waltz of the White Orchids we see Paris at a certain period in history. To create the right atmosphere, it was necessary to use everything - music, language, literature. It was necessary to live in that era.
I've been listening for days French music of that time, got used to the paintings painted by artists of this period. Before the production, I made a special trip to Paris. I remember asking my wife to leave me alone. I stood on the bridge for a long time and smoked. I tried to remember every detail, to absorb the world around me in order to convey it to the viewer. I am sure that dance technique is only part of a big job.
It is interesting that the exhibition dedicated to the “Waltz of the White Orchids” was located in such an unusual place. I feel very good about creative spaces. In New York, I often visited the Soho area - former industrial zones, where today creative spaces are being created, developing thanks to young people. So, the dominant style of the premises there is loft. I love walking along Fioletova Street, where all the old buildings are now being restored new life. For me, this is a signal: usually such changes are associated with young people, with creative people. I like TeleLeto and I hope that this exhibition based on my production is not the last. Vaulted ceilings evoke thoughts of the Middle Ages. Maybe we’ll do something unusual based on the theme of the play “Andrei Rublev”...
I love Astrakhan very much. I came here with the mindset that this might be the point where I would want to stay and live. And so it happened. I like that this is an old Russian city with incredible architecture and a combination of styles. From the window of my office I see both the Kazan Church and the domes of the Assumption Cathedral. It is very expensive for me. I love multinational culture and am glad that I am surrounded by different, non- similar friend on each other people. My youngest daughter, for example, has three best friends, and they all different nationalities. How great it is to celebrate with friends National holidays. I am sure that Astrakhan is my city. 
The new artistic director of the ballet troupe, the chief choreographer of the opera and ballet theater, is a personality of great magnitude. Konstantin Uralsky - owner state prize Government of the Russian Federation for achievements in the field of culture, laureate international competitions. He is known in professional circles not only as a professional in restoring the classical ballet heritage, but also as an innovative choreographer. A true cosmopolitan, Konstantin Uralsky knows no boundaries for his creativity, successfully working on productions both in Russia and abroad.
Today he was invited to Astrakhan personally by Governor A. Zhilkin. The task set by the management for the choreographer is wonderful and great. Create a team and repertoire of an academic ballet theater for the Opera and Ballet Theater. The status of the theater has grown by several orders of magnitude, and it’s time for the artists to live up to it.
MIRACLE TICKET: Konstantin Semenovich, with your arrival in Astrakhan, many new ballet dancers have appeared in our troupe. Did you know each other before?
Konstantin Uralsky: I have actually already worked with some of them. These are soloist Alexander Zverev from Yoshkar-Ola, leading ballet dancer from Samara Daria Klimova, Ulyana Batluk from Novosibirsk and Vladislav Borisov from Moscow. Many artists will come to Astrakhan from different cities and ballet schools across the country. So soon the composition of the theater’s ballet troupe will at least double. Imagine, in the ballet “Swan Lake” 32 white swans are dancing, i.e. This production requires approximately 35 women and the same number of men.
MIRACLE TICKET: Ideally, how do you see the “Ural Ballet” that you are currently working on?
Konstantin Uralsky: The durability of what will ultimately be created depends on the correctness of my choice today. Is born new theater, and we are all standing at its origins. This is a historical moment both for Astrakhan and for me personally. It is important to understand that the Theater is created where there are creative leaders and a cohesive team, and not where there is a big new building and far-reaching plans.
I very carefully select artists for my troupe. In my creative team everyone feels their need and the shoulder of their comrade, and there is nothing that is considered ballast.
MIRACLE TICKET: Will new numbers be added to those already familiar to Astrakhan residents? ballet performances, or will the ballet troupe’s repertoire be completely renewed?
Konstantin Uralsky: As for repertoire policy, of course, it will soon undergo big changes. First of all, ballet productions from the classical heritage will be performed on the Astrakhan stage (“Don Quixote”, “Sleeping Beauty”, “Swan Lake”, “Romeo and Juliet”, “Giselle” - in new edition). In addition, I plan to show my original performances in Astrakhan (for example, “Waltz of the White Orchids”).
First great job our troupe at the Opera and Ballet Theater will be “Swan Lake”. For the New Year we are preparing a one-act performance for children “The Nutcracker and Mouse King”, and in 2012 we will expand it to a full-length performance.
MIRACLE TICKET: Tell me, are there any completely new productions that will be staged for the first time in Astrakhan?
Konstantin Uralsky: Yes, I plan to stage new world ballet premieres on the stage of the Astrakhan Opera and Ballet Theater. I love surprising the audience! But for now I won’t reveal the secret of what productions I’m talking about now.
In addition, I will invite non-resident choreographers to the Astrakhan Opera and Ballet Theater to perform original productions.
MIRACLE TICKET: The path from idea to production of a new one ballet performance long?
Konstantin Uralsky: Very long. For example, 16 years passed from the birth of the idea to the staging of my play “Waltz of the White Orchids”. On average, 2-3 years pass from the date of conception to the birth of the performance. After the Idea has crystallized in the brain of the choreographer, the theater is involved in the project, acting as a producer. Development begins scenario plan, the composer’s work on the scores, the work of costume designers, set designers. The time calculation of all these creative processes goes on for years.
