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MAKSIMOVA Ekaterina

( Actress, dancer)

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Biography MAKSIMOVA Ekaterina
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Ekaterina Maximova was born Feb. 1, 1939 in Moscow, and from childhood dream to dance. Little Kate was very fond of ballet, but absolutely did not want to do 'boring' things. She herself later said that she was very lucky with the teachers, but now they are not blessed with such an independent student. However, it is often the most unruly and are the most talented.

Mama Katie hesitated long before the girl to withdraw from appearing in the ballet school. Played a role by the fact that they lived in one house and were familiar with the famous ballerina Geltzer, which noted the girl's undoubted ballet data. Indeed, Katya was composed for the ballet - a thin, light, proportional, agile and graceful.

In 1949 Katya Maksimova was admitted to the Moscow Ballet School. His teachers, she brought a lot of trouble, as she was very capable, but also the most mischievous and not the most diligent among his peers. Because of its living nature, she could not bring himself to repeat endlessly monotonous, boring exercise required each future ballet. Fortunately, her first teacher was LI. Rafailova, which is perfectly able to reach out to wayward pupil. She immediately realized that Katya Maksimova can not be forced to do anything - it can only be interested. Rafailova noted impressionable girls, and turning her attention to the emotional side of music, able to configure Katya serious lessons.

. Katya was delighted when participated in the performances of the Bolshoi - Opera and Ballet, where there were children's roles
. Even in first grade, having studied only a few months, it is the first time in his life came at the Bolshoi Theater - the scene, which would become for her mother and the familiar. Initially, she appeared in children's episodic roles in opera productions, and soon she was entrusted and ballet role in 'Cinderella' - Kate was a bird in a retinue of fairies of Spring. These presentations were very popular girl, and she worked with the growing pains, beginning to realize that without the persistent classes to become a real ballerina impossible.

. Very pleased it the role of proteins in the fairy tale 'Jack Frost', which Katya Maksimova received, studying in second grade
. She sang it so well, with such liveliness and grace, which was even noted by critics.

Also in 1962 she first participated in the ballet 'The Nutcracker', which went a long time in her life. She sang snowflakes, dolls, Masha-girls danced the pas de trois with his classmate and Vladimir Vasiliev, with whom subsequently tightly linking its fate to the stage and in life.

It is from 'The Nutcracker' to the success came Maximova. Katya, a student of eighth grade, won the role of Princess, which is always performed by graduates of the ninth grade. A few months later she was dancing at this party the All-Union Festival of youth - and the role of Masha, the princess brought her gold medal and the attention of the leading choreographers of the country.

. This installment Ekaterina Maximova has returned as part of the Bolshoi Ballet, in 1966
. 'The Nutcracker' has found new life in staging by Yuri Grigorovich, and now the role of Masha, the princess sang not a teenage girl and an adult dancer. The role of Masha, Yuri Grigorovich, a specially created 'under it' - choreographer took into account all these dancers.

Masha y Maximova - girl on the fine line between childhood and adolescence. As the critic wrote, 'Maximova has a happy and unique ability to be an adult dancer, playing a girl, and save features of the child directly in the' adult 'part of the role'. Even at such a young age clearly manifested artistry inherent in this young dancer. By means of translating the image became not only the choreography and plastic, but also facial expressions - not just Maximov danced his party, she created and choreography, and dramatic way. In many ways, Ekaterina Maximova was obliged this E.P. Gerdt, who became her teacher in high school ballet school. It Gerdt was able to develop in his pupil the desire in the first place to reveal the inner essence of the depicted image, find the right colors for his psychological reflections. Much gave her E.P. Gerdt in choreographic techniques - soft plastics, the finesse of the hands, the purity and performance culture.

. Work Maximova in the Bolshoi Theater after the 1952 ballet school started with a tour in the Caucasus
. There she sang favorite excerpt from 'The Nutcracker' - the pas de deux by Vladimir Vasiliev.

After the tour, she performed inserted pas de deux in 'Giselle', she danced the Swan in 'Swan Lake'. Soon the first of its joint work with the young choreographer Yuri Grigorovich, who worked at that time in Leningrad, and invited for ballet 'The Stone Flower'. That was in 1958 when the theater youth were given the opportunity to experiment, try new forms, to seek new ways in art.

. Work on 'Stone Flower' had its own characteristics associated with the prevailing circumstances at the Bolshoi Theater
. The fact that the attempt to put the choreographer Lavrovsky 'Tale of the Stone Flower' was unsuccessful. That is why he was invited to this performance Grigorovich, who had proved themselves to be a talented choreographer. Naturally, in such a situation, the work on the ballet "The Stone Flower 'was particularly responsible.

