Political figure Sergei Borisovich Tarasov: biography, family and awards. Anastasia Kolegova: “It was I who destroyed the marriage of Alisa Freundlich's daughter! Life behind the scenes

During this time, Nastya's chosen one managed to change his position, becoming a member of the Federation Council and divorcing his ex-wife, the daughter of actress Alisa Freindlich and director Igor Vladimirov, Varvara, writes Komsomolskaya Pravda.

Only in mid-September, the lovers applied for marriage registration. But, apparently, they forgot to look at the calendar: the wedding was scheduled for October 10 - the day when all Russian fans worried about the football team, which met in the decisive match with the Germans. And Tarasov is just one of the fans. The mistake was discovered when it was too late to change the date. And it is not necessary - this is a bad omen.

- Nothing can be done, there will be a TV in the restaurant in the next room, and I will let Seryozhka go to him, - promised the bride.

“I’ll organize a men's room,” the groom threatened. - At seven in the evening we lock ourselves in it - and we won't let anyone in until the match is over. And let the women celebrate.

The wedding palace on the English Embankment was not crowded: Tarasov and Kolegova invited only the closest ones. There were 23 such people. There were no Smolny officials, where Sergei worked for more than one year, no cultural figures whom he supervised as vice-governor, or Nastya's colleagues at the Mariinsky Ballet - only friends and relatives.

- We wanted a family holiday, - explained the satisfied Tarasov. Mikhail Piotrovsky, Anastasia Kolegova and Sergey Tarasov. Photo hermitage.ru

However, it was clear from the groom's face that although this was not his first marriage, he was pretty worried.

“It's impossible to get used to it,” he gasped, adjusting the handkerchief in his tuxedo pocket.

Nastya was wearing an elegant white dress and a lace cape.

- I ordered an outfit in the salon, - said the bride. - I didn’t want to have a crinoline - I’m tall, it doesn’t suit me. Everything on me is Russian-made. I was not chasing brands, everything is ours. And it turned out better than the imported one.

Anastasia Kolegova.Photo: kolegova.ru

During the registration of marriage, Sergei showed with all his appearance that the procedure was familiar to him. As soon as she and Nastya signed the civil status act, the groom jumped up and went to the center of the hall, only waving his hand to the bride: they say, follow me. She instantly ran up and stood beside her. But with the timing of the kiss, Tarasov missed: he bit into the lips of the ballerina after exchanging rings.

- Too early! - the relatives whispered from the back rows.

Only the host of the ceremony was unfazed:

- I declare you husband and wife. Congratulate each other.

And Sergei kissed Nastya again - now legally. By the way, the wedding ring also turned out to be Russian. True, not from a store - this is a work of authorship.

Sergey Tarasov. Photo rtr.spb.ru

- Here are Yakut diamonds, - showed the symbol of marriage Kolegova. - I don’t know how many carats, but very beautiful, right?

A year later, Anastasia and Sergei are going to think hard about the child. Moreover, the ballerina is not at all afraid of harming her theatrical career:

- Now it's easy - two months after giving birth, everyone is already dancing. We want a boy.

From the wedding palace, the young people went to the Peter and Paul Fortress to shoot a cannon - such a gift was given to Nastya by the groom.

- Oh, I never shot, - the bride was frightened. - Is it very loud? I hope they will instruct me on what to do.

Of course, the ballerina was instructed. Noon in St. Petersburg came in strict accordance with tradition.

“The charge is empty, and I’m married,” Tarasov joked, brushing off the powder smoke.

In the restaurant, the groom fulfilled his promise - he ran away from the bride to the TV. Apparently, so that from the first day I understood: football is sacred.

REFERENCE: Sergey Borisovich Tarasov was born in Kyrgyzstan in the city of Bishkek in 1959. He came to Leningrad to study at the Shipbuilding Institute, specializing in shipbuilding and ship repair. He graduated from the institute in 1982, and after 18 years he continued his education already at the state university at the faculty of international relations.

It was during the years of study at the Shipbuilding Institute that Tarasov became the head of the department of the Oktyabrsky district committee of the Komsomol. However, the party career of the future official was interrupted with the beginning of perestroika, but new opportunities appeared.

In 1998, he was elected a member of the Legislative Assembly, of which he served the entire second convocation. Tarasov did not finish working as a deputy of the third convocation of the city parliament. After Vadim Tyulpanov became the speaker of the ZakSa as a result of difficult political upheavals, Tarasov lost interest in the parliamentary struggle.

