Liepa, Maris Eduardovich

Maris Liepa was born on July 27, 1936 in Riga ( Latvia ).

He was the second child in the family of Eduard Andreyevich and Lilia Liepa ^[4] . Father in his youth sang in the Libyan choir, having lost his voice, worked as a stage master at the Opera and Ballet Theater in Riga. The director of the theater R. Berzins visited the parents 'house, and he invited Maris to sing in the boys' choir in the production of the opera Carmen . So the stage debut took place. However, on the advice of another friend of his father, B. Milevich , Maris was sent to the Riga Choreographic School ^[5] on Smilsu Street , where the former dancer B. Milevich was the head teacher. And although the mother dreamed that her son would become a successful doctor, his father insisted on his own, wishing that the frail boy would grow stronger and develop physically.

Ballet dancers taught at the school; Soloist V. Blinov was the first to pay attention to little Maris as a future characteristic dancer. At the age of 13, Maris already danced not only roles in children's ballets, but also performed in adult parts, performing krakowyak and mazurka in the Bakhchisarai Fountain , segidilla in Don Quixote , the Chinese coolie in Red Poppy , the Polovtsian boy in the opera Prince Igor ", the monster in the" Scarlet Flower ". And in “Romeo and Juliet” he played the roles of the Jester , Tybalt's friend , the servant of Montecchi and the youth from the crowd . There were about a hundred such roles in his biography. Along with work, he was engaged in gymnastics and swimming, and won the Latvian champion in middle-distance swimming.

In the spring of 1950, several students, including Maris, were sent to the All-Union Review of Choreographic Schools in Moscow. Together with G. Zhdanova and I. Karulis, he danced the pas de trois from The Nutcracker and Mazurka directed by his teacher V. Blinov. The Riga Choreographic School took first place at the show together with the schools of Moscow, Leningrad and Alma-Ata. Three years later, gaining a male class, N. Tarasov invited Marisa to Moscow and on September 2, 1953, the 17-year-old Riga student was admitted to the Moscow Choreographic School (now the Moscow Academy of Choreography ). The theater did not give him a scholarship, and his parents sold the cottage to the seaside so that his son could study. And for two years of study, Maris did not miss a single lesson, carefully arriving 10 minutes before the start. At first he was predicted to play the role of a characteristic dancer, not knowing that he had already written in his diary: “I will dance Prince Siegfried in Swan Lake .” And at the end of the first half of the year he earned the "five" in classical dance. He was allowed to prepare two pas de deux - from The Nutcracker and Don Quixote. On May 1, 1955, at the graduation party, Maris danced the entire Nutcracker performance. The performance took place on the stage of the branch of the Bolshoi Theater (now the Operetta Theater ). The review read: "Maris Liepa, a dancer with excellent appearance and excellent technique, equally strong in both solo dance and duet, stands out from the male composition." However, the excellent student was not accepted into the Bolshoi Theater , explaining that national cadres should be fixed on the ground. And Maris returned to Riga. He came to Moscow again six months later; in the capital was a decade of Latvian art. Maris was busy in the ballet Laima, where he danced the Russian warrior Nikita , and in Sakta Liberty, where he appeared as the village musician Tots , who died in the finale of a villain from a knife. The young man liked M. Plisetskaya ; her recall in Izvestia was very supportive, and the recall was followed by an invitation to partners to participate in the USSR Culture Days in Hungary . In Budapest, Maris danced Siegfried's coveted part in Swan Lake, although during a dress rehearsal he received a serious injury to his left leg . In the summer, Maris healed his leg in Sochi , where he came on the MAMT tour . K. Stanislavsky and Vl. Nemirovich-Danchenko . Directly in Sochi, the chief choreographer V. Burmeister hired Liepa to work with a premier salary of 2,000 rubles. Maris said goodbye to Riga for a long time. Under the direction of W. Burmeister, he worked for 4 years, dancing Siegfried , Conrad in Corsair , Lionel in Joan of Arc, Sinbad in Scheherazade . Moscow ballet fans began to go "to Liepa" and after the performance wait at the entrance, holding out programs for an autograph. And participation in the competition during the VI World Festival of Youth and Students brought Liepe a gold medal. The jury was chaired by G. Ulanova .

