Yuri Grigorovich, one of the most significant choreographers of the 20th century, who served as the artistic director of the Bolshoi Ballet from 1964 to 1995, reshaping Russian ballet in the late Soviet era, died on Monday. He was 98. His death was announced by the Bolshoi Theater in Moscow.
Mr. Grigorovich was best known for his 1968 production of “Spartacus.” Reporting from Moscow soon after its premiere, the dance critic Clive Barnes wrote in The New York Times that it was “a turning point in Soviet ballet,” marking one of the biggest successes in decades. The ballet narrated the story of the enslaved gladiator Spartacus, who led a failed revolt in ancient Rome, a tale that might evoke memories of another significant revolution: the Russian Revolution of 1917.
Compared with earlier Soviet productions set to Aram Khachaturian’s 1954 score, Mr. Grigorovich’s version was streamlined and simplified, with distinct good guys (Spartacus and his wife) and bad guys (the wealthy Crassus and his courtesan mistress). However, what set the work apart was the style of dancing: it was grand, bold, and emotionally charged.
Masses of men adorned in armor or bare-chested filled the stage, marching, kicking, and jumping. Spartacus and Crassus executed soliloquy-like solos, spinning like tornadoes and leaping to astounding heights, culminating in a climactic battle that felt like a dance-off of epic proportions.
Mr. Grigorovich’s contributions to the Bolshoi Ballet and the world of dance have left an indelible mark, influencing generations and shaping the future of ballet during a pivotal era in Russian history.
Mr. Grigorovich was best known for his 1968 production of “Spartacus.” Reporting from Moscow soon after its premiere, the dance critic Clive Barnes wrote in The New York Times that it was “a turning point in Soviet ballet,” marking one of the biggest successes in decades. The ballet narrated the story of the enslaved gladiator Spartacus, who led a failed revolt in ancient Rome, a tale that might evoke memories of another significant revolution: the Russian Revolution of 1917.
Compared with earlier Soviet productions set to Aram Khachaturian’s 1954 score, Mr. Grigorovich’s version was streamlined and simplified, with distinct good guys (Spartacus and his wife) and bad guys (the wealthy Crassus and his courtesan mistress). However, what set the work apart was the style of dancing: it was grand, bold, and emotionally charged.
Masses of men adorned in armor or bare-chested filled the stage, marching, kicking, and jumping. Spartacus and Crassus executed soliloquy-like solos, spinning like tornadoes and leaping to astounding heights, culminating in a climactic battle that felt like a dance-off of epic proportions.
Mr. Grigorovich’s contributions to the Bolshoi Ballet and the world of dance have left an indelible mark, influencing generations and shaping the future of ballet during a pivotal era in Russian history.
