Biography of Moiseeva Natalia

One hundred stories about the Perm ballet: the three rules of the Primadonna of Natalia Moiseeva date of his birth are considered to be the prime minister of the Giselle Ballet Adan, which gave the choreographic studio of Perm on February 2. Studios - children and adults, mostly young workers - were engaged in a small wooden outbuilding under the leadership of the theater actors.

History even preserved the name of the teacher and director of the winner-dancer Boris Shcherbinin. The Perm Regional newspaper Zvezda continued to be large in Perm, the Perm Regional newspaper Zvezda continues the cycle of publications “One hundred stories about the Perm ballet” dedicated to this event. The three rules of Natalia Moiseeva in an interview with the Prima-ballerina of the Perm Academic Academic Opera and Ballet Theater Natalya Moiseeva danced from according to: “I tried to make my daughters do not connect their life with the ballet ...”.

And when she was asked why, Natalya Anatolyevna answered: “To take place in the ballet, few abilities and desires, daily work and a happy incident.

Many must coincide here, many circumstances are more complicated by those whose family is in no way connected with the theater or the classical dance - it was with Natasha Moiseeva herself. Her mother in childhood dreamed of becoming a ballerina, but did not dare to disobey her father, the famous Chuvash writer Grigory Krasnov-Kesenny, who was “against art”. Little Natasha studied for several years at the violin class music school, and when the family moved from Chuvashia to Yekaterinburg, she went to the Diaghilev art school nearby with the house - to the choreographic department.

Teacher Ninel Georgievna Pidemskaya later she will become the director of the Perm choreographic - ed. Mom just gave birth to a second child and was quite voluminous, and Natasha did not seem very thin. That, the first attempt, of course, ended with tears. But my mother was no longer stopped. They will not take in Perm - we will find another place. ” And almost immediately they went to Perm, they took Natasha, but there wasn’t a commission of Ninel Georgievna on a viewing specially for this ...

And now Pidem’s walks along the corridor, shouts: “Who was taken to my class without me? And, this is again you, but I did not advise you to come. ” Since the decisive voice remained behind the artistic director of the school, they invited Lyudmila Pavlovna Sakharov. Sakharova looked, for the order she corrected all the marks in the examination sheet for a point below and carried out a verdict: - Let the girl study in an experimental class; If that - we deduct a year in a year ...

As you know, the classic dance sets everything in its place. Sakharov was in a good mood that day, besides, she adhered to the rule not to neglect the desperate desire of the child to learn the ballet even with dubious data. And Natasha had good data. What is life in a boarding school for an ordinary twelve -year -old girl? These are a lot of skills that domestic children master years by twenty, or even later.

Suddenly it turns out that everything needs to be monitored - the appearance, for nutrition, for weight ... But most importantly - for clothes. A classic dance-six days a week for an hour and a half-the shoes wear out to the holes for ten days, in Soviet stores, ballet shoes were not sold in Soviet stores, so there was the only option-to dwell and darn slippers, wash and iron, sew numerous ribbons, adjust the treasury swimsuit, which for some reason was always issued in size, and no one has canceled the general educational program either.

In a word, when you hear that the main thing in ballet is coordination, this is not only about the dance, this is about all spheres of life. Sometimes physical strength lacked, for example, to raise and keep his leg for a long time. Instead of ten years, I got to school at twelve; In the experimental class, I simply did not have enough initial preparation. Systems that are from you, like from clay, sculpt an artist of ballet.

Everything changed in the second year, when the former experimental class was taken by the teacher Lidia Grigoryevna Ulanova. What to shoes? She rushed into the locker room, grabbed someone's first shoes and ran back. The rehearsal went for more than an hour, and strange - she did not feel pain at all. Only when she took off these shoes, which were not at all in size, the blood literally squinted in them.

Next time, the teacher will put her in the miniature “Morning” in the same “Coppelia” right in front of the run: “Remember the order? And Natasha will withdraw the first ballerinsk rule, then then the helping out of it: you should be prepared for the possibility to use the dropped chance. ” The first such chance was the trip of the choreographic school in the United States, organized in the Perm Society of Arabesk.

The iron curtain was also actually stood, and the group of students, where Natasha Moiseeva entered, went along the route “New York-Philadelphia-Indianapolis-Evansville-Washington” with a concert in two departments. Naturally, the best was selected.It was unbelievable - to start foreign tour not with the country of the socialist camp, for example, from Hungary, but immediately from America, the end of study, which was neared by the distribution, but Vladimir Nikolayevich Salimbaev, the main choreographer of the Perm Opera and Ballet Theater, looking at the theater, did not call Natasha to the theater.

And only when he saw her in the ballet “Coppelia”, he suddenly invited her to the troupe. As you know, the scene changes the artist, highlighting the most secret corners of his personality - she turned Natalya Moiseev from the “Cinderella” into a “princess”. The reference point, of course, is a corps de ballet, sometimes - inserting solo pieces, fours, five, a dance of small swans.

And when the music sounded, the whole choreographic pattern jumped out of my head with fear, and I danced the floor of variation with a single combination. A nightmare that never forget ... But Salimbaev only threw in my direction: “Well, maybe you can dance a waltz? .. Only with the advent of Kirill Schromergoner to the post of chief choreographer, Natalia Moiseeva, a quarry in the theater went.