But those premieres, the name of which I cannot disclose now, will be staged on the Astrakhan stage, most likely, in a year. By the time I received a job offer in your city, these performances were already in the final stages of preparation.
MIRACLE TICKET: Astrakhan is called the Caspian capital of Russia. Are you planning to organize, for example, a large-scale ballet festival here?
Konstantin Uralsky: We are already carrying out such developments. Together with the artistic director and chief conductor of the theater, Valery Voronin, we decided to combine two types of art in one big festival. This will be an original project for Astrakhan. But let me remind you that the primary task now is to create a new ballet troupe and a new repertoire for it.
MIRACLE TICKET: Governor of the Astrakhan region Alexander Zhilkin has repeatedly voiced information about the opening of a ballet school in Astrakhan on the basis of the Opera and Ballet Theater. Tell me, when will this event happen?
Konstantin Uralsky: The decision on its creation will be made in the near future, since the opening of a professional ballet school-college is very topical issue. Ballet theater should become a serious part of the new troupe of the opera and ballet theater, and for this it needs to be provided with professional personnel. The college will be needed both for training personnel and for popularizing ballet in the city.
In the future, I would like to see a choreography department appear in Astrakhan on the basis of the Astrakhan Conservatory, for example. I would love to teach future ballet masters and choreographers.
MIRACLE TICKET: Konstantin Semenovich, and finally, please explain once again the situation with the distribution of the repertoire between the old and new venues of the Opera and Ballet Theatre?
Konstantin Uralsky: In November and December, theater artists will work at two venues simultaneously. Opera productions And children's subscription, for which tickets are sold, will take place on the old stage in Arcadia Park. And on new stage All creative troupes of the Opera and Ballet Theater take part in a series of charity concerts. Tickets are not sold for these concerts; admission is by invitation only.
Already on November 26 we will show a new ballet repertoire at the “Ballet Evening” in two departments, tickets for which are already completely sold out. Our premiere will take place on the new stage of the Opera and Ballet Theater.
The main cultural news came from the Chelyabinsk Opera and Ballet Theater named after Glinka. The opera house management announced new high-profile personnel changes. For the position artistic director Konstantin Uralsky, a choreographer who a year ago staged the famous ballet “El Mundo de Goya” on the Chelyabinsk stage, has been appointed to the ballet troupe.
Even before the start of the press conference, it became clear to journalists that the stated topic “about creative plans theater” today will clearly not be limited. The predictions came true: the theater's artistic director Denis Severinov left the main cultural sensation for dessert. “Our negotiations ended very recently, and we received consent and the appointment has already been made. For the position of artistic director of the Chelyabinsk ballet opera house Konstantin Semenovich Uralsky was appointed,” said Denis Severinov.
Nobody expected such a turn of events. However, Denis Severinov himself calls this appointment the logical conclusion of a long history. The theater's ballet troupe has been in a fever for several years now. Loud scandal was the termination of the contract with the theater's chief choreographer Valery Kokarev, whom the opera house's management accused of unprofessionalism. The description of the new artistic director contains only superlative epithets: Uralsky is not only a talented choreographer, but also successful manager new generation. “This is a man who stuck, excuse the expression, his nose into everything connected with the work of the ballet, everything connected with the work of the theater, everything connected with the release of the play. Starting from working with ballet dancers, production departments and right up to the cleaning ladies,” says Denis Severinov.
For the first time the name of Konstantin Uralsky on Southern Urals was heard a year ago when the Moscow choreographer staged the ballet “El Mundo de Goya” on the Chelyabinsk stage. The production received five prizes at the Scene festival, including a prize for best choreography of the year. Head of his own ballet school in New York, Konstantin Ural ready leave for a while world stage. Uralsky called the main motive for accepting this appointment “great creative potential Chelyabinsk troupe". “I am happy to receive this troupe today and I hope that all of us together - both me, as the leader, and the city, since this is a theater of Chelyabinsk residents, and the entire region - will be able to create a very interesting and bright team,” says Konstantin Uralsky.
Towards the end of the 52nd theater season, an event occurred that the artists themselves gave their own definition - the stage climax. The theater's ballet troupe was headed by the legendary choreographer Konstantin Uralsky, known for his avant-garde productions not only in Russia but also abroad. What will this appointment bring? Chelyabinsk theater, time will tell. One thing is clear: change is at hand.
The public continues to discuss the attack on the artistic director of the Bolshoi Theater Sergei Filin. Meanwhile, the choreographer of the Astrakhansky Theater found himself in a similar situation a year ago. musical theater Konstantin Uralsky. He was beaten in the entrance of his house by an unknown person. The maestro told a Komsomolets Caspian journalist about how the investigation into the attack ended, as well as why the threats did not force him to quit his job in Astrakhan.
– Konstantin Semenovich, you know the artistic director of the Bolshoi Theater ballet Sergei Filin well. It must have been hard to hear the news that he was attacked?