. In accordance with the trends of time and their own ideas about the development of Ballet Grigorovich, in its statement tried to show not the abstract images of Legends, . and living, . specific people and their experiences and feelings, . advantages and disadvantages,
. His productions have always been very strong dramatic element, and the talent of Yekaterina Maksimova could not be more consistent with the objectives of the choreographer. She managed to show the dynamics of the nature of Katerina, a funnel from the lyrical image of a Russian girl character strong and capable to fight for his love.

. In the formulation of 'Stone Flower' first of two anticipated performers, and Grigorovich chose the second, composed of Maximova and Vasiliev
. He did not try to show generalized images that embodied the ideal means of choreography - is more important to him were acting skills performers, in addition to their Choreographic. From his point of view, Maximova and Vasiliev appeared on the stage of human beings. They were alien 'splendor' performance, when the dancer becomes the main task of virtuosity and brilliance.

A year later, Ekaterina Maximova was the eleventh waltz in 'Les Sylphides' - a magnificent ballet Fokine. Nature Maximova, a different perception did this role quite similar to the images created by its predecessors. It was more direct, timid, changeable, her performance had a deeper psychological. The abstract image into a performance Maximova an independent character - a grown-up serious and childish direct. 'Les Sylphides' was deeply consonant with the soul of a ballerina, and a year later she had already performed in her Prelude and Seventh Waltz.

A major challenge was for young Ekaterina Maximova Party Mary in the ballet 'Fountain of Bakhchisarai'. Before her executor of the party was Galina Ulanova. The image of Mary is inseparably fused with the character of the famous ballerina, but her plastic became a standard.

Maximov went to the role of Mary, based on performance of Galina Ulanova, learning from her. However, while preserving most of the choreographic and plastic figure, Maximova created a somewhat different character of the heroine. Maria Ulanova strict and restrained - Maria Maximova more emotional and trusting. Dancer herself was not entirely satisfied with their work, and eventually performed it less and less.

Another role that Ekaterina Maximova performed after Galina Ulanova, Giselle was. She got it right 'from the hands' celebrated ballerina. Ulanova, searching for a pupil, referred to the full of promise, a young dancer Maximova. Maksimova's Giselle, which brought her fame and success, was more carefree and naive than the same role in the performance of Galina Ulanova, her image lyrical rather than tragic.

. Although, . that performed by Giselle Maksimovoi differed from the remarkable performance of the party Ulanova, . work young ballerina has earned the approval and public, . and critics, . that the excellent results of the joint work Ulanova and her student, . Ekaterina Maximova.,

. Highly rated Maksimova's Giselle is one of her teacher, an outstanding teacher Asaf Messerer: 'For many of the outstanding Russian ballerina role of Giselle was special, as if standing alone in the repertoire
. It was the role of higher ups, the role - Splash innermost feelings. The old story of betrayed love - 'love is stronger than death' - became a revelation in the performance of Ekaterina Maximova. Dancer can a daunting task: to reunite in a single image of the first act of Giselle - a living, loving girl, and the second act Giselle - jeep, shadow, spirit. For many fine dancers, this problem still remains elusive. CBO this dance Giselle, from the lungs of these wings, their flight, and redeemed, and pale, and sad, and high in the soul ... '

Ekaterina Maximova immediately found its place on the big stage. Its purity, . children's perception of the world, . great charm, . outstanding acting skills, . unusual external data allowed her almost immediately after the entry into the troupe of the Bolshoi Theater to get a serious party, . which some dancers dream for several years,
. The ease, lightness, elegance, a kind of plastic, combined with unusual sincerity in embodiment of scenic images immediately attracted the attention of her audience, critics and choreographers. She invested in each of his speech his whole soul, and the result was a great success, which came to her very early.

Already in 1959, the year after finishing school, she went on her first foreign tour in the U.S. and Canada. Reviews for it were the most enthusiastic: 'This girl is able to melt the most hardened hearts'. After this trip for a long time stuck Ekaterina Maximova nickname given to her by the press: 'little elf'.

Success accompanied her constantly. In the same year Maksimova won a gold medal at the competition of classical dance at the World Youth Festival in Vienna. Again tour - China, and in the next two years - Denmark, Norway, Finland.