In the summer of 1960, Maris, together with the staff of the Bolshoi Theater, went on tour in the Polish People's Republic , where he danced with O. Lepeshinskaya . After the tour, an invitation to the legendary troupe followed. Later, Liepa found out that he had decided his fate by asking the chief choreographer L. Lavrovsky the question: “What will I dance” without asking about my salary or apartment. The official debut took place at the beginning of the 1960/1961 season in the part of Basil in the ballet Don Quixote; soon Liepa danced almost the entire repertoire of that time: “ The Thunder Path ”, “ Giselle ”, “ Raymond ”, “Swan Lake”, “ Cinderella ”, “ Chopeniana ”, “Night City”, “ Romeo and Juliet ” and “ Spartacus ” in a peculiar staged by L. Jacobson . In the role of Romeo, he first performed in London on the stage of Covent Garden in 1963 ; in the same year he was invited as a teacher at the Moscow Choreographic School , where he taught until 1980. “Teaching others, I studied myself,” the artist said later. Having released six students from the class, he began to teach the classical duet. In 1973, his students took part in the creative evenings of the teacher on the stage of the Russia Concert Hall .

In 1964, the new chief choreographer Yu. Grigorovich came to the Bolshoi Theater. At first, cooperation developed successfully; in the ballet The Legend of Love , Maris danced Ferhad . In Spartak, he received the role of the protagonist, but soon Yu. Grigorovich assigned him the role of Crassus and worked on it, focusing on the personality of the actor. The success exceeded all expectations, in 1970 the ballet creative group was awarded the Lenin Prize. In 1966, Liepa restored M. Fokin 's ballet “ Vision of the Rose ” to the music of K. Weber and got the opportunity to show it on the stage of the Bolshoi Theater. Triumphal tours around the world, work with foreign and Soviet famous dancers, a lot of fans, daughter Ilze and son Andris grow up in the family; they also study at the Moscow Choreographic School. English criticism calls Liepa "Laurence Olivier" in ballet.

In 1971, for the role of Albert in Giselle, Serge Lifar presented Liepa with the Vaclav Nijinsky Prize.

But a successful biography suddenly ends. Liepa’s unpleasant remarks about the level of choreography in the new ballets did not please Yu. Grigorovich, and the choreographer never forgave the article published in Pravda in December 1978. He does not find Liepe a place in the new versions of Swan Lake, Romeo and Juliet, in Ivan the Terrible , in the Angara . Over the past 14 years, only four new parties have been dancing at the Bolshoi Theater: Vronsky and Karenin in Anna Karenina , Prince Lemon in Cipollino and Soloist in the ballet These Charming Sounds.

He tried to find himself in a new business, good, experience was. Liepa first appeared in films in 1969, having danced Hamlet in the ballet film of the same name . In 1972, he plays Prince Vseslav in the historical film " The Tomb of a Lion ", in 1973 - Jack Wheeler in the film " Fourth ". For the film, “The Fourth” puts the original choreographic number, which he himself calls “Icarus for Three Minutes”. This is followed by the colorless ballet film “Your Name”, the series “ In One Microdistrict ”, undoubted success - the role of Higgins in the film ballet “ Galatea ” based on the play “ Pygmalion ” by B. Shaw and a whole bunch of funny images in the “ Benefit of Lyudmila Gurchenko ”. After Benefis, some colleagues in the theater say: “We are ashamed of you!” Liepa celebrates her 40th birthday in Athens , performing her first role in the ballet Carmen Suite on the stage of an ancient theater. In 1977, in Liepa, Denmark dances Giray in the Bakhchisarai Fountain, and in Iceland, Claudio in the ballet Love for Love . In Australia, Liepa takes the stage with Hans in Giselle. Creative evenings in Moscow still attract a huge audience. Year Liepa works with choreographer B. Eifman , dancing Rogozhin in the ballet The Idiot and the Soloist in Autographs. The first performance of Rogozhin took place on the stage of the Palace of Congresses in June 1981; On the same day Andris Liepa is awarded a gold medal at the IV International Ballet Competition.

