Soviet and Russian ballet dancer Valentina Morozova is known as the first Eifman ballerina. For the talented performer, the illustrious choreographer created several bright female images.
Boris Eifman's performances became famous to a large extent thanks to the excellent dancers participating in them. The name of Valentina Nikolaevna is associated with the best works of the choreographer. The ballerina collaborated with the famous master from the first years of the troupe's existence.
The path to the heights of excellence
The biography of the future celebrity began in 1953. The girl was born in Leningrad on February 15.
In 1971, she received her professional education at the Vaganova Choreographic School. After graduation, the graduate worked in the Kuibyshev Theater. Her repertoire included only classical parties. In 1978 she was invited to the troupe of the Eifman Theater "New Ballet". The choreographer was just starting his career.
By her own admission, the artist never regretted her choice. She is sure that it makes absolutely no sense to watch productions that do not cause personal empathy, do not affect the viewer emotionally. To the ballerina's surprise, the traditional repertoire remained unclaimed. Innovative solutions were unusual, but very soon Valentina realized that classical ballet had faded into the background.
Started Morozova with lyrical parties. However, she gradually turned to an exclusively tragic role, which is a rarity in ballet.
With the advent of the new troupe, artists who became already famous came to it. Against the backdrop of Alla Osipenko and John Markovsky shining at the Mariinsky Theater, the young soloist felt insecure. She was oppressed by a burden of great responsibility and timidity before the luminaries of the scene.
Star roles
The first to make the name of Valentina Nikolaevna famous was the ballet The Idiot. Frost Eifman proposed the role of Aglaya. Together with her, her idols, Markovsky and Osipenko, danced. The soloist was very shy about working on the image presented in the work of the classic.
Boris Yakovlevich at rehearsals did not give anyone concessions. He was not afraid to use both the gingerbread method and the whip method. Often, Valentina went home completely broken and sure that she would not succeed. And to do everything as the master wanted, it was very difficult. However, Valentina was always offended only by herself.
With the departure of the troupe Osipenko to Morozova passed the role of Nastasya Filippovna. Her journey began to reveal the uniqueness of her talent "to her images." Despite the fact that it was Aglaya who was staged for the ballerina, Nastasya Filippovna became her favorite party. The reason for this recognition was dramatic. The young performer perfectly felt her heroine. And her own experience of experiences she had enough.
She later told in an interview that on stage she threw out accumulated experiences. At the same time, Morozova is sure that the party was completely unsuitable for the graduate who had just arrived after school: she had absolutely nothing to say to the audience because of the misunderstanding of the tragedy of the heroines of Dostoevsky because of her age.
Oddly enough, Eifman’s plastic was much more suitable for Valentina. Acting dedication made her a true ballerina of his theater. Yes, and more experienced colleagues noted precisely her interpretation of the image. They saw Valentina as an already established artist, with a fully revealed tragic talent.
Confession
Both the artists and the audience were also struck by the role of Mother in Requiem, where the artist perfectly demonstrated her mastery of Eifman plastic. And in the image of Margarita in the ballet of the same name to the music of Andrei Petrov, the change of the restrained nobleness of the heroine in the beginning to a completely different witch hypostasis during the ball at Woland was shocking. This contrast was shown with virtuosity.
With the help of sharp and even flashy plastic, the artist splashed into the audience the exultant energy radiated by each pa. Any of her movements seemed an improvisation, not a rehearsed step. The performer on the stage turned into a full co-author of the choreographer. The ballerina proved that her true calling is a spiritual dance.
According to critics, Margarita in reading the soloist is outwardly almost ordinary, she is distinguished from others only by a fire flaring up in the soul. The loneliness of her heroine becomes clear from the first moments of her appearance on stage. The very first meeting with her originally close soul. Master, gives her hope. In the struggle for her, Margarita’s whole life will pass. She appears before the audience not only as a friend, but also as a student and comrade-in-arms of her lover. True skill was the role where the expressiveness of the satchels, emotional performer and her acting talent, the part of Theresa Raken in the production of “The Killer” based on Zola’s work, were revealed. Eifman used in the play the music of Mahler, Bach and Schnittke. Morozova turned into a real bundle of nerves from the first scene with a sick husband until the last appearance, where Laurent and Teresa, tormented by their guilt, decide to die.