Soon the deputy Tarasov moved to Smolny. Valentina Matvienko, who won the election of the governor of the city, appointed him vice-governor. As vice-governor, Tarasov was responsible for science, education, culture, media, youth policy, physical culture and sports, interaction with public organizations.

Kolegova Anastasia Valerievna was born in Chelyabinsk. At the age of five I first came to the local Opera and Ballet Theater for the play "Swan Lake". The girl liked the stage performance so much that later she had no problems with choosing a profession. A year later, even the parents could not resist Nastya's persistent request and sent her to the ballet studio. The teachers advised sending the talented girl to Leningrad, to the forge of star dancers - the Academy of Russian Ballet. A.Ya. Vaganova. Many famous teachers passed on their experience and skills here. And for the last three years, Nastya studied with the People's Artist of Russia Lyubov Kunakova. They still work together now, now at the Mariinsky Theater.

The famous Paquita by Marius Petipa, about which balletomanes have spoken so much, is finally gracing the Mariinsky's poster. In fact, the theater management has repeatedly started talking about staging the legendary ballet. In order to get things off the ground, Alexei Ratmansky had to restore Paquita (based on records of the 1900s Mariinsky performance stored in the USA) at the Bavarian Opera. The answer to Chamberlain suggested itself. True, there are rumors that they originally planned to transfer the Munich version to St. Petersburg. But there was a delay with the papers, and Yuri Smekalov received carte blanche. Be that as it may, the Mariinsky now has its own "Paquita" - with the grand-pas restored with the help of Yuri Burlaka and two large acts by Yuri Smekalov.

Smekalov's choreography is very boring. Perhaps nowhere is this so noticeable as in two acts of the Bolshoi Ballet - after which the third is Petipa's choreography. The Vaganov Academy taught Yuri Smekalov to dance, but did not teach him to think with dance movements at all. Why the artists raise their hands and why they jump, this choreographer has no idea. His only answer is to have it. The further, the more we see not a classical dance, but an imitation of a classical dance. The movements are not just empty, they are formal and so monotonous that even a variation of a horse in a gypsy scene (an old circus act with two people covered in a horse costume) is as monotonous as everything else, but in a completely different manner: it is not Petipa that is imitated here. , and Yuri Nikulin - is perceived as a stream of air and relaxation from pseudo-classicism. Critics have said a lot about the solution of pantomime scenes, so I will not say anything. And about some legendary numbers of Petipa's ballet, irreparably spoiled. The dance with cloaks was given to men (at Petipa it was danced by women-drag queens; in Ratmansky's version this moment is preserved, but Smekalov does not need it). The boring pas de trois of the second act, if restored by Burlaka, is completely in the style of Smekalov. I will never believe that Petipa was so laconic and straightforward. At first it seems that the Mariinsky Theater has stepped on the path of Mikhailovsky, simplifying Petipa to platitudes and adapting classical dance to the capabilities of the troupe. But with each new painting, the imitation emptiness grows, devouring the ingenious finds of Petipa and his followers: the first act sucks the juices from Don Quixote, the pas de trois eats the lamb from The Nutcracker with bones, and the prison scenes (the most boring of the whole ballet) digest Esmeralda.

Two hours of torment, like hell and purgatory, lead to authentic choreography. The grand pas rearranged by Burlaka (much more complicated in comparison with the version used in the theater) resembles in quality and grandeur his "Lively Garden" from "Le Corsaire" at the Bolshoi Theater. Five complex variations that precede the dance of the main characters, the great work of the corps de ballet, the great children's dance - all this allows you to feel the delight that the St. Petersburg imperial ballet once evoked.

Probably, the third performance of the premiere was not the most effective in terms of the selection of dancers. Anastasia Kolegova (Paquita), who replaced the planned Oksana Skorik, did what she could. Xander Parish (Andres) possesses the necessary pose of a noble don and a wide step. This is where his merits end. Ekaterina Chebykina (Christina, Paquita's friend) stood out very much -
she has long, exquisitely Spanish arms in the first act and a decent variation in grand pas. I also liked Maria Ilyushkina in the first variation of the grand pas. The corps de ballet that evening was more interesting than the soloists and performed wonderfully. Choreographers and directors did a good job with the Vaganovka students. Usually children knock down the lines and get in the way of the rows, but here they danced almost perfectly.