In 1960, the first work of Ekaterina Maximova in the film - she starred in the film-ballet 'Cinderella', where the dancing fairy Spring. The following year was marked by a young ballerina that she became an original face of our ballet abroad, starring in the role of Giselle in the film 'the Soviet Union with an open mind', intended for display in the West. Movie Premiere in Paris, and this visit to France brought the dancer another joy - he was kind of a wedding trip Ekaterina Maximova and Vladimir Vasiliev.

But success has not gone to his head ballerina. It is perfectly aware of the need to continue serious work under the guidance of recognized masters. This teacher, in full to appreciate the originality of the talents of its dancers and a permanent partner, was Asaf Messerer. A lot of work demanded their joint work on the part of Kitri from the ballet 'Don Quixote', but the result was brilliant. Debuted in the party in 1965, Ekaterina Maximova, seemed completely merged with the image of a mischievous girl, sparkling with joy and happiness.

. Asaf Messerer wrote: 'When Maximova and Vasiliev dance in' Don Quixote ', breathed freshness, youth and happiness
. In the super complex variation, jumps and speed, they poured their own mental health, his laughter, humor, delight in life. Both bathed in pleasure, in this bacchanal game, flying in these dances, happy and inviting to the delight of room, so we did not forget how good the fate of released or at least what we could be happy ... '

. On foreign tours she sang this particular party, are delighted at the Western public and criticism
. Much has been written about the magic smile Maximova, grace, joy and fervor of its execution.

. It would seem that fate itself is designed for the execution of a ballerina roles naive girls - sad or happy, but always with the share of children's attitude to life
. But she Ekaterina Maximova and Vladimir Vasiliev, and choreographer Yuri Grigorovich realized that talent is not confined to dancers this Role. Creative forces Maximova, her artistic abilities and their own perceptions of art have been much wider. Over time, the time has come not only dramatic, but tragic roles, creating strong, strong-willed characters who were, however, is characteristic of the same charm as the early images of her.

. In 1968, Grigorovich Ballet puts' Spartacus', in which the party Phrygia, Spartacus' friend, he created specifically for Ekaterina Maximova
. The novelty of this party was not only in its tragic character, but also in her Ballet picture. Grigorovich introduces many complex supports and almost acrobatic elements. But this new image for Maximova was as organic as it is and all it has created characters.

Continuation of the same tendencies in the development of creativity has become the ballerina role of girls in the ballet 'Icarus'. Work experience was the first choreographer Vladimir Vasiliev. Naturally, the Party Girls, he created for his constant partner and actually co-authored with her. Her dance is a favorite Maximova and it is very suitable plastic soft flowing lines, bizarre, unexpected and flexible.

The sixties - the years of creative search and innovation. Vasiliev and Maximova were 'the sixties' on the ballet stage. Fully in the spirit of his time were the images of Icarus, seeking to unknown heights in its flight, and his faithful companion, inspiring his beloved on the exploits and simultaneously seeks to protect him from danger. Denial of personal motives for a huge, universal goal - the main motive of this ballet, ballet era of space exploration, the era of beautiful dreams of youth and her fiery outbursts.

. Occupies a special place in the work of Ekaterina Maximova image of the main character in the ballet 'Romeo and Juliet'
. He seems to be synthesized in a two-incarnation ballerina - naive girls and women, capable of self-abnegation, the strong action. Very interesting and organic transition was created Maximova in this manner, from a gentle loving girl to a decisive female character, consistent and firm. Juliet Maximova - not just charge the world of evil. It is notable attempt to create an image of a man defending his inner world from the onslaught of evil forces. It was a milestone, perhaps even more significant than it could then assume an actress.

Success followed success, the creative force grew simultaneously with the experience, and it seemed that luck will never end. The duo of Ekaterina Maximova and Vladimir Vasiliev has become not only a symbol of the Bolshoi Theater of those years, but also embodies a joyful, free dance, the beauty of human bodies and movements. This 'star couple' has traveled the world, praising the art of ballet. Many touring they do in our country without giving from any invitations. And in the best theaters in the world, and in the small towns of our country, they danced equally well.

However, the continuous rise abruptly broke. In the life of Ekaterina Maximova tragedy occurred - in 1975 as a result of severe trauma, she was chained to his hospital bed. First injury seemed less serious, and the ballerina is more intent to resume work. Were preparing a film-ballet 'Spartacus', in which she had to perform her role as udavshuyusya Phrygia. But such haste has led to even more terrible consequences. Ekaterina Maximova resumed rehearsals and even started to participate in the filming, but the result was again in the hospital with serious spinal injury. Ballerina was doomed to months of complete immobility. She did not imagine her life without dance, but doctors said that the greatest happiness for Maximova is even an opportunity to walk - even that was under great doubt.

