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In this “incredibly rich” (New York Times) definitive history of the Bolshoi Ballet, visionary performances onstage compete with political machinations backstage. A critical triumph, Simon Morrison’s “sweeping and authoritative” (Guardian) work, Bolshoi Confidential, details the Bolshoi Ballet’s magnificent history from its earliest tumults to recent scandals. On January 17, 2013, a hooded assailant hurled acid into the face of the artistic director, making international headlines. A lead soloist, enraged by institutional power struggles, later confessed to masterminding the crime. Morrison gives the shocking violence context, describing the ballet as a crucible of art and politics beginning with the disreputable inception of the theater in 1776, through the era of imperial rule, the chaos of revolution, the oppressive Soviet years, and the Bolshoi’s recent $680 million renovation. With vibrant detail including “sex scandals, double-suicide pacts, bribery, arson, executions, prostitution rings, embezzlement, starving orphans, [and] dead cats in lieu of flowers” (New Republic), Morrison makes clear that the history of the Bolshoi Ballet mirrors that of Russia itself.
Recounts the history of the theatre and includes a summary of 21 operas and 18 ballets produced there.
David Hallberg, the first American to join the famed Bolshoi Ballet as a principal dancer and the dazzling artist The New Yorker described as “the most exciting male dancer in the western world,” presents a look at his artistic life—up to the moment he returns to the stage after a devastating injury that almost cost him his career. Beginning with his real-life Billy Elliot childhood—an all-American story marred by intense bullying—and culminating in his hard-won comeback, Hallberg’s “moving and intelligent” (Daniel Mendelsohn) memoir dives deep into life as an artist as he wrestles with ego, pushes the limits of his body, and searches for ecstatic perfection and fulfillment as one of the world’s most acclaimed ballet dancers. Rich in detail ballet fans will adore, Hallberg presents an “unsparing…inside look” (The New York Times) and also reflects on universal and relatable themes like inspiration, self-doubt, and perfectionism as he takes you into daily classes, rigorous rehearsals, and triumphant performances, searching for new interpretations of ballet’s greatest roles. He reveals the loneliness he felt as a teenager leaving America to join the Paris Opera Ballet School, the ambition he had to tame as a new member of American Ballet Theatre, and the reasons behind his headline-grabbing decision to be the first American to join the top rank of Bolshoi Ballet, tendered by the Artistic Director who would later be the victim of a vicious acid attack. Then, as Hallberg performed throughout the world at the peak of his abilities, he suffered a crippling ankle injury and botched surgery leading to an agonizing retreat from ballet and an honest reexamination of his entire life. Combining his powers of observation and memory with emotional honesty and artistic insight, Hallberg has written a great ballet memoir and an intimate portrait of an artist in all his vulnerability, passion, and wisdom. “Candid and engrossing” (The Washington Post), A Body of Work is a memoir “for everyone with a heart” (DC Metro Theater Arts).
A timely YA thriller—part John Le Carré and part The Americans—about a Bolshoi ballerina trapped by family secrets and a legacy of espionage. The Bolshoi Saga: Marina Marina is born into privilege. A talented young dancer with Russia’s Bolshoi Ballet at the height of the Cold War, she seems destined to follow in the footsteps of her mother Svetlana, a Soviet Artist of the People. But when Svetlana disappears without explanation, Marina and her father have to get out. Fast. They defect to America, hoping they’ve escaped Russia’s secret police, hoping they can make a fresh start in New York. Instead they discover the web of intrigue around Brooklyn’s Brighton Beach is as tangled as the one they left behind.
This book tells the full story of the earliest Soviet-American ballet exchanges, in which the governments of the USSR and the United States sent their most prestigious ballet companies on tours to the other country. Author Anne Searcy draws on Soviet- and American- archival sources and shows the spectacular misunderstandings that happened when audiences trained to view one type of ballet saw a very different style.
Maya Plisetskaya rose to become a prima ballerina of Moscow's Bolshoi Ballet after an early life filled with tragedy. Here Plisetskaya reflects on her personal and professional odyssey presenting the life of a Soviet artist from the 1930s to 1990s.