The competition in E is not at all what is now: no class, accompanist and special time; Most often I had to do at night when the room was released ... - Well, why, why, when there is nobody in the class, you succeed in the same way as it should? In a short time, it was necessary to prepare three variations-a variation of Aurora from Sleeping, a variation of Mary from the "Hift of Cavalry" and from the Pa-de Trua "Swan".

But after the victory at Arabesque, Natalya Moiseeva was immediately offered to rehearse the “sleeping beauty”. Tchaikovsky’s ballet, about which they say: “sleeping” danced - you lie for three days. Then another ballerino rule was formed: if you want to be in shape, dance and dance, that is, ask for everywhere. Form, form ... If you are not in shape, everything else is no longer important.

The ballet age is short, you need to keep up. The beautiful pair of the Perm ballet scene. Their novel began at the school. At first, like everyone else - views, notes, walks are good that in senior courses ballet was allowed to walk on their own! Once in the spring, a birthday in Nathan, when the lights went out in the boarding school for several hours, and it was impossible to go anywhere, suddenly there was a knock on the door-in the midst of the doorway there was a vital with an armful of tulips: “Is it for you!

.. Where did he get them in Permy? scene. But in the classroom, the opposite is the contrary-I did not go to any support relaxed, all the pieces were repeated more than once or twice due to his comments ... Not a single prime ministers allowed himself this! After Arabesque, the long -awaited Giselle occurred, which many viewers still consider the best Giselle of the Perm ballet.

But not everything was as simple as it was seen from the audience. After the victory at Arabesque, Natalya Moiseeva fell into the hands of the leading teacher of the theater Rimma Mikhailovna Shlyamova, who had released more than a dozen stars of the Perm ballet scene. There were already several parties behind Natasha’s shoulders in the classic line of ballets, but no one has yet offered Giselle.

Rather, Shlyamova, having entered the classroom, once said: “Jump Pas Supresaut five times in a row,” and when Natalya jumped, Rimma Mikhailovna summed up: “No, it’s too early, but after a couple of years, Giselle Moiseyeva took place, and her complex vocabulary was performed so virtuoso that it seems that even the teacher was left. A person who is sharpened mainly to see mistakes.

In years, Perm ballet went on tour so much that the inhabitants of the city were indignant: only foreigners watch the best in theatrical art of Perm. Indeed, the passport for ballet artists now and then had to change, since the place for gluing the visa quickly ended. In M, ballet went on tour to England with the Nutcracker. And it seems that Natasha did not fall, did not tie her leg, but after a slight injury, stretch out her leg, especially with the load, it simply did not work.

The result is the second act of the Nutcracker in England for Moiseeva was dantamed by Elena Kulagina ... The doctor prescribed complete rest for three months, passed for three months, the leg recovered, but ahead loomed maternity leave. As often happens, everything came together in one temporary segment - the birth of a daughter, the most difficult tour in Japan and the preparation of “Per Gunent”.

Can you recover quickly after childbirth? But it is one thing to recover in the class in the general process and completely different - one when the whole troupe is on vacation. Only the homes know what it cost her ... However, then Natalya already knew the main ballerinal secret - the “flight of muscle joy”, which can be earned only by hard work, and its overcoming. Before the Perm ballet with a triumph to return home, the rehearsals with Ben Stevenson began.

Surprisingly, he perceived the academicism and severity of the Perm ballet troupe Ben as “compression”, demanding maximum emotionality.And only in Moiseeva he did not see these clamps. The party Solveig in Pers Gunte, and later - Juliet in Romeo ... Kenneth Manmillan, with his famous Adagio on the balcony in the member, Natalya Anatolyevna considers one of the main successes.

And also - "Swan Lake" in the choreography of Natalia Makarova. It seemed to me that Odetta should still be higher, with other lines; I complex all the time ... In the tenth year of the work, Kirill Schmorgoner persuaded. And so the choreographer Natalya Makarova arrives, I look at the star chores and see a miniature ballerina ... She instilled confidence in me.

In general, she was released from Swan for a long time, and eventually danced him to retirement. What is important here? It is important not only to meet your choreographer in time, but also to coincide with him creatively! Fortunately, we coincided with Kirill Alexandrovich. I had significant freedom: you are in the party, a lot of you ... This is your plastic, and not only one imposed drawing - even in classic, museum ballets.

What the teacher “fought” with Rimma Mikhailovna Shlyamova “fought” with, Schmorgoner released freedom. Not immediately, far from right away, the teacher Shlyamova began to trust Natasha. And how many quarrels, tears, tense silence in the first years! Shlyamova could easily slam the door, interrupting the rehearsal: “When you are on the stage, no one will shout from the directorship or out of the culis, you yourself must process the information and understand where you are falling ...”.

But the third ballerino rule Moiseeva sounds like this: without a teacher you are nobody:-Each of the teachers saw something his own and revealed this “something”. And with the amazing Rimma Mikhailovna, we worked for twenty -five years. The Honored Artist of the Russian Federation Natalya Moiseeva did not agree to any tempting proposal to change the Perm ballet troupe.