Biography of Lopatkina

Country Russia Ulyana Vyacheslavovna Lopatkina genus. People’s artist of Russia interest in the ballet at an impressive girl flared up unexpectedly. I was drawn to the photographs in which the legendary masters G. Ulanov froze in the dance, M. sculpture fascinated. Some felt a stopped movement. I wanted to explore those secrets of the dance that transformed the heroines into creatures extraordinary.

Books helped to find out about magical art more. Ulyana with enthusiasm read about the choreographers of Didlo, Glushkovsky. I decided - it is worth taking a chance, try to get to the choreographic school. And here is a girl in Leningrad. The exam for her ended safely, although the incoming commission did not cause much interest.

The verdict was short: very average data. The feeling of fear that they will not be allowed into the magical world of dance, has been preserved for many years. This made him become isolated, go into himself, live his own life. Ulyana was lucky with teachers - all bright, talented personalities. For the past two years, she has not always been achieved with N. N. was not always achieved.

The student was with Norov, with common standards often did not agree. She lived in a boarding school, hardly got used to the fact that there were no relatives nearby. How lacked their experience, advice! Ulyana loved to draw. Ballet requires sniper accuracy of the eye, and this hobby clearly helped. She continued to draw later, when the school course ended.

In the year, as a student of the election class, Lopatkina took part in the competition named after A. Vaganova Vaganova-Prix. She performed the variation of the queen of the waters from the ballet "Horse-Bobon", the variation of "Sylphide" and Pa-de-de from the second act of the Ballet "Giselle" with Alexander Mishchenko. Lopatkina received the first award. Her school repertoire also included the monologue of Ophelia from the Hamlet ballet K.

was obvious - extraordinary talent was born. At the final performance in the year, the Ulyana was entrusted with the Bayadeli Party. This is the highest aerobatics, the most complex party. The harmonious, fragile pupil attracted the meaningfulness of the dance and the shade, which seemed to be in its performance. In the troupe of the Mariinsky Theater, where Lopatkina was adopted at the end of the school, she immediately entrusted the solo parties: a street dancer in Don Quixote, a fairy of lilac in the “sleeping beauty”, Mirta in Giseli.

Her high growth was given by either piquancy or the magnificent significance of the heroines. And nearby are the central ballerinas parties. Lopatkina began with Giselle. The work was fascinated; There were difficulties, but they did not scare away. The ballerina prepared the first role thoroughly, carefully working out the details with O. in the year Lopatkina debuted as Odette - Odillia in the ballet "Swan Lake".

In work on the performance, A. and not only in complex duets, where his partner’s experience was invaluable, helped her a lot. It was important his feeling of plasticity features. This helped to find its solution, especially expressive nuances. Lopatkina's debut in this performance was a noticeable event. The maturity of thoughts and technical development surprised. She was especially successful with sad Odette - closed, immersed in sad thoughts.

She did not at all seek to leave her enchanted world. As if she was afraid to recover real, so dangerous and deceptive again. In the year, Lopatkina received a prize of dance from the magazine Ballet in the nomination “Rising Star”. She was promised success in a romantic repertoire. In the academic - too. Indeed, every new role Lopatkina attracted attention both the audience and criticism.

They wrote a lot about her and enthusiastically. In parties such as Nikia Bayaderek, Aurora “Sleeping Beauty”, Medora “Corsair”, noted the loyalty of tradition and at the same time the desire to find new intonations in the usual. Modern choreography attracted Ulyana, made riddles. How to mitigate the inherent dancer with a harsh angularity, how to get closer to the rounded fluidity of the plasticity, which is so necessary for the eastern heroines - the Zarema "Bakhchisarai Fountain", the goose of Scheherazade?

The meeting with the choreography of Yu. Grigorovich in the “Legend of Love”, where Ulyana performed the party of Queen Mehmene Ban, demanded completely different colors - the ability to restrain passion. The scale of the feelings of hidden, driven inward and only occasionally splashed out, gave intense drama special acuteness. This role has become one of the favorite.

Although Laputkina has no unloved roles. The dance was revealed before the young ballerina in the wealth of its contrasting capabilities and overflow of shades. The meeting with choreography J. Balanchina brought a lot of new things. In his “Symphony to the Major”, “Diamonds”, “Serenade” it was interesting to unravel how the brilliant choreographer hears music and puts it into a dance.

And each time it does it highly inventive. Ulyana eagerly mastered this new plastic for her, enthusiastic about the variety of rhythmic colors and deep musicality, and this required a special sensitivity of the performer. Internal concentration, immersion in themselves are especially attractive in the dance of the ballerina.She, as it were, slightly removes from the viewer, does not let him into her inner world and becomes even more mysterious and deeper.

The images of the heroines of mysterious, infernal Lopatkina are extremely possible. Such a success was, for example, the death party in the one -act ballet of R. Petya “Young man and death”, the heroine of the “Waltz” by M. Ravel in the production of J. Mystical intonations, magnetism of their own or other people's will concentrate the attention of the audience, subordinate their logic of mysterious transformations.

The real becomes symbolic, without losing its effective power. In addition to the ballerina mentioned above, the main and solo parties in the “Raymonda” ballets M. Petip, Pakhita M. Petipa, “Fairy kiss” A. Ratmansky, “Poem of Ecstasy” A. Ratmansky, “In the Night” by J. Robbins, “Sounds of empty pages” by J. Neumayer and other Lopatkin. Likes to work hard. Unfortunately, in the profession, a dancer is an injury is almost inevitable.

A serious injury knocked out the ballerina for a long time from the usual classes. Now, fortunately, the most difficult behind. Lessons, rehearsals, and performances resumed. In the year, Ulyana Lopatkina was awarded the title of Honored Artist of Russia, in the year - People's Artist of Russia. She is the laureate of the State Prize of the Russian Federation, the National Theater Prize "Golden Mask", the highest theater award of St.

Petersburg "Golden Sofit", the prize "Benoit de la Dance", the "Triumph" award, the International Divine Prize "