I don't know, to be honest, what the fate of this ballet will be like. I do not exclude that the hall is doomed to remain half-empty for the first two acts. Or maybe not - most of the spectators who pay for the ticket will be quite satisfied with the imitation. I myself, probably, will once again go to the whole ballet - to look at Victoria Tereshkina. Suddenly it will amaze you with something.

Anastasia Kolegova is known not only as a ballerina of the Mariinsky Theater, but also as the mistress of St. Petersburg Senator Sergei Tarasov, son-in-law of Alisa Freundlich. “We met with Serezha in 2003, in the same company,” Nastya recalls. “He was then responsible for culture in St. Petersburg. Besides, his mother-in-law and wife are actresses, so he was always close to creative circles. 23 years older than me. She fell in love with him very much and quickly, and as a woman for the first time she began to open up. "

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The fact that her lover is married did not embarrass Kolegova. “Yes, he had a family in which two children grew up,” she says. “Plus, there is a daughter, Olya, left from her first marriage. learning about our relationship with him. I became a homeless woman, having played a fatal role in the destruction of their marriage. "

But the ballerina's happiness was short-lived. Nastya and Sergei formalized their relationship on October 10, 2009, and on November 27, Tarasov died in a terrorist bombing of the Nevsky Express train. “Sergei gave me an apartment even before we got married,” says Anastasia. “And immediately after his death, a struggle broke out for this apartment. Varvara believed that everything should belong only to her. Thanks to fate, the house remained for me. my wife was very darkened by our short, but such a bright time. "

Nastya first encountered Alisa Freundlich at Tarasov's coffin. "Until a certain moment I saw her only on stage, but we met in connection with preparations for Sergei's funeral," the ballerina is quoted as saying

Anastasia Kolegova, soloist of the Mariinsky Theater ballet, is the third wife of the politician Sergei Tarasov, who died tragically in November 2009. The St. Petersburg senator and former son-in-law of actress Alisa Freindlich was on the Nevsky Express train, which was blown up by terrorists.

In a recent frank interview, Kolegova, for the first time, clarified the public's speculation about the fact that she had taken a man out of the family. When the artist met Sergei Tarasov, he was married to Varvara Vladimirova, the daughter of Alisa Freundlich and director Igor Vladimirov. In this marriage, the politician had two children - Anna and Nikita. According to Kolegova, their romance developed rapidly.

“I fell in love with him very quickly and strongly and as a woman began to open up for the first time. Of course, before him I had affairs, but very short, no more than a month. When she realized that this was not serious, she broke off the relationship herself. And with Serezha, everything coincided with us: common interests in art and incredible personal feelings. (…) I know that it was Varvara Vladimirova who filed for divorce from Serezha, having learned about our relationship with him. I, sad as it may sound, became a homeless woman, having played a fatal role in the destruction of their marriage, ”the ballerina shared.

// Photo: Interpress / PhotoXPress.ru

However, feelings turned out to be much stronger than thoughts about what other people would say. During that period of her life, Anastasia was in seventh heaven with happiness. Even before the lovers decided to legalize their relationship, Tarasov gave the new darling an apartment. In addition, the politician supported the chosen one financially. Kolegova stressed that she did not ask him for help.

“Probably, subconsciously, he considered it fair: they say, I am young, and he seems to be taking advantage of my youth. But this is not the case! For me, he became an incredible man: he could always listen, give good advice ... "- the artist shared.

We add that Anastasia Kolegova married Sergei Tarasov in October 2009. The happiness of the lovers did not last long - a month after the wedding, the man died on the way to St. Petersburg. The politician was buried at the Nikolskoye cemetery of the Alexander Nevsky Lavra.

During a conversation with reporters, the ballerina admitted that until recently she did not believe in the death of her husband. When Anastasia learned the sad news, she was on tour in Japan. When she was informed about the death of a loved one, Kolegova dropped everything and went home. According to the artist, Valentina Matvienko helped her with a place in the cemetery. “My aunt and I often go there: we clean up, talk to Sergei, plant flowers, watch the grave,” Express-Gazeta quotes the woman.

