Svyatoslav Petrovich Kuznetsov ( June 10, 1930 , Leningrad , USSR - April 30, 1992 , Rome , Italy ) - ballet dancer , choreographer and ballet teacher, soloist of the Leningrad Opera and Ballet Theater. Kirov . Honored Artist of the RSFSR (1966), professor [1] .
| Svyatoslav Kuznetsov | |
|---|---|
 | |
| Date of Birth | |
| Place of Birth | |
| Date of death | |
| Place of death | |
| Citizenship | |
| Profession | ballet dancer , ballet teacher , actor |
| Theater | Mariinsky Theatre |
| Awards |  |
Biography
Svyatoslav Kuznetsov was born in the family of theater and film actor Pyotr Vasilyevich Kuznetsov and Inna Sergeyevna Koroglueva. Grandfather Svyatoslav - the supplier of the Imperial court, Vasily Kuznetsov.
In 1950 he graduated from the Leningrad Choreographic School . After graduation, he was accepted into the ballet troupe of the Leningrad Opera and Ballet Theater. Kirov , where he danced until 1970 .
In 1969 he graduated from the art history department of the Academy of Arts . In 1971-1973 he was the chief choreographer of the Leningrad Theater of Musical Comedy .
In 1972-1992 he taught at the Leningrad Institute of Theater, Music and Cinematography . Associate professor , then professor , head of the stage movement department, dean of the faculty of dramatic art.
Personal life
Svyatoslavov Kuznetsov was twice married. The first wife was a ballerina Tatyana Vecheslova . Their son, Andrei Kuznetsov-Vecheslov , later became a choreographer. The second wife was the ballerina Inna Zubkovskaya .
Creativity
Repertoire
- 1955 - Andriy , “ Taras Bulba ” V.P. Solovyov-Sedogo , choreographer B.A. Fenster .
- 1956 - Garmody , Spartak by A. I. Khachaturian, choreographer L. V. Jacobson .
- 1960 - Zvezdich , “ Masquerade ”, choreographer B. A. Fenster.
- Albert ( Giselle ), Siegfried ( Swan Lake ), Basil ( Don Quixote ), Abderahman ( Raymond ), Romeo ( Romeo and Juliet ), Armen ( Gayane ), Eugene ( Copper rider "). A special place in the stage career of the artist was taken by Iago in the ballet Othello :
“The role of Iago became Kuznetsov's“ finest hour ”in the choreodrama ballets. The plastic walk of Iago, which the choreographer borrowed from Georgian dances, Kuznetsov turned into a soft, “feline” tread of a man who intentionally wants to remain in the shadows. Iago Kuznetsova became the center of the play, with his appearance everything came into motion. Kuznetsov did not even go outside the dance, and whirled silently around the stage: Iago's passionate soul could not find peace. Iago Kuznetsova was not an intriguer, he was a Great Ambition, a failed Napoleon. The dancer himself invented and made his own make-up: both the face and the hairstyle of Iago, the artist attached similarities to the portraits of the famous commander. At the same time, Kuznetsov still retained a gloomy romantic beauty in the appearance of Iago: beauty was the highest destination of art for the artist. ”
- Nina Alovert , Russian Bazaar [2]
Stage
- 1977 - “ The Tale of the Priest and his Worker Balda ” (together with Andrei Kuznetsov-Vecheslov ), Petrozavodsk Musical Theater
Filmography
- 1953 - Aleko (film opera) - a young gypsy
- 1967 - The road home - Lieutenant Demba
- 1970 - The young lady and the bully - the chieftain
- 1976 - Heavenly swallows - dancer with Korinna ( L. M. Gurchenko )
- 1977 - Galatea (ballet film) - Colonel Pickering
- 1985 - Document R - Ed Schroeder
- 1986 - Where we are not - Oleg Olegovich
- 1988 - Fuete (directors Boris Ermolaev and Vladimir Vasiliev ) - the main choreographer of the theater
Notes
- ↑ Russian ballet. Encyclopedia. BDT, "Consent", 1997
- ↑ Nina Alovert . “Generation in the Shadow” // Russian Bazaar. - October 6-12, 2005. - No. 41 (494) .
Literature
- Romenskaya M. Svyatoslav Kuznetsov // Leningrad Ballet Today. - L. — M .: Art, 1967. - T. 1. - 288 p. - 60,000 copies.