Tatyana Vechelova Ballerina Biography

In the year, Tatyana Vechelova left the scene with the years-the artistic director of the Leningrad Choreographic School in the years-the teacher-reciter of the Mariinsky Theater in-Years-the teacher of the Leningrad Choreographic School, the Kuznetsov family, Svyatoslav Petrovich on June 10-April 30, the son-Andrey Kuznetsov-Veschelov on April 3, the reviews “Ballerina,“ ... Shining both in the lyric-dramatic parties and in bravuro-virtuoso roles ...

I created images marked with grace, honing dance form, artistic talent ... ”-V. Encyclopedia“ Russian Ballet ”The stage talent of Tatyana Verylova, artist of the Leningrad Opera and Ballet Theater named after Kirov, especially in the case, when in The Bakhchisarai Fountain she dances Zarem along with Ulanova - Maria. This is one of the best duets of the ballerinas in Soviet ballet.

When in the 3rd act of Ballet Zarema-Vechelov “breathing jealousy”, penetrates into the Lastard of Mary, the action acquires a special passion. The excellent artist Vechelova has a different palette of feelings than Ulanova. She knows how to not only love, but also hate. It is unlikely that you can imagine a blade of Zarema in the hands of Ulanova. And how naturally squeezes the handle of the dagger Vechelov!

She has all the colors are condensed, bright, intense. This is not watercolor, but "oil". The dramatic beginning in the work of Vecheshlova especially sounds when she becomes Esmeralda in the ballet created according to the Roman Hugo. At the Balu by the noble Fleur de Lis, a street dancer must amuse a magnificent guests with his dances.

But suddenly, having learned that her beloved officer Feub, the bridegroom of the beautiful Fleur, Vechelova -Esmeralda, brings such sorrow into the dancing of the gypsy, such despair that, it seems, another moment - and Like Giseli will go crazy and suffering from Esmeralda. But Esmeralda continues to dance - and Vecheshlova in subtle proportions combines the mechanically reproducible professionalness of the dance with those glare of genuine feelings that each bend of the body, every blow of the tambourin make a struggle of true passions.

Increased drama is combined in Verylovaya and the gift of comicism. When she has to fulfill the daughter of the innkeeper of Kitri in the Don Quixote or the peasant Lisa in a “futile precaution”, she portrays her heroines with thin humor, with perky cunning, with sparkles in her eyes. Here she is mocking and ironic. Here she replaces the painter’s brush with an acute pencil of a cheerful caricaturist.

Everything is built on some successfully found strokes and details. And everything is permeated with vitality and “humor”. Twenty years in ballet. You can’t forget the famous Pa-de-Bore of Verylova-the pearl placer of plastic laughter ”-Boris Lviv Anokhin. Ballet performances of recent years. Similarly, by a shallow fast stream, scattering spray, fled Verylova in her variation. The cheerful Kitri carved sparks on the run, which were completely visually scattered over the stage.

And finely, finely sorted out with her feet, shod into elegant black shoes, her colombina ... ” - Galina Kremvskaya. Tatyana Vechelova.