Olga preobrajenska explained

Statements

instance of

human

1 reference

stated in

BnF authorities

retrieved

10 October 2015

reference URL

image

Olga Prebrajenska.jpg390 × 600; 48 KB

1 reference

imported from Wikimedia project

Russian Wikipedia

Fille Mal Gardee -Olga Preobrajenska -circa 1890.jpg239 × 341; 44 KB

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Olga Preobrajenska en el rol de Lise (Catalan)

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imported from Wikimedia project

Catalan Wikipedia

sex or gender

female

1 reference

based on heuristic

inferred from patronymic name

country of citizenship

Russian Empire

0 references

Soviet Union

0 references

France

0 references

given name

Olga

0 references

date of birth

2 February 1871Gregorian

2 references

stated in

SNAC

SNAC ARK ID

subject named as

Olga Preobrajenska

retrieved

9 October 2017

stated in

Archivio Storico Ricordi

retrieved

3 December 2020

Archivio Storico Ricordi person ID

1871

1 reference

stated in

Dictionary of Women Worldwide

1870

1 reference

reference URL

place of birth

Saint Petersburg

1 reference

stated in

Archivio Storico Ricordi

retrieved

3 December 2020

Archivio Storico Ricordi person ID

date of death

27 December 1962

4 references

stated in

BnF authorities

retrieved

10 October 2015

reference URL

stated in

SNAC

SNAC ARK ID

subject named as

Olga Preobrajenska

retrieved

9 October 2017

stated in

Find a Grave

Find a Grave memorial ID

subject named as

Olga Preobrajenska

retrieved

9 October 2017

stated in

Archivio Storico Ricordi

retrieved

3 December 2020

Archivio Storico Ricordi person ID

1962

2 references

stated in

Dictionary of Women Worldwide

reference URL

place of death

Saint-Mandé

1 reference

stated in

Archivio Storico Ricordi

retrieved

3 December 2020

Archivio Storico Ricordi person ID

place of burial

Montmartre Cemetery

0 references

Sainte-Geneviève-des-Bois Russian Cemetery

1 reference

imported from Wikimedia project

English Wikipedia

languages spoken, written or signed

French

2 references

stated in

BnF authorities

Bibliothèque nationale de France ID

reference URL

retrieved

10 October 2015

stated in

Czech National Authority Database

NL CR AUT ID

retrieved

1 March 2022

Russian

1 reference

stated in

Czech National Authority Database

NL CR AUT ID

retrieved

1 March 2022

occupation

choreographer

0 references

ballet dancer

1 reference

Archivio Storico Ricordi person ID

stated in

Archivio Storico Ricordi

music teacher

0 references

ballet teacher

0 references

dancer

1 reference

stated in

Dictionary of Women Worldwide

dancing master

1 reference

stated in

Dictionary of Women Worldwide

field of work

ballet

1 reference

stated in

Czech National Authority Database

NL CR AUT ID

retrieved

7 November 2022

dance

1 reference

stated in

Czech National Authority Database

NL CR AUT ID

retrieved

7 November 2022

pedagogy

1 reference

stated in

Czech National Authority Database

NL CR AUT ID

retrieved

7 November 2022

employer

Mariinsky Theatre

1 reference

imported from Wikimedia project

Belarusian Wikipedia

Wikimedia import URL

educated at

Vaganova Academy of Russian Ballet

0 references

student

Lin Jaldati

0 references

Ludmilla Tchérina

0 references

Lilian Lambert

0 references

Sonia Arova

0 references

Jürgen Pagels

0 references

student of

Nina Fedorovna Mlodzinskaya

0 references

described at URL

0 references

described by source

Dictionary of Women Worldwide

0 references

documentation files at

SAPA Foundation, Swiss Archive of the Performing Arts

subject named as

Preobrajenska, Olga

1 reference

stated in

performing-arts.ch

SAPA ID

retrieved

29 August 2022

Commons category

Olga Preobrajenska

1 reference

imported from Wikimedia project

Spanish Wikipedia

Biography

She was born in Saint Petersburg as Olga Preobrazhenskaya (the final syllable of her surname was dropped to shorten her name for professional purposes, and she used the French transliteration, Preobrajenska).

Olga—born frail and with a crooked spine and one hyper-extended knee—was an unlikely prima ballerina. But she had dreams of being a dancer, and for years her parents tried unsuccessfully to get her enrolled in dance school. The selection committee repeatedly rejected her as a candidate. But after three years of trying, her parents succeeded and the eight-year-old Olga entered the Imperial Ballet School in 1879.

Despite her physical shortcomings, Preobrazhenskaya grew strong with training under Marius Petipa, Lev Ivanov and Anna Johansson. She developed excellent turnout and toe point, though her hunched back remained troublesome. She was naturally expressive, bringing new life to a «hackneyed» repertoire, and exhibited the desired softness and grace of a dancer.

Preobrajenskaya in the title role of the ballet Raymonda, 1903. Preobrajenskaya was the first ballerina to perform the role after its originator, Pierina Legnani, retired in 1901.

In addition to her love of dance, Preobrajenskaya had musicality to go with it; she studied singing, performed opera arias, and played the piano masterfully.

In 1892, she made her debut in Kalkabrino, the first of her many performances in Petipa creations, which included Bluebeard (1896), Les Millions d’Arlequin (1900) and Les Saisons (1900). She also performed in Ivanov and Gerdt’s Sylvia (1901), Nikolai and Sergei Legat’s The Fairy Doll (1903), and Mikhail Fokin’s The Night of Terpsichore and Chopiniana (1908).