Finishing GITIS , Maris puts Don Quixote in Dnepropetrovsk . Of course, touring. In Riga, where Liepa goes with a young ballerina N. Semizorova , they urgently call from the Bolshoi, forbidding her to dance Giselle . The performance is replaced by Swan Lake, and the next day Giselle becomes S. Jaxe. Soon Liepa leaves the family and moves to the tiny room of N. Semizorova in the house on Bolshaya Spasskaya Street . The luxurious apartment on Nezhdanova Street remains the previous wife and children. A new marriage is extremely unsuccessful and short-lived; it breaks up at the initiative of N. Semizorova. Liepa celebrates the 30th anniversary of his creative activity in Bulgaria . In the Sofia folk opera (in 1983-1985 - the artistic director of the ballet troupe) he staged Don Quixote and Sleeping Beauty and dances there the evil fairy Carabos and the majestic king Florestan . But before leaving for Sofia, Liepa came to the Bolshoi stage for the last time. March 28, 1982, he dances Crassus , his last partner, Spartak - the technical, young and powerful Irek Mukhamedov . The last triumph concludes with a decision by the artistic council on the unsuitability of the dancer. Colleagues do not want or cannot resist the omnipotent Yu. Grigorovich.

In autumn 1986, Liepe was not trusted with the vacant post of choreographer at the Riga Opera and Ballet Theater and was not allowed to create a new ballet theater in Riga on Tikhaya Street. Latvian Minister of Culture R. Pauls does not want to intervene, but the Moscow City Council decides to create the Maris Liepa Theater in the capital. On March 4, 1989, an announcement about a competition at the Maris Liepa Ballet Theater appeared in Soviet Culture . It should take place on March 15th. And on March 27, 1989, newspapers publish an obituary about Maris Liepa, who died on the eve. In Moscow they say: the guard did not let him into the Bolshoi Theater and took the pass; my heart could not stand it.

Fragments of his diary were published: “Hopelessness ... Why wait, live, be?” Marisa Liepa’s last Moscow apartment is on Matrosskaya Tishina Street - “between the prison and the asylum”, as he himself joked bitterly. For almost a week there has been a struggle for a place of farewell to Liepa. Only after the intervention of the Union of Theater Workers on March 31, 1989, the coffin was installed in the foyer of the Bolshoi Theater, not far from the stage on which it had appeared for more than 20 years.

He was buried in Moscow at the Vagankovsky cemetery . At the Big Cemetery in Riga, next to the graves of Liepa's parents, there is a cenotaph with the inscription "Maris Liepa, which is far away."

Personal life

• The first wife is Maya Mikhailovna Plisetskaya (1925–2015), ballet dancer, prima ballerina of the Bolshoi Theater of the USSR in 1948–1990. People's Artist of the USSR (1959) (1956, lived married for only 3 months).
• Second wife - Margarita Ivanovna Zhigunova (born 1937), actress of the Moscow Drama Theater. A. Pushkin .
  • Son - Andris Liepa (born 1962), ballet dancer, theater director and producer. People's Artist of Russia (2009)
  • Daughter - Ilze Liepa (born 1963), ballerina, theater and film actress. People's Artist of Russia (2002).
• The third wife is Nina Lvovna Semizorova (born 1956), a ballerina at the Bolshoi Theater , a ballet teacher. People's Artist of the RSFSR (1985) (married in 1980, immediately after the divorce from M. Zhigunova, divorced in 1985).
• The fourth wife (civil marriage) - Evgenia Nikolaevna Schulz, costume designer.
  • Daughter - Maria Liepa (born 1979) ^[6] .

• 1957 - gold medal at the I All-Union Competition of Ballet Dancers of the VI World Festival of Youth and Students in Moscow
• 1962 - Konstantin S. Stanislavsky Medal for acting as Spartak (Spartak directed by L. Jacobson).
• 1964 - Honored Artist of the RSFSR - for merits in the field of Soviet art ^[7]
• 1968 - People's Artist of the Latvian SSR
• 1969 - People's Artist of the RSFSR - for merits in the field of Soviet choreographic art ^[8]
• 1970 - Lenin Prize - for the ballet performance "Spartak" at the State Academic Bolshoi Theater of the USSR ^[9]
• 1971 - V. Nizhinsky Prize "Best Dancer" of the Paris Dance Academy for the role of Albert "Giselle"
• 1976 - People's Artist of the USSR - for great achievements in the development of Soviet musical and choreographic art and in connection with the 200th anniversary of the State Academic Bolshoi Theater of the USSR ^[10]
• 1977 - M. Petipa Prize of the Paris Academy of Dance
• 1981 - gold medal at the IV International Ballet Competition.
• 1986 - Order of Friendship of Peoples

