On 88-m to year of life in a Moscow hospital died of heart failure legendary dancer of the Bolshoi theatre, people’s artist of the USSR Nikolai Borisovich Fadeyechev.In the corps de ballet of the Bolshoi theatre, he enrolled in 1952, left the scene in 1977 — that is danced in the period of the turn of the eras, when under fierce debate theorists and practitioners of Patriarchal “dramballet” was defeated a new direction: the heroic “symphonic ballet”, headed by its leader Yuri Grigorovich, who took the post of chief choreographer of the Bolshoi theatre. Prime Minister Big Nikolay Fadeechev though I saw no battles, and no change of priorities: he modestly prevailed in the “mountain heights” — in the role of “blue princes”, remaining all the troubled times impeccable and inimitable albert, Siegfried, désiré, Jean de Briena, the young Man in “Les Sylphides”.Ballerina of all generations — from Maya Plisetskaya to Lyudmila Semenyaka — worshipped him as a cavalier. His partner Dar exhaustively described avaricious on praise Galina Ulanova danced with the 23-year-old newcomer to all performances of “Giselle” at the landmark London tour of the Bolshoi theater in 1956: “He is not only “convenient” partner. Is he more tactful with him doing everything like itself. He’s around all the time, and so you always feel confident, but he’s so unobtrusive, as if it does not.” To this feature it is necessary to add rope nerves of the debutant: corps de ballet dancer, first performing the title role with the world’s celebrity older nearly a quarter of a century, danced with extraordinary serenity, incredible dignity and natural ease, as if born Earl albert. “The most aristocratic Communist” dubbed him the picky of the London reviewers.Photo: Archive Big Teatrali fact only five years before the London triumph, in high school, the Moscow choreographic school, none of the teachers did not know moslastye angular young man, the future head of the Soviet aristocrat. Even just the lead soloist: celebrating diligence and musicality the only boy left in the class, military dial, 1943, his physique was evaluated as “good”, but jump and main as the Premier virtuoso — considered “bad”. In high school teenage overgrown lucky with the teacher: Alexander Rudenko, who was himself Vasily Tikhomirov, the Prime Minister and the main advocate of the pre-revolutionary academic Bolshoi theatre, developed in his “ostrich” (as it was called Longshanks Nicholas classmates), not only jump, endurance, physical strength but also impeccable classical pronunciation, perfectionism, and a desire for ease of the dance. He “tore”, neither on the stage nor backstage. Not sought roles that didn’t build a career, does not get into the credibility of the “chaptersNYM”, not chasing titles (although “honored artist of the RSFSR” was in nearly children at that time 26 years old): everything worked itself out. The first noticeable phenomenon in the four “gentlemen” from “Raimonda” — pure coincidence: corps de ballet boys just took directly from the hallway, replacing them spousage soloist, and the next day released in the play. Immediately given poster party with personal variations — Bernard from the same “Raymonda” and almost immediately, for a second season, the Prince in “Swan lake”. Role prepared under the guidance of Marina Semenova and brought him worldwide fame “an ideal Siegfried,” happened almost immediately. Proportion composed of the young man with the dreamy face, noble manners, flawless double tours and pirouettes leisurely clean no competitors neither in Big, nor in the other theatres. With it could not be neither burly heavy with princes of the older generation nor the bouncy tech-virtuosos, do not possess such elegance and purity of form. In classical it had no competitors till almost the end of his career. And poise, the ability to “not tear”, to distribute the force allowed him to play without injuries, while maintaining their famous party to retirement.Photo: Archive Big Teacherresource, Nikolai Fadeyechev danced and cheerful characters: Basilio in “don Quixote”, Frondoso in Laurencia, but then he avoided more temperamental colleagues. His Romeo in a production of Lavrovsky was lyrical and soft, but the youthful fervor of the Veronese nobleman was not enough. The leading soloist of the Bolshoi did not pass and the current repertoire. However, Fadeyechev danced the leading roles in “Aseli” Oleg Vinogradova in “Carmen” Alberto Alonso. It doesn’t matter that its correct Jose disappeared into the shadows of the brilliant Maya Plisetskaya; the ballerina was happy and, as a choreographer, gave him the best role of non-classical repertoire — Karenina in “Anna Karenina”, a stern government official and vulnerable husband.Photo: Archive Big theater with 1977 Nikolai Fadeyechev served as a teacher-repetiteur at the Bolshoi. Through his hands passed all the chief princes of the Great modern times: own son Alexei Fadeyechev, Andrey Uvarov, Sergei Filin, Nikolai Tsiskaridze, Artem Ovcharenko. And almost all inherited in the direct culture of pre-revolutionary Moscow male dance. Rehearsals overweight unflappable teacher never jumped and jumped — arms showed the poses, explaining the secrets and subtleties of support and shore the health of their wards, always meeting them in the hall of the sympathetic: “Legs are?” Now probably nobody will ask.Tatyana Kuznetsova