Treatment lasted for over a year. Dancer would not and could not believe the verdict of doctors, and as soon ended her stay at the spinal traction, began intensively to rebuild the motor functions. Fortunately, she was supported by the attending physician, who developed a special program for her. But some medical efforts, of course, would be insufficient, if not the will of most ballerinas. Overcoming the pain and helplessness, she stubbornly continued to workout, day after day, reaching the small successes.

. Ekaterina Maximova The experiences of suffering, of course, could not affect her perception of the world, forced to rethink many things in the works
. Her heroine lost part of its lightly, instead of having acquired wisdom, strength and patience, innocence gave way to deep feelings.

After injury she appeared at the Bolshoi Theater in the role of Giselle, overcoming illness, fear and pain. Giselle is danced at the very beginning of his career. But now her Giselle was different - she has expressed a farewell to the illusion and the pain of meeting with the harsh realities of the dark side of life, innocence was lost, but came a premonition of the tragedy.

. In the same 1976 Maximova again danced the lead role in the ballet 'Icarus'
. Change the inner ballerina, ballet has changed and. Vasiliev decided to develop a few, to deepen the characters of the main characters, make them real people instead of vehicles of abstract ideas, to supplement their psychological characteristics. Work in this direction has led to the heroine Maksimova now not simply empathizes with Icarus, but as it is the continuer of his case, not just beloved.

. In 1977, the life of Ekaterina Maximova was the encounter, which brought her a year later, in her own words, 'great creative happiness'
. She again returned to the image of Juliet, executed party of Yulia Bejart ballet 'Romeo and Juliet'. On tour in Florence Vasiliev and Maximova discussed the need for setting new concert room. And here they are incidentally reported that world-renowned choreographer Maurice Bejart, the head of the troupe "Ballet of the twentieth century ', is very well supplied adagio Romeo and Juliet.

. In the autumn of that year, the duo took a trip to Brussels - Bejart staged the play 'Petrouchka' with the participation of Vladimir Vasiliev
. Here was resolved the question of joint work with Ekaterina Maximova 'ballet of the twentieth century', and she began to rehearse with a soloist of the troupe Bejart adagio from 'Romeo and Julia'. Maurice Bejart specifically for her participation resumed play, which was not in the repertoire of his company for several years.

In 1978 he premiered with Ekaterina Maximova. Work on this role was very interesting for the dancers not only because she once again returned to the deeply felt its way Juliet. Creative collaboration with a foreign troupe, . working on several different principles, . with other plastics and other choreography was not only a test of skill Ekaterina Maximova, . but also gave her something new, . expanded her creative horizons,
. As noted by critics, as a result there was not a stubborn opposition of the two aesthetic systems, and not their irreconcilable dispute, and dialogue, clarifying some of the features of both sides. Creative communication Maximova and Bejart was fruitful and gave the opportunity to see both something that could go unnoticed without this meeting. And it happened not only because of talent and outstanding ballerina of the phenomenon of choreography Bejart. Maximova has played the role of a mediator between the two aesthetic systems.

. A creative way Ekaterina Maximova constantly leads her to broaden the scope of its activities, the relentless search for new, as yet unexplored possibilities of self-realization
. Despite the hard work in the theater, she always sought to do more, find themselves in the new images. In addition, Vladimir Vasiliev and Ekaterina Maximova always considered it their civic duty to bring the art of ballet to the widest possible spectrum. All these reasons prompted them to turn to television and movies. We ballerina had previous experience shooting in such films as early 60-ies. Now her creative ideas embodied in television. 'It was here I could dance party of the performances that do not go in our theater, or act ballets specifically created for television', - responded to this aspect of its work, the dancer herself.

. Maximova's first job in television was the film-ballet to music by Prokofiev 'Trapeze', where the dancer performs the role of girls serving in the traveling circus
. Television gave the actress an opportunity to demonstrate his gift of fine humor, comic, grotesque. She was able to reveal talent comedic and dramatic actress.

In 1972, for the film 'Duet' for creativity Maximova and Vasiliev. In this film includes a few snippets of their work: dance number 'match' in the formulation of Thomas Schilling, a few classic dance numbers. Ekaterina Maximova was able to show and eccentric role, and the art of classical dance. However, in general, 'Duet' has not brought her to meet. She believed that the filmmakers had abused imaging effects, only prevent the viewer's perception.