1950s

1960s

A new stage in the work of M. Liepa began with an in-depth study of the language of dance at the Bolshoi Theater. In the class of A. Messerer, Liepa works on all the elements of male dance up to the small binders, honing the technique to virtuosity. The official debut on the stage of the Bolshoi took place in Don Quixote, where Liepa performed the role of Basil . The scene of “suicide” was marked by inimitable humor. And Liepa danced a variation of the first act, clicking on the castanets, which no one had done since the time of V. Chabukiani . The party of the Young Man in the ballet Night City to the rethought music of B. Bartok, L. Lavrovsky puts “on Liepa”. The ballet in the repertoire could not resist, the praises were sour, and the criticism was offensive, but Maris Liepa appreciated the work as very interesting. Another ballet “with revelations” was the “Thunder Trail” to the music of K. Karaev , where choreographer K. Sergeyev angrily condemned apartheid in South Africa . However, Liepa managed to make the role interesting both in pantomime scenes and in the dance duo of the Negro Lenny with the white girl Sari (O. Lepeshinskaya). And the role of the title character in the ballet Spartak, staged by L. Jacobson in 1962, brings Liepe a medal named after K. Stanislavsky for outstanding acting skills. In New York, they wrote that such a hero is able to smash the enemy not with a sword, but with a sizzling look.

The role of Albert in Giselle, received in 1961, becomes one of the most beloved for both the actor himself and his fans. Maris Liepa created the image of an aristocrat, a lover of romance and a real man. Each performance was unique. It was not necessary to clasp your hands to your heart and point to the heroine, passing the "words" "I love you." The dance of Liepa spoke about this. For the performance of Albert, the Paris Dance Academy awarded Maris Liepa the Vaclav Nijinsky Prize.

In the first half of the 1960s, Maris Liepa was dancing Bacchus in the ballet scene “Walpurgis Night” in the opera Faust , Armen in Gayane , George in The Pages of Life, meets with the exquisite choreography of M. Fokine in Chopinian, dancing the prince Desiree in Sleeping Beauty and the Prince in Cinderella. And for the 1963 tour in England, Liepa prepares the role of Romeo . "Romeo from head to toe," "absolute Romeo" will appreciate his English criticism. And Liepa himself modestly remarks that the most difficult task was to teach the body the Shakespearean language. The technical side of the party was worked out without the slightest discount.

For several years, Maris Liepa has given the restoration of M. Fokin’s ballet “ Vision of the Rose ”, talking with old performers, with the audience, collecting photos and drawings. The premiere took place in Havana ; not only the audience applauded, but also the colleagues who stood behind the curtains. The son of M. Fokin, Vitaly, in gratitude, presented Liepa with a photograph of his father and two heads of the faun fashioned by him.

In the “Tale of the Soldier and the Devil” directed by E. Suva, Liepa received not one role, but the whole 8. He reincarnated on the stage with Devil, pretending to be an Old Woman , General , Singer , Minister , Master ... But the Devil passed through each image. And dancing to the soldier’s magical violin, the Devil could not stop and jumped higher and higher with shouts: “Wait!” How incomprehensible Liepa managed to maintain her breathing rhythm!

In 1964, Yu. Grigorovich came to the Bolshoi Theater. He entrusts Maris Liepe with the role of Ferhad in The Legend of Love . Liepa praised her as the perfect fusion of music and movements and claimed that it was simply impossible to dance and play Ferhad badly. However, it took hours to achieve a “high spirits” in a high jump. It is no wonder that in the new production the choreographer sees Liepa as a brave and noble Spartak - “Ferhad in Ancient Rome”. However, at a rehearsal, Yu. Grigorovich suddenly saw Liepa showing her colleague a piece of “text” intended for Crassus . And then he offers to "rehearse a little Crassus." April 9, 1968 M. Liepa went on stage in the armor of the Roman commander. Although it was agreed that V. Vasiliev would dance Crassus over time, and Liepa - Spartak , such an exchange did not happen. None of the subsequent performers of the party Crassus could even get closer to the level of M. Liepa, and there were quite a few good Spartaks . For 14 years, Liepa fought with all the Spartacuses of the Bolshoi Theater. The creative victory was marked by the Lenin Prize, awarded on June 9, 1970. In the costume of Crassus painted a portrait of Liepa Alexander A. Shilov .

