MUNICH The legendary Russian ballerina Maya Plisetskaya, Bolshoi Ballet member and one of the most important figures of classical dance of all time, died today at 89 years old in the city of Munich, Germany, victim of a heart attack, as confirmed by the Tass agency.
The news was released by the General Director of the Bolshoi, Vladimir Urin, the television channel Rossiya-24. “She died of a heart attack. Doctors fought to save her, but could do nothing,” Urin said the chain of Russian TV, while he announced that the remains of Plisetskaya would be transferred in the coming hours to Moscow to be buried .
Meanwhile, the Kremlin press service reported that Russian President Vladimir Putin sent condolences to the families and friends of the famous artist.
Dancer great
Plisetskaya challenged time and the customs of the time, shocked the Soviet regime with erotic performances and was passionate about modern choreography at the age when their colleagues were withdrawn.
With his sparkling eyes that did not age, a winning smile and a regal bearing, Plisetskaya never ceased to surprise the audience. He married the Russian composer Rodion Shcherdin, Maya Plisetskaya died Saturday in Germany for a heart attack but it will be buried in Russia, according to the director of the Bolshoi, Vladimir Urin.
On his 80th birthday, in 2005, played in the Kremlin’s “Ave Maya” who dedicated the French choreographer Maurice Bejart, capping a magic show with classical dancers from around the world, the Shaolin monks, the orchestra Alexandrov Russian army and the king of flamenco Joaquin Cortes.
A tribute summarizing the race well and character of the “Prima ballerina assoluta” a supreme distinction that the Bolshoi has conceded just twice in their history.
“Maya Plisetskaya assimilated a great tradition The digested and recycled, reaching freedom. Whatever dance, sit in it an enormous life force, sensuality and, above all, modernity, “said Maurice Bejart it.
choreographer, Maya Plisetskaya was the “last living legend of dance”. “The essential thing is to be an artist and understand why you’re on stage. Not enough to lift your leg,” said the dancer to explain the secret of his success.
The daughter of an ‘enemy the people ‘
Born November 20, 1925 in Moscow, Plisetskaya met the tragic fate of millions of Soviets. His father, an engineer, was shot under Stalin’s regime in 1938 and his mother, movie star, was sent to a camp in Kazakhstan as a “member of the family of a traitor to the fatherland”.
The small Maya, “daughter of an enemy of the people” was welcomed by his aunt, dancer, and her uncle, a professor of dance. He was “happy” because he learned to dance. She loved the Spanish dance, “so different from everything around us,” he writes in his memoirs.
A love reciprocated Spain, granting citizenship, and in 2005, the Prince of Asturias prize arts. The jury understood that Plisetskaya had “turned the dance into a form of poetry in motion, by combining the exquisite technical quality artistic and human sensibility.”
Plisetskaya entered the Bolshoi Ballet in 1943 where he danced almost 50 years. He excelled quickly. With a perfect educational background, their interpretations adorned with unimaginable challenges and sensuality in Soviet dance.
One night, Stalin decided to celebrate his birthday at the Bolshoi. “I was afraid. The nerves gripped me and the floor looked like a skating rink. He looked steadily to the public for the head of the misfortune of my family,” he recalled in his memoirs.
Until recently suspicious of Soviet power. In 2000 did not hide his “aversion” to the decision of President Vladimir Putin to restore the Stalinist anthem with new words.
World Consecration
he had entered the ballet world with only three years of age in the Moscow Ballet School and was influenced by his uncles Asaf and Sulamith Messerer, both dancers of the Bolshoi, whose company Plisetskaya joined in 1943, becoming a principal dancer with only 18 years old when he began his professional career playing The Dying Swan.
After suffering years of government veto by his family background, he was authorized to undertake international tours during which danced in the main theaters of the United States, France, UK and Italy (among many others) where even in this last director of the Ballet of the Opera of Rome.
Also dazzled in Argentina where he performed to great acclaim from critics and audiences at the Teatro Colon between 1975 and 1976.
Among his achievements is counted as of daring to break the Soviet ballet routines, incorporating modern dance and working with choreographers as Alberto Alonso, Maurice Béjart and Roland Petit, who created several pieces to her as “Carmen”, “Isadora” and “La rose malade.”
When Plisetskaya’s 80th birthday, in 2005, was held in Moscow a full week of activities relating to dance and art tribute to his career.
Great classics in his file
Dancer dedicated and brilliant in the great classics such as Swan Lake and Don Quixote, Maya Plisetskaya and dreamed of Balanchine Béjart, “inaccessible” for their hostility to the tradition of “socialist realism”.
The dancer began to realize his dream in 1967 thanks to a meeting in Moscow with the Cuban choreographer Alberto Alonso, authorized to create for her Carmen-suite because it came from a communist country.
His Gypsy, oozing charm from every pore of his skin, was a scandal. The power is afraid. “It was the war.. I was accused of having betrayed classical dance Culture Minister said that Carmen would die I knew that she would die would be and that Carmen would survive.” Used to repeat Plisetskaya
Svetlana Zajarova The “divine” ultra-technical star of the Bolshoi and Mariinsky Uliana Lopatkina St. Petersburg tried to regain role in recent years, but could only confirm that Plisetskaya had no equal in the Russian dance, critics and dance lovers .
After Carmen, the prudish Soviet society had trouble digesting, Maya came other provocations, erotic choreography by Béjart and Roland Petit ballets and her husband had created based on works by Russian classics.
In recent ballets also earned a “Queen of the Air” fierce criticism from conservative environments for those characters Anna Karenina by Tolstoy and Chekhov Puppy Lady were not written to be danced.
“Maya is the highest technology of nature and its fundamental principle is the eternal movement,” she said of the French fashion designer Pierre Cardin who dressed her on stage and in life.
Agencies AFP, EFE and AP .
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