. Other films, . immediately after the screen won the hearts of audiences, . which were now able to see your favorite ballerina of all the brilliance of its choreography, . Dramatic and comedic talent, . was a film-ballet 'Galatea' (choreographer Bryantsev), . in which she played in partnership with the Maris Liepa,
. In this film, ballet, staged in 1978, based on the play by Bernard Shaw and the musical V. Lowe 'My Fair Lady', . Ekaterina Maximova has played a major role - the role of a street flower girl Eliza Doolittle, . which literally picked up on the street dance instructor Higgins (played by Maris Liepa) and carefully teaches the basics of choreography, . good manners - in short, . tries to make a lady out of the little fidget,
. The film is very well have shown the strongest hand Ekaterina Maximova as a dancer and actress, as well as her outstanding lyrical and comic talent.

Many difficulties harbored this role in terms of choreography. After Ekaterina Maximova had to dance first naughty, . rollicking dance street girls, . then skip all the stages of learning her choreography, . demonstrate all stages of development of these complexities, and finally had to dance so, . as if she herself danced the ballerina Maximova, . not just Eliza Doolittle,
. Maximova has very accurately the seductive blend of grace and awkwardness inherent in her portrayal of. Job Maksimova proved successful, and the film has brought joy and spectators, and most ballerina.

Next film with her participation became a film-ballet 'The old tango', where Ekaterina Maximova played the role of transvestite. The film was made in explanation of the well-known in his time comedy 'Peter'. The plot is based adventures are enamored of a girl who dresses up boys. And again before Maximova new challenges and in the plastic, and in the choreography, which borders in the film with acrobatics, and in the actors' performances. She was able to very accurately reflect the entire gamut of emotions 'little man' in the big world, in line with the tone of Charlie Chaplin.

. A year later, Ekaterina Maximova had a chance to revisit the Role travesty - this time on the theatrical scene in the ballet 'Hussar Ballad' staged Bryantseva
. However, here she had to create a completely different character - passionate and naughty Shura Azarov, girls hussar. In 1979 he appeared on the screen telefilm 'Gigolo and Zhigoletta', in which Ekaterina Maximova played the role of Stella, and a year later - a film-ballet 'These charming sounds'.

. Brilliant film-ballet Gavrilina 'Annie' and the self-titled show, staged on the grounds works A.P
. Chekhov's 'Anna on the Neck'. Once again, choreography and acting skills Ekaterina Maximova inspire spectators and TV viewers.

With triumphant success dancer Ekaterina Maximova of the best scenes of the world. She applauded the La Scala and the Metropolitan Opera, "" Grand Opera "," Covent Garden "and" Colon ". Unusually interesting were her performances in productions such famous masters as M. Bejart (Julia - "Romeo and Juliet", the troupe "Ballet of the XX Century", 1978), P. Petit (Rose - "Blue Angel", "Marseilles Ballet, 1987); L. Massine (Shopgirl gloves - "Paris joy", Theater of San Carlo, 1988); J. Cranko (Tatiana - "Onegin", English National Ballet, 1989); B. Menegatti (Romola - "Nijinsky," Theater of San Carlo, 1989). Refined elegance, precise sense of style, noted its embodiment choreography F. Ashton (pas de deux from the ballet "Sylvia", 1979); T. Schilling ( "Match", 1973); J. Arpino ( "In the circle of angels" - choreographic composition, presentation of a choreographer in the gift of Ekaterina Maximova in its anniversary, 1994); M. Clark ( "Gardens of Villandry, 1999).

. "Great dancer, choreographer calls Maksimov Pierre Lacotte, . "a miracle of nature" - choreographer Natalia Kasatkina, . conductor Yevgeny Kolobov - "personification of Music", . actor Igor Ilyinsky - "my joy in the arts", . critic Vadim Gaevsky - "the most intelligent and the most delicate ballerina of our day", . directed by Alexander Belinsky - "a great ballerina and radiant talent".,

. Superb craftsmanship brilliant dancer reflected in a number of adaptations of ballets, . movies, concerts and documentaries, . among which: "The Glass Slipper" (Fairy Spring, . 1961), "The Way to the Grand Ballet" (1960), "the Soviet Union with an open heart" (1961), "Moscow in the notes" (1969), "Walpurgis Night" (Bacchante, . 1971), "Choreographic novel" (1973); "These charming sounds ..." (Ballerina, . 1981), "Adam and Eve" (Eve, . 1982); "Pages modern dance" (1982), film-opera "La Traviata" (Spanish Flu, . 1982); "I want to dance" and "Fragments of a Biography" (1985), "Grand Pas in the White Night" (1987), "Glory of the Bolshoi Ballet" (1995) and others,