1970s

After Spartak, Yu. Grigorovich found roles for M. Liepa in new versions of Swan Lake and The Sleeping Beauty. In the relationship between the artist and the choreographer, a subtle cooling begins. But the range of creativity of Liepa is expanding. He holds creative evenings and meetings with spectators. Acts in films. He puts dances in the performances of the Theater. E. Vakhtangova "Anthony and Cleopatra" and "Stepan Razin." He works on dance episodes in the performances of E. Elanskaya “Mail to the South” and “ Poor People ” according to F. Dostoevsky . In the Theater. A. Pushkin staged dances in the play "Chocolate Soldier", where his wife, M. Zhigunova, is busy. And for the time being he is getting roles in the premiere performances of the Bolshoi Theater, although it is true that they were no longer staged by Yu. In "Anna Karenina" in 1972, Vronsky dances, 4 years later - Karenina . Unusually funny is his Prince Lemon in the ballet Cipollino (1977). In 1978, M. Liepa appeared as the First Dancer in V. Vasiliev’s ballet “These Enchanting Sounds” to the music of the 18th century composers. Liepa is preparing new roles in touring performances; Soviet viewers do not see him Claudio , Giray , Hans . On the other hand , while touring Greece with the Latvian ballet, Liepa dances the part of Jose in the Carmen Suite, who somewhat “squeezed out” the title character staged by A. Lemberg . Later, the dancer will include Carmen Suite in the program of his creative evenings in Moscow. The ballet dictum is well known: "Experience comes - jump jumps". But great dancers are interesting to watch, even if they walk on stage. There are many such roles in the ballet repertoire of the world. At one time, M. Liepa hopes for an invitation from M. Bezhar , who hinted at a joint work. No invitation was received. To tactless questions: “How long do you think to dance?” Liepa replies: “Until I die right on stage during the performance.” In 1978, the book of N. Roslavleva “Maris Liepa” was released. The author is very optimistic about the future of the hero of the book.

1980s

M. Liepa expressed the eternal thirst for creativity both in the content and in the title of his book “I want to dance a hundred years”. In 1981, it was published in Riga in Latvian; They translated into Russian and published only in 1996 - to the 60th anniversary of the actor. And in 1982, a book was published in Russian entitled "Yesterday and Today in Ballet." In it, the author tells about the latest creative successes ^[11] . These include work with B. Eifman on the ballets The Idiot and Autographs; diploma defense in GITIS and Don Quixote in Dnepropetrovsk; work on the central heating station and the release of the television movie "I am starting a new monologue"; Spartak at the Bolshoi Theater on March 28, 1982. Together with his father, Andris Liepa enters the stage; in the first act by the gladiator , in the second by the patrician .

And then there was Sofia , where the 4501st performance of M. Liepa took place and the 30th anniversary of his creative activity was celebrated. The Bolshoi Theater, the stage of which Liepa considered the world’s ballet stage No. 1, “didn’t notice” the anniversary.

Latvian Opera and Ballet Theater

• 1955 - The Freedom Sact by A.P. Skulte (choreography by E. Ya. Changi ) - Tots
• 1955 - The Lima by A. Ya. Lepin (choreography by E. A. Tangieva-Berzniek) - Nikita
• 1955 - Raymond A.K. Glazunov (choreography by M.I. Petipa ) - soloist in the Grand Pas
• 1956 - The Corsair by A. Adana , L. Delibes , R. Drigo , C. Pugni (choreography by M.I. Petipa and J. Perrault ) - soloist in Pas d'Exlav
• 1956 - Swan Lake by P.I. Tchaikovsky (choreography by M.I. Petipa, L.I. Ivanov ) - Prince Siegfried
• 1979 - “ Carmen Suite ” by A. Alonso in the R. K. Shchedrin Orchestra (choreography by A. Ya. Lemberg ) - Jose (theater tour in Moscow)