Anastasia, you said that you made your choice of profession when you saw your first ballet in your life. And what exactly shocked you then: the opportunity to dance or the image of a beautiful ballerina? (Ksenia Kislitsina)

Yes, indeed, at the age of five I first came to the Swan Lake ballet in Chelyabinsk, where I lived. I was struck, probably, by the feeling of a fairy tale, something beautiful, graceful, distant, which is impossible to touch. After the performance, I began to firmly, not childishly insist on choosing a profession.

Parents, of course, went to the theater, but they were not very versed in ballet. My mother is a teacher of Russian language and literature, my father was the chairman of the sports committee - he wanted me to do rhythmic gymnastics or tennis. I started going to the sections, but I constantly said: "Dad, this is not that, you do not understand anything, take me to the ballet!"

And so you came to St. Petersburg to enter the Vaganov School. You are a little girl, a large and formidable jury is looking at you. Wasn't it scary?

Yes, in 1991, when I entered, there were 115 people per place. And, of course, for me it was very nervous, because they could find fault with anything: from the length of the toes to the length of the nose, ears ... Everything mattered: appearance, health, professional data. Everything happened in three rounds with a difference of a week, and then the lists were posted. It was the most exciting moment when I came and saw my last name. And then hard work days began.

I had to live in a boarding school because my parents could not afford to quit their job and move. At the age of 9, I was a very domestic child, and I was left on Pravdy Street in a boarding school, where there is such a long corridor and a specific smell ... I was very upset for the first year, and there was even a moment when they wanted to take me away, because I cried every day. But then she calmed down, adapted, and everything became normal.

I think the years of study are the most difficult. It's easier to work, because there is already a stage, some kind of return: applause, fans. I liked the performance so much: tutus, ballerinas, everything is airy, and when I arrived, we were at the bench from nine in the morning. There was no stage, no decorations, and only in the second year did we start going on the school stage.

- In general, they say that in your profession the learning process is quite tough, even cruel.

For the most part, this is an exaggeration. Apparently, many have seen a feature film (I do not remember its name), which was filmed for some reason at the Perm School, although it was about Vaganovsky, when the ballerina was really brought up with a stick. In fact, all our teachers are intelligent people, and it never came to such a thing as in the film.

- Ballerinas often say that they will never send their children to a choreographic school. What do you think?

Everyone says no, and then they give it back (laughs). Of course, if not very good physical data, not worth it.

"The Mariinsky was the benchmark for all Vaganovsky's students."

In 2006 you joined the troupe of the Mariinsky Theater. Perhaps it is very responsible to work on the same stage with such stars? (Nikolay Petrovich)

At first, it was difficult for me to cope not with technical issues - everything was fine with that - but with the nervous system. In the theater, newcomers are always closely watched. Then, when in the process of work, you get to know everyone better, and everything falls into place. You look closely, learn something from the luminaries, develop your own style and transfer your understanding of the image to the stage.

- Was it your dream to get into the Mariinsky Theater? (Lena)

For all Vaganovsky's students, the Mariinsky Theater is the benchmark. We didn't want to hear about any other troupes, so it must have been predetermined.

- Nastya, do you have any idols in the ballet on whom you equal? (Reader)

These are, of course, the masters of the last century. There are a lot of names, and everyone deserves worship, from Maya Plisetskaya to ours Galina Ulanova and Natalia Dudinskaya. If you look at the records of all our teachers who are teaching now - Evteeva, Moiseeva, Komleva - they are all so different, so great! A wonderful teacher, a brilliant master, People's Artist of Russia Elvira Tarasova is working with me now. In general, I like that time, that school. Now everything has changed a little, nevertheless, they are developing more technique, and the price today is acting emotionality.

- You have been at the Mariinsky for three years. What roles do you love so much that you can say - "mine"?

For three years I have danced most of the classical repertoire and now I am in the process of preparing for the next one - this is Aurora in The Sleeping Beauty, which will premiere in March. I like different characters, I like to reincarnate: either a lyric dancer or a dramatic heroine. And I hope I can do it. In any case, I try to reach the hearts of the audience in any role. Their applause is the main assessment of the work of any artist.

- You tour a lot. In which countries is Russian ballet most popular?