. Exceptional dramatic talent Ekaterina Maximova brightly flashed on television screens, open, according to Boris Chirkov, "... an excellent actress - and the comedy and drama
. The actress, who with astonishing naturalness, honesty, irony and charm conveys subtle moods of the human soul, thus demonstrating the wonders of execution of the most difficult dance movements ". The words uttered by B. Chirkov role in the eponymous Anyuta telebalete (Prize "Intervision" at the International Festival of TV films "Golden Prague", . 1982 Grand Prize of the contest of musical films by X-Union Festival of TV films, . Almaty, . 1983; the State Prize of the RSFSR, . 1984) can rightly be attributed to any image, . Maximova created on the screen: Girl ( "Trapeze", . 1970), Eliza Doolittle ( "Galatea" - the film won awards at international festivals television films - the prize "Golden Prague" and the award BBC BBC London, . 1978), Peter ( "The old tango" - Prize Intervision and "Best Actress" at the international festival "Golden Prague", . 1980), . Primadonna (Chapliniana ", . 1987),
. The influence of personality and skill Ekaterina Maximova was so great that only with her appearance on the screen, it became possible to talk about telebalete as an independent form of artistic creativity.

. Drama Maximova talent is not confined to only part of the ballet - was marked by profound psychological her work in feature films: "Gigolo and zhigoletta" (Stella), . 1980; 'Fuete "(Elena Knyazev, . Margarita), . 1986; "Classroom of Spades" (Natalia Davydovna), . 1994; monoperformance "Song of Songs" (1990) and "The artist reads the Bible" (1994).,

. Even while continuing to perform on stage, Maksimova increasingly fond of teaching activities
. After graduating in 1980 GITIS (now RATI - Russia Academy of Dramatic Art), Maximov in 1982 began teaching there in the Department of choreography and song heritage of classical dance. In 1996, it awarded the academic title of professor. And since 1990, Ekaterina Maximova actively cooperating with the Kremlin Ballet Theater, where she created a glamorous image of Cinderella in a new play in. Vasilyeva and as a senior teacher-coach, is preparing a role and a young soloist.

Since 1998, Maksimova - ballet master-tutor of the Bolshoi Theater. "A special good fortune," "dream come true" ballerina named these theaters is that they can learn from the most Maximova. Ekaterina also gave master classes in many theaters in the country and the world, led the jury and participated in various international ballet competitions. In 1992, the contest "Arabesque 2" (Perm) E. Maximova and B. Vasilyev was established nominal award "Best Duet.

Creativity E.S. Maximova devoted to films: "Duet" (1973); "Katia and Volodia" (the Soviet Union - France, 1989); "and remains, as always, extra message something ..." (1990); "Ekaterina Maximova (1996)," Kate "(1999); photo albums: R. Lazzarini. Maximova & Vasiliev at the Bolshoi. (L.: Dance Books, 1995); EV. Fetisov, Ekaterina Maximova. Vladimir Vasiliev (Moscow: Terra, 1999); monograph M.E. Konstantinova, Ekaterina Maximova (MA: Art, 1982).

E.S. Maksimova - People's Artist of USSR People's Artist of the RSFSR, winner Ekaterina awarded the Order of Lenin (1976), Labor Red Banner (1971), Friendship of Peoples (1981), "For Service to the Motherland" III degree (1999).

E.S. Maximov is a winner of 1 st prize and gold medals in many international competitions, . including: 1 st All-Union Competition of Ballet Dancers in Moscow (1957); VII of the International Youth Festival in Vienna (1959), 1 st International Ballet Competition in Varna (1964),
. She - the winner of numerous international awards. Among them - the premium of A. Pavlova - "Best Dancer of the world" (1969, Paris Academy of Dance); Prize M. Petipa - "The best duo of the world" (jointly with VV. Vasilyev, 1972, the Paris Academy of Dance); Award of the Academy of Simba (1984, Italy); Award "Together for Peace" (1989, Italy); Prize Gino Tani - "Best Duet" (with VV. Vasilyev, 1989, Italy); UNESCO Prize and Medal P. Picasso (1990).

In late January 2008 Ekaterina Maximova and Vladimir Vasiliev, her husband celebrated 50 years of creative activity.

At night, April 28, 2009 the outstanding ballerina Ekaterina Maximova, died at 71 years old.

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