Andrey Uvarov Ballet Biography

Father - IVAROV Ivan Nikolaevich G. Mother - Uvarova Taisiya Ilyinichna G. wife - Filippova Svetlana G. Daughter - Marianna G. From childhood, Andrei Uvarov has shown undoubted artistic abilities, was a mobile and musical child. Always when music sounded, he began to bounce and spin. He loved the fairy tales “Baby and Carlson, who lives on the roof”, “Mowgli”, played on a pipe, and was engaged in figure skating.

Then he became interested in classes in a choreographic circle at the House of Culture of the Mikoyanovsky meat processing plant, although he dreamed of becoming a military man. During the Moscow Olympiad, he was even entrusted with the responsible role of the Olympic Teddy Bear, which he performed under the then well -known song “Start gives Moscow ...” in front of the CPSU city committee.

The boys in choreographic circles were disastrous, and the little bear Andryusha danced surrounded by 60 girls. Soon, when the parents brought a talented child to enter the choreographic school, it was precisely by this number to a funny song, which for the lack of musical accompaniment and hummed, he touched the hearts of members of the selection committee, successfully passing all three qualifying rounds.

The first teacher of the future superstar was Alexander Markeev, which he idolized. In the first grades of the school, Andrei studied three. But the three of a strict teacher was considered a good assessment.

And then a new “male” teacher came to the classroom. His views on the teaching methodology were very different from those that were in elementary grades. Uvarov warmly defended the old methodology, and the 4th and 5th grades were held in the struggle. True, he already received five. In the 1st year, Uvarov got into the class of Alexander Bondarenko and only then realized that the profession of the dancer is his fate.

Due to high growth, they initially did not want to take him to the Bolshoi Theater. Yes, and almost the entire class was considered "security forces." But a miracle happened. Having appeared in the theater as a lanky teenager “without muscles, with a good foot”, according to the characterization of the teacher Boris Akimov, whose novice dancer asked to work out in the school’s election class, Andrei Uvarov stood for a long and a half a year and gradually turned into a high, almost two -meter, luxurious athlete with noble and noble and noble and noble.

The aristocratic manners of the Prince of Blood. So called Andrei Uvarov, the famous theater, the historian of art, Vitaly Wulf, noting that “virtuosity and pouring lines, an exquisite manner, fraught with a promise of romantic meetings, and natural lyricism set an example of an ideal stage premiere to too“ deaf ”, not even dancing, was a corps de ballet, where the artist got.

Once, when he staticly stood three acts, tears flowed from his eyes: so I wanted to dance. Only in the ballet “love for love” managed to get a very tiny party. But then it was like in a fairy tale. Already at the very beginning of the year, the summer dancer went out in the solo party of Paris in the ballet “Romeo and Juliet” in the production of Grigorovich and in the same year receives the legendary Party of Nizhinsky in the ballet “Chopenian”, which determined a lot in the creative and personal fate of the artist.

In this ballet, Fokin first had a chance to dance with the young ballerina Svetlana Filippova. And this creative meeting in a romantic ballet did not become accidental. In the future, Svetlana will become the wife of Uvarova, they will have a daughter Marianne. The same party, which he dances for more than 10 years, was destined to become a magic talisman for the artist.

It was in it that the main qualities inherent in his work were manifested, which over the years and experience were more and more crystallized. This is primarily an artistic beginning, where it is important not the number of pirouettes or the height of the jump, but the aesthetics and beauty of the performance. When each dance phrase is awesome, each Pa is presented as a jewel, and the viewer admires the game of forms and lines.

The image revealed in this ballet is based on a young man-poet, as in paradise surrounded by ephemeral sylphides, light nostalgia for the sylph dance of Talonaean times. Despite the slightly enhanced tragic overtones in the interpretation of the ballet through them, the Pushkin’s “bright sadness” shines through. Continuing to study in the classroom with his beloved teacher Boris Akimov, he made his first roles on the stage of the Bolshoi Theater with Nikolai Simachev.

Already the first large -scale party in a full -length performance earned Uvarov international recognition. The party of Romeo prepared with N. Simachev in the ballet of Yu. Grigorovich “Romeo and Juliet”, in which the artist performed at the beginning of the season, brought him a stunning success and announced him as a large lyrical dancer. It was for this work that the summer artist in the year was awarded the most prestigious ballet prize, which celebrates the highest achievements in the field of ballet, a kind of ballet Oscar - Benois de La Danse in the nomination "Best Dancer" awarded by the International Association of Choreography figures under UNESCO.

His Juliet, according to the performance, Inna Petrov, years later recalled: “He was very young, and he had absolutely no life baggage.But even then I realized that this is a super partner. His hands are just wonderful. The only thing is that he is tall and when he lifts you up, sometimes it happens a little scary, because if you are in support of others in support somewhere on the second floor, then with him on the fourth.

” Their duet looked so captivating that after a few years, with the resumption of the legendary version of Leonid Lavrovsky, which stunned the whole world at the end of the 10ths, the main parties again dance Andrei Uvarov and Inna Petrov. Vitaliy Wulf in his response to the performance noted: “Under the anxious-derish music of Prokofiev, they danced a dance of great love and great sorrow.