Moscow Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko

• 1956 - Swan Lake by P. I. Tchaikovsky (choreography by A. A. Gorsky , A. M. Messerer ) - Prince Siegfried
• 1956 - The Bakhchisaray Fountain by B.V. Asafiev (choreography by R.V. Zakharov ) - Wenceslas
• 1956 - Esmeralda by C. Pugni - Phoebe
• 1957 - “Joan of Arc” N.I. Peyko (choreography by V.P. Burmeister ) - Lionel
• 1957 - The Corsair by A. Adan, L. Delibes, R. Drigo, C. Pugni (choreography by N. G. Grishina ) - Conrad
• 1958 - “Forest Fairy” by P. Gerlel (choreography by A. V. Chichinadze ) - Shepherd
• 1958 - Scheherazade to music by N. A. Rimsky-Korsakov (choreography by V. P. Burmeister) - Sinbad
• 1958 - Straussian to music by I. Strauss (choreography by V.P. Burmeister) - Poet

Bolshoi Theater

• 1960 - Don Quixote by L. F. Minkus (choreography by A. A. Gorsky ) - Basil
• 1960 - The Path of Thunder by K. A. Karaev (choreography by K. M. Sergeev ) - Lenny
• 1961 — «Вальпургиева ночь» в опере «Фауст » Ш. Гуно (хореография Л. М. Лавровского ) — Вакх
• 1961 — « Жизель » А. Адана (хореография Ж. Коралли , Ж. Перро , М. И. Петипы) — Граф Альберт
• 1961 — «Ночной город» Б. Бартока (хореография Л. М. Лавровского) — Юноша
• 1961 — « Лебединое озеро » П. И. Чайковского (хореография А. А. Горского, А. М. Мессерера) — Принц Зигфрид
• 1962 — « Гаянэ » А. И. Хачатуряна (хореография В. Вайнонена ) — Армен
• 1962 — «Класс-концерт» (хореография А. М. Мессерера) — солист
• 1962 — « Шопениана » на музыку Ф. Шопена (хореография М. М. Фокин ) — Юноша
• 1962 — «Страницы жизни» А. М. Баланчивадзе (хореография Л. М. Лавровского) — Георгий
• 1962 — « Спартак » А. И. Хачатуряна (хореография Л. В. Якобсона ) — Спартак
• 1963 — « Золушка » С. С. Прокофьева (хореография Р. В. Захарова) — Принц
• 1963 — « Раймонда » А. К. Глазунова (хореография Л. М. Лавровского по М. И. Петипу и А. А. Горскому) — Жан де Бриен
• 1963 — « Спящая красавица » П. И. Чайковского (хореография Ю. Н. Григорович по М. И. Петипу) — Принц Дезире
• 1963 — « Ромео и Джульетта » С. С. Прокофьева (хореография Л. М. Лавровского) — Ромео
• 1964 — « Сказке о Солдате и Чёрте » И. Стравинского (хореография Э. В. Суве) — Чёрт
• 1965 — « Легенда о любви » А. Меликова (хореография Ю. Н. Григорович) — Ферхад
• 1967 — « Видение розы » на музыку К. Вебера (хореография М. М. Фокина) — Дух розы
• 1967 — « Бахчисарайский фонтан » Б. В. Асафьева (хореография Р. В. Захарова ) — Вацлав
• 1968 — « Спартак » А. И. Хачатуряна (хореография Ю. Н. Григорович) — Красс
• 1970 — «Лебединое озеро» П. И. Чайковского (хореография Ю. Н. Григорович) — Принц Зигфрид
• 1972 — « Анна Каренина » Р. К. Щедрина (хореография Н. И. Рыженко , В. В. Смирнова-Голованова и М. М. Плисецкой ) — Вронский
• 1974 — « Спящая красавица » П. И. Чайковского (хореография Ю. Н. Григоровича по М. И. Петипу) — Принц Дезире
• 1976 — «Анна Каренина» Р. К. Щедрина (хореография Н. И. Рыженко, В. В. Смирнова-Голованова, М. М. Плисецкой) — Каренин
• 1976 — « Бахчисарайский фонтан » Б. В. Асафьева (хореография Р. В. Захарова) — Хан Гирей
• 1976 — « Любовью за любовь » Т. Н. Хренникова (хореография В. Боккадоро) — Клавдио
• 1977 — « Чипполино » К. С. Хачатуряна (хореография Г. А. Майорова ) — Принц Лимон
• 1978 — «Эти чарующие звуки…» на музыку А. Корелли, Дж. Торелли , В. А. Моцарта , Ж. Ф. Рамо (хореография В. В. Васильев ) — солист
• 1979 — « Жизель » А. Адана (хореография Ж. Перро, Ж. Коралли, М. И. Петипы) — Ганс

