Aleksandra Nikolaevna Kemmerer (1842-1931) [1] - ballet dancer, soloist of the St. Petersburg Imperial Theaters .
| Alexandra Kemmerer | |
|---|---|
 | |
| Birth name | Alexandra Nikolaevna Kemmerer |
| Date of Birth | 1842 |
| Place of Birth | Russian empire |
| Date of death | 1931 |
| Place of death | the USSR |
| Citizenship |  Russian Empire →  the USSR |
| Profession | ballet dancer |
| Theater | Bolshoi (Stone) Theater , Mariinsky Theater |
Content
Biography
She graduated from the St. Petersburg Imperial Theater School in 1858 , after which she was immediately admitted to the imperial theater on the St. Petersburg stage as a soloist. She performed at the Bolshoi Kamenny Theater and Mariinsky .
The talent of the ballerina was characterized by a characteristic dance.
She came on the scene when the art of pseudo-Russian popular print style came into fashion, and professional ballet addressed specifically Russian subjects and even folk dances, and democratically-minded criticism laughed at the pretentiousness of the supposedly peasant life. This fashion was introduced by the French choreographer Arthur Saint-Leon , who worked in St. Petersburg, in the performances of which one of the main performers was Alexandra Kemmerer. Writer Saltykov-Shchedrin , earning money in theater magazines, mercilessly ridiculed these productions: -Ji Kemmerer "in the gas." Intermission ", 1867, No. 4, January 26, etc. // RVB: M. E. Saltykov (N. Shchedrin). Collected works in 20 volumes. [2]
In the ballet chronicles “Our ballet; 1673-1899: ballet in Russia ... "for 1873 it is indicated that" the year ended with a pleasant event for some artists: salaries and after-show pay were increased. So, Vazem instead of 5 rubles. one-time appointed 25 rubles, Kemmerer instead of 15 rubles. - 25 rubles., Shaposhnikova added 100 rubles. to a salary and assigned 5 rubles. one-time ... ” [3] . We can conclude that the performing skills of Alexandra Kemmerer for some moment were valued somewhat higher than the other soloist, prima ballerina Catherine Wazem .
Among the partners in the scene: E. O. Wazem , T. A. Stukolkin , L. I. Ivanov , K. I. Kantsyreva , N. K. Bogdanova , M. N. Muravyev , M. M. Petipa , A. I Prikhunova , M. N. Madayev , A. F. Vergina .
Left the scene in 1879.
A pupil was growing up in the house of the ballerina, who, in the same place in the house of the ballerina, was once seen by a guest who arrived - Count Alexei Mikhailovich Orlov (1888-1958). At their wedding, A. N. Kemmerer presented a very expensive gift for those times - a Singer sewing machine [1] . Count A. M. Orlov was in close friendship with Bishop Tikhvin Alexy (Simansky) - at that time the vicar of the Novgorod diocese, the future Patriarch of Moscow and All Russia.
Repertoire
- Hydrol , "Naiad and the Fisherman"
- February 25 (13), 1864 - Regonda *, “ Fiametta, or the Triumph of Love ” by Ludwig Minkus, choreographer Arthur Saint-Leon
- Galya , Golden Fish by Ludwig Minkus, choreographer Arthur Saint-Leon
- October 29 (17), 1868 - Diana *, “ King Kandavl ” by Ludwig Minkus, choreographer Marius Petipa
She also danced in the ballets of Marius Petipa “ Camargo ”, “ Butterfly ”, “ The Adventures of Peleus ”, “ Roxana, the beauty of Montenegro ”.
(*) - the first performer of the party
Notes
- ↑ 1 2 Priestly clan of the Orlovs , author A. Fomkin. Source: Genealogical Bulletin No. 3
- ↑ DRAFT MODERN BALLET
- ↑ Pleshcheyev, Alexander Alekseevich (journalist) . "Our ballet (1673-1899). Ballet in Russia until the beginning of the XIX century"
Literature
- Umansky A.M. Kemmerer, Alexandra Nikolaevna // Encyclopedic Dictionary of Brockhaus and Efron : in 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.