Most of all I liked Japan, because it is there that they idolize ballet and understand it. If European scenes allow outright hack-work, and low-quality private groups often come there, then only the Mariinsky, Bolshoi, Grand Opera and Mikhailovsky theaters are allowed to Japan. The Japanese don't just go to a specific name. Even if they see a production for the first time, they understand whether it is good or bad. They have many ballet schools and studios, which speaks of their great love for ballet. They even walk the streets in packs! They are not the most suitable physique, but such a desire to do ballet! With this attitude, I want to come there again and again.

What, in your opinion, comes first in training: artistry or technical side? How do you conduct rehearsals and what advice do you have for aspiring dancers? (Mondo007)

Of course, at rehearsals, we first of all work out the technique, because if something is wrong with your technique on stage, you will only think about that. But at the same time, dramatic art must be present in the ballet. Athletes do things that we will never do, and there is no need to wait for that. You need to think about creating an image, a role, so that a person believes that you were killed, or you are jealous, or you feel bad on stage. An empty trick makes a short-term impression, but leaves no deep feeling in the viewer. A person can come to the circus and see simply unthinkable acrobatics there. Therefore, in the first place in the ballet should be our Russian soul.

"I love to change my image"

Anastasia, do you have a ballet dream now? Maybe a role, a master class with a certain teacher, or your own school? (QC)

Well, it's too early to think about my own school, I'm still a student myself. And there is a role - I dream of dancing Nikiya in the play "La Bayadere". I danced it with the Mikhailovsky Theater on tour in Japan, not yet with the Mariinsky.

I also dream of getting some kind of contract in a foreign theater. I have already performed as a guest ballerina, but I would like something permanent.

You participated in a charity auction, where, together with many celebrities - Vladimir Putin, Valentina Matvienko, show business stars - painted a picture based on a Gogol story. If I am not mistaken, your painting "The Nose" was sold for 440 thousand rubles. Admit it honestly, did someone help you or did you draw on your own?

Of course, the artist Nadezhda Anfalova helped us, because it was all on the street, on the stage, and only 20 minutes were allotted for this. In such a short time, I would not have drawn myself.

- What was hers in the picture, what was yours?

The nose was mine (laughs)! Valentina Ivanovna's painting was number 12 before me. When her painting was sold for 11.5 million, and I had to go on stage, introduce myself - in comparison with the rest of the participants, I am not so famous - I was so worried that they would not buy it! But it was bought for 440 thousand by some man. Thank you very much, I even, unfortunately, did not have time to find out his name.

In general, it was very interesting at the auction. I think I was lucky with the plot: the nose is a key character for Gogol. It's great that charity is developing in Russia. Imagine, 70 million were rescued, and all of them will go to children suffering from cancer. It gives me pleasure to participate in such promotions! It is good for someone, it is even more pleasant for you that you could make at least a small contribution for the happiness of others.

I took custody of two swans at the zoo. I dedicated it to my childhood perception of ballet, because Swan Lake is the first ballet that I saw and then danced. In general, I think that swans are a symbol of Russian ballet, because the whole world knows the great work of Tchaikovsky. A Russian woman is often associated with a swan - everything is somehow interconnected with us. Thus, I paid tribute to this noble and graceful bird. Alas, I do not come to the zoo often. But I know that Odette and Odile (as I called them) are carefully looked after.

- What else is Nastya interested in, besides ballet? Do you have a hobby? (Pauline)

There is no hobby because there is no time. Learning English is more of a necessity. In my free time I read, attracts like in dance, more classics, but I try not to miss the novelties of modern literature.

Appearance plays an important role in your profession. Tell me, how do you manage to maintain such a shape? Any kind of diet? (Svetlana Anatolyevna)

I don't follow special diets. When I feel that I am starting to get better, I try to limit myself or just not eat at night. Lately my taste has changed. If before I loved flour, sweets, I could eat 200 grams of chocolate, and everything was in order (laughs), but today I do not eat sweets. Do not want. I really like vegetables, seafood, I can eat meat, but not often, because it is still a heavy product. That is, I have developed a diet that is a diet for someone, and I always eat like that. And in general, when you are preparing for the next performance, everything burns out in the process of preparation. And you get so tired that you don't even want to eat in the evening.

- Do you like to change your image?

Yes. I was blonde last season, but since I have my own very dark pigment, it was problematic to maintain that hair color. I had to sit in the salon for two hours every two weeks, the torment was terrible - I repainted myself black. Now many do not recognize (laughs).

- That is, the problem of overwhelming fans, apparently, is not worth it?

Yes, they just don't recognize me (laughs).