Ленинградский «Новый балет» (Театр балета под руководством Б. Эйфмана)

• 1981 — «Идиот» на музыку П. И. Чайковского (хореография Б. Я. Эйфман) — Рогожин
• 1981 — «Автографы» на музыку А. Вивальди (хореография Б. Я. Эйфман) — солист

Партии, исполненные с труппами других театров, концертные номера

• 1955 — « Баядерка » Л. Минкуса (хореография М. И. Петипы) — Солор (выпускной концерт в Московском хореографическом училище)
• 1979 — «Сильвия» Л. Делиба (хореография Ф. Аштона ) — па-де-де (творческий вечер М. Лиепы)
• 1981 — « Спартак » А. И. Хачатуряна — Красс ( Новосибирский театр оперы и балета )
• Хореографическая миниатюра «Весенние воды» на музыку С. В. Рахманинова (хореография А. М. Мессерера)

Софийская народная опера

• 1984 — « Спящая красавица » П. И. Чайковского (редакция М. Э. Лиепа по М. И. Петипа) — Король Флорестан , Фея Карабос

• 1965 — Новогодний календарь (музыкальный фильм)
• 1969 — Гамлет — Гамлет
• 1971 — Могила льва — князь Всеслав
• 1972 — Четвёртый — Джек Уиллер (озвучил В. Тихонов )
• 1974 — Имя твоё (фильм-балет) — Анри
• 1975 — Спартак — Красс
• 1976 — В одном микрорайоне (фильм-спектакль) — Яунис Берзинь
• 1977 — Орех Кракатук — Мышиный Король, Щелкунчик, Советник (поёт М. Боярский )
• 1977 — Галатея — профессор Хиггинс
• 1978 — Бенефис Людмилы Гурченко (видеофильм) — Каде, монах, пират, злодей, кавалер и др.
• 1980 — Большой балет (фильм-балет)
• 1985 — Детство Бемби — отец Бемби
• 1986 — Юность Бемби — отец Бемби
• 1986 — Лермонтов — Николай I
• 1986 — Приключения Шерлока Холмса и доктора Ватсона: Двадцатый век начинается — полковник Валентайн Уолтер
• 1987 — Миф — Юрий
• 1987 — К расследованию приступить (фильм 2-й «Клевета») — Хрунов
• 1988 — Дорога в ад — Отто Штимер
• 1988 — Корабль — Штоль
• 2006 — Воспоминания о Шерлоке Холмсе

Постановка танцев

• 1980 — Музыка ко дню рождения

Участие в фильмах

• 1961 — СССР с открытым сердцем (документальный)
• 1964 — Майя Плисецкая (документальный)
• 1971 — Марис Лиепа (документальный)
• 1981 — Я начинаю новый монолог (документальный)
• 1987 — Балет от первого лица (документальный)

Архивные кадры

• 1987 — Балет от первого лица (документальный)
• 1989 — А дольше всего продержалась душа (документальный)
• 1991 — Откровения балетмейстера Федора Лопухова (документальный)
• 1992 — Свет его звезды (документальный)
• 1999 — Катя (документальный)
• 2005 — Взлеты и падения Мариса Лиепы (документальный)
• 2006 — Марис Лиепа (документальный)
• 2006 — Поединок с судьбой (документальный фильм)
• 2007 — Марис Лиепа (из цикла передач телеканала ДТВ «Как уходили кумиры») (документальный)
• 2010 — Татьяна Вечеслова. Я — балерина (документальный)
• 2016 — Марис Лиепа. Невыносимая легкость бытия (документальный фильм)

В 1996 году основан Благотворительный фонд содействия развитию хореографического искусства имени Мариса Лиепы, которым руководят его дети: народный артист России Андрис Лиепа и народная артистка России Илзе Лиепа.

27 июля 2001 года в Латвийской Национальной опере в Риге состоялся памятный концерт в честь 65-летия со дня рождения танцовщика: в первом отделении был представлен спектакль Андриса Лиепы «Музей Оскара Шлеммера», во втором — гала-выступление артистов Большого и Мариинского театров, лондонского Ковент-Гардена , Американского театра балета. В доме по ул. Сколас , 18, где прошли детство и юность Мариса Лиепы, а затем регулярно гостили на каникулах у его тёти Эдите Розите его дети Андрис и Илзе, прошла выставка, посвященная артисту ^[12] .

