Galina Ulanova


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Ulanova, Galina

(gälyē`nə o͞olä`nōvə), 1910–98, Russian ballerina, b. St. Petersburg. Ulanova made her debut at the Kirov Ballet (1928), where she danced until 1944. That year she became prima ballerina of the Bolshoi Theatre, Moscow, with which she first appeared in 1935, and she received numerous awards from the Soviet government. Noted for her lyric grace and beauty and the emotionalism of her superb acting, she excelled especially in Swan Lake and Giselle and in Lavrovski's version of Prokofiev's Romeo and Juliet (1940), in which she created the role of Juliet. First appearing abroad in 1951, she was lauded as one of the greatest ballerinas since PavlovaPavlova, Anna Matveyevna
, 1881–1931, Russian ballerina. In 1892 she entered the Imperial Ballet School, St. Petersburg. She made her debut in 1899 at the Maryinsky Theatre, but it was only after tours to Scandinavia (1907) and to Berlin and Vienna (1908) that she gained
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. After her official retirement in 1962 she continued to teach at the Bolshoi.

Bibliography

See A. E. Kahn, Days with Ulanova (1962).

Ulanova, Galina Sergeevna

 

Born Dec. 26, 1909 (Jan. 8, 1910)’, in St. Petersburg. Soviet ballerina. People’s Artist of the USSR (1951). Hero of Socialist Labor (1974).

The daughter of dancers, Ulanova graduated in 1928 from the Leningrad Choreographic School, where she studied with her mother, M. F. Romanova, and with A. Ia. Vaganova. That same year she was accepted into the ballet troupe of the Leningrad Theater of Opera and Ballet (later renamed after S. M. Kirov). From 1944 to 1960 she was a soloist in the ballet troupe of the Bolshoi Theater in Moscow.

The characters Ulanova portrayed possessed a unique fragility, vulnerability, and femininity (for example, the title role in Adam’s Giselle), yet, at the same time, were endowed with unyielding strength and heroic spirit (for example, Maria in Asafev’s The Fountain of Bakhchisarai and Juliet in Prokofiev’s Romeo and Juliet). Ulanova was the leading exponent of the roles in P. I. Tchaikovsky’s ballets, namely, Odette-Odile in Swan Lake, Aurora in The Sleeping Beauty, and Masha in The Nutcracker. Her dancing was flawless and harmonious, based on an ideal combination of the real and the conventional. It was characterized by a rare harmony of all means of expression and choreographic elements. Ulanova was able to transcend balletic conventions and express the truth of human emotion on the stage. Her dancing developed the principles and traditions of the Russian school of choreography. Among her other roles were the title roles in Glazunov’s Raymonda and Prokofiev’s Cinderella, Parasha in Glière’s The Bronze Horseman, the waltz, nocturne, and mazurka in Chopiniana (also known as Les Sylphides), to music by Chopin, and the dance solo The Dying Swan, to music by Saint-Saëns. Ulanova, a consummate actress who embodied high tragedy on the ballet stage, created sweeping characterizations, conveying the most complex dramatic conflicts through dance. These qualities won her world acclaim.

Now retired from the stage, Ulanova works with young dancers. Her students include N. V. Timofeeva, E. S. Maksimova (Maximova), S. D. Adyrkhaeva, and L. I. Semenyaka. Over the years, she has toured extensively abroad.

Ulanova received the Lenin Prize in 1957 and the State Prize of the USSR in 1941, 1946, 1947, and 1950. She has also been awarded two Orders of Lenin, four other orders, and various medals.

REFERENCES

Golubov, V. (Potapov). Tanets Galiny Ulanovoi. Leningrad, 1948. L’vov-Anokhin, B. Ulanova. Moscow, 1970. Bogdanov-Berezovskii, V. Galina Ulanova. Moscow-Leningrad, 1949.
Kahn, A. Dnis Ulanovoi. Moscow, 1963. (Translated from English.)

B. A. L’VOV-ANOKHIN

References in periodicals archive ?
A fragile (albeit with the fragility of spun steel) dancer, she excelled in the 19th-century Romantic roles, particularly Giselle, for which she was coached by Galina Ulanova, who maintained that Bessmertnova was her generation's greatest interpreter of the role.
Among the most famous who performed the role are Galina Ulanova, who was 30; Fonteyn, 46; Marcia Haydee, 33; and Alessandra Ferri, who performed the role as an 18-year-old, and now, at 43, is still a favorite Juliet at American Ballet Theatre.
Touring often during these three decades, the Bolshoi's brilliant galaxy of soloists--including Galina Ulanova, Maya Plisetskaya, Vladimir Vasiliev, and Ekaterina Maximova--became world famous.
So let us take it from there, and work out the bloodlines of, say, Margot Fonteyn and Galina Ulanova.
And it was quite a night--October 3, 1956, at London's Royal Opera House, Covent Garden, with the Leonid Lavrovsky/Sergei Radlov/Serge Prokofiev production of Romeo and Juliet featuring Galina Ulanova, Yuri Zhdanov, and Sergei Koren in the ballet's original 1946 Bolshoi staging, itself only slightly revised from the first 1940 Soviet production by Leningrad's Kirov Ballet.
During the Kirov Ballet's summer season in London, 21-year-old Yevgenia Obraztsova's evocative Juliet had British balletomanes comparing her to that other legendary Russian, Galina Ulanova.
He was by then a law unto his own whim, a national figure to be compared in reputation and stature only with the ballerina Galina Ulanova, and a man who had the ear of the then tsaristically imperious Soviet Minister of Culture, Nina Furtseva, at home and the ear of American impresario Sol Hurok abroad.
As the different ballets came into focus, other former Bolshoi stars slipped into memory: the deep-souled Galina Ulanova, the glorious Raisa Struchkova, the adorable Ekaterina Maximova.