- Certainly. We have been colleagues and friends for about 20 years. Seryozha is younger, but we are already at an age when the difference in years is not so noticeable. This is very good man. Not long ago he began to occupy leadership positions, distinguished himself at the Stanislavsky and Nemirovich-Danchenko Theater, then moved to the Bolshoi. We have a similar understanding of how to lead a ballet company today. He is one of those who adamantly stands on tradition. And in our society, being professionally inflexible can even be dangerous.
– Did Sergei Filin suffer for his professional inflexibility?
- Yes. Theater is an emotionally complex thing; it’s working with creative people. The acid incident is related to professional activities - this no longer raises any doubts. I'm not an investigator, I don't have any information. Of course, my colleagues and I are discussing some guesses.
– An observer from the outside has an attitude towards people of art – as people of high spiritual development. And suddenly - acid, some kind of showdown. How can this fit together?
– Of course, when the story with Seryozha happened, various articles and programs appeared where the most unpleasant thoughts and theories slipped through. Meanwhile, the man suffered greatly, he was in great pain and it was very difficult. You say, where does all this come from in the theater? Theater is a reflection of society, a reflection of what we live in.
– Previously they wrote that you were also attacked by a certain man in a mask. How it was?
“I was walking home and walked into the entrance. I had already walked towards the stairs when the man asked me to hold the front door. Then they told me: don’t you know the rules of politeness in Russia? Don’t hold anything back to anyone, don’t reveal anything to anyone, you’ll be safer. But I turned to the door and saw a man in a medical mask. The man began to cough heavily. My first reaction is that since he is sick, I need to stay away. I quickly began to go up the stairs to get further away. I walked on foot in the hope that the man would take the elevator. Unfortunately, he did not break away, but began to catch up with me. At the moment when I slowed down to let him go ahead, the man hit me in the face several times with brass knuckles.
– How severe were the injuries?
– Severe injury to the lower jaw. What also saved me was that I began to dodge the blows. I must have screamed, after which the attacker quickly disappeared. The first thought was to run after him. I didn't even realize that I had suffered quite significant injuries.
– Did you recognize this person as someone you know?
- No, a complete stranger.
– The police have made no progress in their search?
– The attacker was caught and convicted. Got a year's probation. Maybe I am reacting as a person who suffered, but the attack was planned, thought out, I know why it was organized. There was a direct connection with the theater, as they say, with my professional activity.
– Was the attacker a hired criminal?
- No, not a criminal at all. I won’t say who exactly – anyone who wants can get information from the police or court. Let's just say that he was very close to some people from the theater.
– Did he have any motives in connection with your appointment to a leadership position?
- Well, yes. Apparently, they thought that I would leave, give up my positions, pack my purse and leave. In addition, I received serious threats over the phone. “You,” they said into the phone, “have two weeks left!”
– Law enforcement agencies were unable to determine who called?
“The investigation decided that this is the same person who was convicted. Everyone understands what caused it and who caused it. But, unfortunately, nothing has been proven.
– Tell me, is this the first such case in your career? Have your competitors tried to scheme before?
– I have been practicing my profession for many years, since the 90s – in positions similar to the current one. He worked abroad for a long time and began his management career in the USA. I can say that I didn’t hear any threats until I came to Russian Federation. But
At first the threats were like “I’ll show you!”, “You’ll ask me for forgiveness!” Unpleasant.
Alas, it is customary for us to resolve any conflict on the street with rudeness. For those who have spent a long time abroad, all this is very annoying at first.
- Let's talk about the good stuff now. What pleasant things have already happened in Astrakhan?
– We have opened a big season, significant production – “Swan Lake”Pyotr Ilyich Tchaikovsky in a new edition. A large-scale performance for the opening of a new ballet troupe. Many guests arrived. Were folk artists Soviet Union, representatives of the Union of Theater Workers, guests from abroad. The premiere was very successful.
On February 22, we had another, small, premiere. This one act ballet with ancient choreography Jules Perot's 1843 Naiad and the Fisherman.
In April we will have another premiere - this is one of my own performances, based on the works of Erich Maria Remarque. It's called "Dance of the White Orchids."
– And you also supervise a children’s ballet school. How do you evaluate the undertaking?
– The ballet school opened here by the decision of Alexander Alexandrovich Zhilkin, and I am its director. We had a very serious selection process. I didn’t even expect so many children to come. 11-year-old boys and girls have already completed their six-month test lesson in December.
We also have a senior group, 13-14 years old. They study according to a different program, preparing as ensemble artists. The eyes are already burning. I'm starting to attract girls to episodic roles in performances.
– Do you plan to stay here for a long time?
“Otherwise I wouldn’t have come.” I'm not at the age to do anything career steps. I've already had enough of them in my life. With his talent and work, he achieved the position of one of the leading choreographers, known in Russia and in the world. At my age, they no longer cling to a position with their claws with the thought “and then I’ll jump there.” Here in Astrakhan there is a very interesting undertaking that has benefited from my knowledge and experience. Such a large-scale project allows me to use all my skills.