Андрис Лиепа мечтает устроить в этом доме мемориальный музей отца, однако имущество находится в частной собственности ^[4] .

5 сентября 2013 года благотворительный фонд Бориса и Инары Тетеревых открыл в сквере возле Латвийской Национальной оперы памятник Марису Лиепе, выполненный эстонскими концептуалистами Яаном Тоомиком и Йири Оявером по приглашению куратора фонда, экс-министра культуры Латвии Хелены Демаковой . ^[13] Дети Мариса Лиепы считают выполненный из нержавеющей стали монумент позорищем, на его открытие не приехали, а Андрис Лиепа даже заявил, что из-за этого памятника ему неприятно стало приезжать в Ригу ^[4] .

• Лиепа М. Вчера и сегодня в балете. — М. : Молодая гвардия, 1982. — 192 с. — (Мастера искусств — молодёжи).
• Лиепа М. Вчера и сегодня в балете . - 2nd. — М. : Молодая гвардия, 1986. — 190 с. — (Мастера искусств — молодёжи). - 50,000 copies.
• Лиепа М. Я хочу танцевать сто лет . — М. : Вагриус, 1996. — 238 с. — 6000 экз. — ISBN 5-7027-0400-2 .
• Лиепа М. Я хочу танцевать сто лет . - 2nd. — М. : АСТ-Пресс Книга, 2006. — 488 с. — ( Звёзды балета ). — ISBN 5-462-00569-5 .

• Эльяш Н. Марис Лиепа (фотоочерк). — М. , 1973.
• Марис Лиепа (буклет). — М. , 1974.
• Рославлева Н. Марис Лиепа . — М. : Искусство, 1978. — 174 с. — ( Солисты балета ). — 25 000 экз.
• Марис Лиепа. Жизнь в танце (фотоальбом) . — М. : Издательский дом Максима Светланова, 2005. — 160 с. Архивная копия от 25 июня 2008 на Wayback Machine

• Станишевский Ю. Марис Лиепа // Музыкальная жизнь : журнал. — М. , 1964. — № 19 .
• Бочарникова Э. Кому много дано // Театральная жизнь : журнал. — М. , 1970. — № 18 .
• Львов-Анохин Б. Марис Лиепа // Театр : журнал. — М. , 1970. — № 6 .
• Ерофеева Е. Марис Лиепа // Театр : журнал. — М. , 1976. — № 3 .
• Львов-Анохин Б. Лиепа // Мастера Большого балета . — М. : Искусство, 1976. — С. 199—216. — 240 с. — 25 000 экз.
• Константинова М. Бремя страстей человеческих // Советский балет : журнал. — М. , 1985. — № 2 .
• Мельникова Т. Жизнь в танце // Комсомольская правда : газета. — М. , 1989. — № 30 марта .
• Тубинене Т. Встречи с Лиепой // Отчизна : журнал. — М. , 1989. — № 11 .
• Львов-Анохин Б. Лоренс Оливье балета // Вечерняя Москва : газета. — М. , 1996. — № 6 июля .
• Акимов Б. Мой учитель // Большой театр : газета. — М. , 1996. — № 27 ноября .
• Львов-Анохин Б. Торжество и трагедия артистической воли // Большой театр : газета. — М. , 1996. — № 27 ноября .
• Кузнецова Т. Принц Советский // GQ : журнал. — М. , 2006. — № 1 .
• Хореографический патриций Марис Лиепа // РИА Новости : РИА. — М. , 2011. — № 27 июля .
• Коршунова Л. Марис Лиепа и Маргарита Жигунова. Знакомство на съемочной площадке // ЭтоЯ.ру : бьюти-портал. — М. , 2011. — № 27 июля .

• Благотворительный фонд им. Мариса Лиепы
• Неофициальный сайт-фотогалерея Мариса Лиепы
• Фотогалерея Мариса Лиепы на сайте «Мастера музыкального театра»
• Биография Мариса Лиепы на сайте ballet.classical.ru
• Статья о Марисе Лиепе в журнале GQ (недоступная ссылка)
• Марис Лиепа на Библиографическом ресурсе «Чтобы помнили»
• Maris Liepa on the Belkanto.ru website