Both had wonderful concentration, and from this the images acquired an unexpected depth and a modern attitude. Uvarov in Romeo definitely demonstrated that he is the embodiment of the profession of a classic dancer. All significant parties went to Uvarov not easy. As you know, fate, case, fortune play a large role in the actor’s life. Especially in the old days. If the eminent artist claimed the party, the young never received it.

” So, the “Swan Lake” in the year Uvarov danced only when the lead performer fell ill and there was no one to conduct the performance. After a request to the Mariinsky Theater, they already wanted to replace the soloist. But then they remembered that Uvarov “slowly” has long rehearsed the party of Prince Siegfried, dreaming of dancing. A similar story was repeated with the Bayadel in the editorial office of Grigorovich.

Nadezhda Gracheva then prepared a party of Nikia and took Uvarov to rehearse young artists to call eminent partners for training. This played a role. The departure of some leading dancers to the West accelerated the process of entering the young soloist into the theater repertoire. Andrei Uvarov prepares all the new parties with an outstanding teacher, in the past a brilliant ballet dancer, Boris Akimov.

It was he who pulled out of a flimsy and awkward teenager, which Andrei met in a school, a gifted artist and a world -class superstar. The student and teacher had an amazing creative and human friendship. Each new party became a certain stage of comprehension of his craft for the young dancer. And for all the labyrinths of knowledge, the teacher led him.

The student could always rely on the confident hand of the master. Together they created a whole gallery of memorable images. Making in the dungeon of his subconscious, crushed by exorbitant burden of complexes appears to be Uvarov in the play “Swan Lake” Grigorovich. With a brilliant choreographer, the new generation of dancers had a completely special creative connection, although for many it was not possible to learn and digest the aesthetic system that crushed them.

The “Nutcracker” did not be dancing and only 4 times published in Spartak on tour in London Andrei Uvarov turned out to be the most adequate scale and the world of Grigorovichi productions. This was especially pronounced in Lake Swan. Princes Uvarov in different ballets are completely different from one another. According to the dancer, he "wants to bring something new to each performance, master the structure, technology, manner and philosophy of ballet." Olume to guilt, but tragically doomed in his love, he appears in the "Giselle" for the first time in the city of a twisted union of love, youth, courage in the first act; betrayal and repentance in the second; Prayer peace and concentration, detachment from all earthly in the third - such is the metamorphosis of its Soloor in the "bayadel".

The real French prince of blood at the court of the “sun king”, the enchanting and gallant, he goes into the “sleeping beauty”. The courageous and fearless warrior-adolescan from medieval legends, the handsome man-the victorious of knightly tournaments from the dreams of young maiden, the imperious, like a sovereign feudal lord, and a gentle, like the Provencal Trubadur, who composes the canesons of a beautiful lady, is his Jean de Brienes in Raymond, where he confidently, gently and stylistically stubbornly and stylish The “sleep” scene, technically flawlessly and accurately showed the most difficult variations, cutting the scene with huge jumps.

The party of Jean de Briene is one of the highest achievements of the dancer. For the first time he danced her in the year. That was the time of historical changes, very difficult for the Bolshoi Theater. It became difficult in the fate of the artist. A frequent change in ballet leadership, forced by downtime in creativity, led to the fact that Andrei Uvarov began to think about the transition to the Mariinsky Theater, longing to get the perfect ballet prime minister.

But then fate intervened again. The ballet leadership once again changed, and Uvarov remained in the theater. A new stage began in his work - work with the famous ballet prince of past years, and now an experienced teacher and mentor Nikolai Fadechev. The repertoire of Uvarov is replenished with the cult ballet of George Balanchin “Symphony to the Major”, in which he shines in the second part - Adagio.

Long before the premiere, skeptical voices were heard, repeating that the troupe of Bolshoi could not dance Balanchin.But the result exceeded all expectations, and the slow second part became the culmination of the performance, where Uvarov danced accurately, cleanly, easily, showing the “beautiful clarity” of the lines and the “cold clarity of the mind”.

The artist very successfully performed the parties in the brilliant ballets of Alexei Ratmansky, who unexpectedly revealed completely new facets of his unique talent. Having represented a beautiful and thoroughbred, comic and touching in the cheerful one-acting ballet of “delights of mannerism”, he charged the auditorium with the seething energy, so different from the anemic melancholy, which Uvarov indulges in classical productions, in the party of the young man putting the lion mask in the “dreams of Japan”, the first in the life of the party dancer, the first life of the party.

set by the choreographer specifically for him. In the year, for this party, Uvarov was nominated for the Golden Mask and happily continued to work with Alexei Ratmansky, giving around his ballet Lea. This experience has shown that it is useful to experiment to the prime minister of the Bolshoi Theater without closing in the framework of its role. Uvarov did such experiments earlier and within the classics.

Trying himself, it would seem, in the completely unsuitable roles, he won convincing victories. Such was, for example, Don Quixote, a completely non -competitive dancer, he took part in the competition in the Japanese city of Osaka and won the gold medal, literally stunning the Japanese spectators.