In 1895, she began to make international appearances, including in Paris, London and the United States. In 1900, she achieved the title of prima ballerina. One of her finer moments as a performer was dancing at Milan’s La Scala theatre. She received critical acclaim and audience adoration, no small feat for a Russian ballerina trained in the Italian school.

She then began to pay more attention to ballet instruction; in 1914, she began her teaching career in Saint Petersburg, where her pupils included Alexandra Danilova. In 1921, following the Russian Revolution and the establishment of the Soviet Union, she emigrated and taught for two years in Milan, London, Buenos Aires and Berlin, then settled in with the large white émigré community in Paris.

For the next several decades, she was one of the most prominent ballet teachers in Paris, instructing Irina Baronova, Tatiana Dokoudovska, Tamara Toumanova and Igor Youskevitch. She retired in 1960; she died two years later, aged 91. She was buried in the Russian Orthodox section of the Sainte-Geneviève-des-Bois Russian Cemetery.

биография

Она родилась в Санкт-Петербург как Ольга Преображенская (последний слог ее фамилии был опущен, чтобы сократить ее имя в профессиональных целях, и она использовала французскую транслитерацию, Преображенская).

Ольга, прирожденная хрупкая и с искривленным позвоночником, была необычной прима-балериной. Но она мечтала стать танцовщицей, и долгие годы родители безуспешно пытались устроить ее в танцевальную школу. Приемная комиссия неоднократно отклоняла ее как кандидата. Но после трех лет попыток родителям это удалось, и восьмилетняя Ольга поступила в Императорское хореографическое училище в 1879 году.

Несмотря на физические недостатки, Преображенская окрепла благодаря тренировкам в Мариус Петипа, Лев Иванов и Анна Йоханссон. Она отлично разработала оказаться и кончик пальцев, хотя ее сгорбленная спина оставалась неприятной. Она была естественно выразительна, приносила новую жизнь «избитому» репертуару, проявляла желаемую мягкость и грацию танцовщицы.

Помимо любви к танцу, Преображенская обладала музыкальностью; училась пению, исполняла оперные арии, виртуозно играла на фортепиано.

В 1892 году она дебютировала в Калкабрино, первое из ее многочисленных выступлений в творчестве Петипа, в которое вошли Синяя Борода (1896), Les Millions d’Arlequin (1900) и Les Saisons (1900). Также она выступала в Иванове и Гердт с Сильвия (1901), Николай и Сергей Легат с Кукла фея (1903), и Михаил Фокин с Ночь Терпсихоры и Шопениана (1908).

В 1895 году она начала выступать на международном уровне, в том числе в Париже, Лондоне и США. В 1900 году она получила звание прима-балерины. Один из ее лучших моментов в качестве исполнительницы — танцы в Милане. Ла Скала театр. Она получила признание критиков и обожание публики — немалый подвиг для русской балерины, прошедшей обучение в Итальянская школа.

Затем она стала уделять больше внимания обучению балету; В 1914 году она начала свою педагогическую деятельность в Санкт-Петербурге, среди ее учеников Александра Данилова. В 1921 г. после Русская революция и создание Советского Союза, она эмигрировала и преподавала в течение двух лет в Милане, Лондоне, Буэнос-Айресе и Берлине, прежде чем, наконец, поселиться в большом обществе. белый эмигрант сообщество в Париже.

В течение следующих нескольких десятилетий она была одним из самых известных учителей балета в Париже, инструктируя Ирина Баронова, Татьяна Докудовская, Тамара Туманова и Игорь Юскевич. В конце концов она вышла на пенсию в 1960 году; она умерла через два года в возрасте 91 года. Похоронена в Русской православной части Русское кладбище Сент-Женевьев-де-Буа.

Biography

Olga—born frail and with a crooked spine—was an unlikely prima ballerina. But she had dreams of being a dancer, and for years her parents tried unsuccessfully to get her enrolled in dance school. The selection committee repeatedly rejected her as a candidate. But after three years of trying, her parents succeeded and the 8-year-old Olga entered the Imperial Ballet School in 1879.

Despite her physical shortcomings, Preobrazhenskaya grew strong with training under master instructors Marius Petipa, Lev Ivanov and Anna Johansson. She developed excellent turnout and toe point, though her hunched back remained troublesome. She was also naturally expressive, bringing new life to a «hackneyed» repertoire, and exhibited the desired softness and grace of a dancer.

In addition to her love of dance, Preobrazhenskaya had musicality to go with it; she studied singing, performed opera arias, and played the piano masterfully.

In 1892, she made her debut in Kalkabrino, the first of her many performances in Petipa creations, which included Bluebeard (1896), Les Millions d’Arlequin (1900) and Les Saisons (1900). She also performed in Ivanov and Gerdt’s Sylvia (1901), Nikolai and Sergei Legat’s The Fairy Doll (1903), and Mikhail Fokin’s The Night of Terpsichore and Chopiniana (1908).

In 1895, she began to make international appearances, including in Paris, London and the United States. In 1900, she achieved the title of prima ballerina. One of her finest moments as a performer was dancing at Milan’s famed La Scala theatre. She received critical acclaim and audience adoration, no small feat for a Russian ballerina trained in the Italian school.

She then began to pay more attention to ballet instruction; in 1914, she began her teaching career in Saint Petersburg, where her pupils included Alexandra Danilova. In 1921, following the Russian Revolution and the establishment of the Soviet Union, she emigrated and taught for two years in Milan, London, Buenos Aires and Berlin, before finally settling in with the large white émigré community in Paris.

For the next several decades, she was one of the most prominent ballet teachers in Paris, instructing Irina Baronova, Tamara Toumanova and Igor Youskevitch. She finally retired in 1960; she died two years later, aged 91. She was buried in the Russian Orthodox section of the Sainte-Geneviève-des-Bois Russian Cemetery.