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Asaf Messerer
Asaf Messerer
Asaf Messerer
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Asaf Mikhailovich Messerer (Russian: Асаф Михайлович Мессерер; 19 November 1903 – 7 March 1992) was a Soviet ballet dancer, teacher and choreographer. He was born in Vilnius, Lithuania. In 1919 he studied privately with Mikhail Mordkin, until Alexander Gorsky placed him in a class at the Bolshoi Ballet School, from which he graduated in 1921. He then joined the Bolshoi Theatre, where he became one of its most important principal soloists, a position he retired from in 1954.

Today Messerer is best remembered as a choreographer and an instructor; he was both the choreographer and ballet master for the Bolshoi Theatre. His book Classes in Classical Ballet is a thorough study of proper ballet technique and is still used today.

Messerer was the brother of Sulamith Messerer and Rachel Messerer and the uncle of Maya Plisetskaya, Alexander Plisetski and Azari Plisetski, as well as of Mikhail Messerer. He was married to silent film star, Anel Sudakevich (Russian: Анель Судакевич). They had one son, theatre artist Boris Messerer (Russian: Борис Мессерер). He won multiple awards from the USSR and Lithuania.

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Asaf Messerer

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Asaf Messerer was a Soviet ballet dancer, teacher, and choreographer renowned for his virtuosic principal dancing with the Bolshoi Ballet and his enduring influence as one of the most important ballet pedagogues of the 20th century. Born on November 19, 1903, in Vilna (now Vilnius), Lithuania, then part of the Russian Empire, he rose to prominence through his technical brilliance and artistic versatility, elevating standards of male dancing in Soviet ballet while mentoring generations of performers. He died on March 7, 1992, in Moscow at the age of 88. Messerer began studying ballet privately with Mikhail Mordkin in 1919 and entered the Bolshoi Ballet School under Alexander Gorsky, graduating in 1921 to join the company as a principal dancer, a role he held until 1954. He distinguished himself with exceptional technical mastery and a dramatic approach, notably introducing naturalistic acting in place of conventional mime in leading roles such as Siegfried in Swan Lake. He excelled across classical and character repertory, appearing in major works including Don Quixote, La Fille Mal Gardée, Coppélia, and Petrouchka. He commenced teaching at the Bolshoi school in 1923 and assumed leadership of the classe de perfection in 1942, establishing himself as a leading authority whose methods shaped Soviet ballet training. His pedagogy extended internationally through master classes, Bolshoi tours, and collaborations such as his 1960 work with Maurice Béjart’s Ballet of the 20th Century. Messerer codified his approach in the influential book Classes in Classical Dance (published in English in 1975), which remains a key resource for classical ballet education. As a choreographer, he staged productions for the Bolshoi including versions of Swan Lake and The Sleeping Beauty, and created original pieces such as the bravura Ballet School (featured on the company’s 1962 American tour) and the concert pas de deux Spring Waters. He also choreographed for dramatic theater, working with Vsevolod Meyerhold, and was honored as a People’s Artist of the USSR with state prizes for his contributions. Messerer maintained close professional and family ties to the ballet world, frequently collaborating with his sister, dancer and teacher Sulamith Messerer, and serving as the maternal uncle of legendary ballerina Maya Plisetskaya. His legacy endures through his teaching system, choreographic works, and the continued impact of his students on global ballet.

Early life and education

Family background

Asaf Messerer was born on November 19, 1903, in Vilna (now Vilnius), Lithuania, then part of the Russian Empire. He was a member of the prominent Russian Jewish Messerer family, renowned for its extensive involvement in the performing arts across acting, dance, and early cinema. The family produced several notable performers among his siblings. His older brother, Azary Messerer (1887–1937), was a leading stage actor at Moscow’s Second Studio. His sister Rakhil Messerer-Plisetskaya (1902–1993) achieved prominence as a star of early Soviet cinema. Another sister, Elizaveta Messerer (1906–1963), pursued a career as a stage actress in Moscow. His younger sister Sulamith Messerer (1908–2004) became a Bolshoi ballerina and his frequent stage partner. This artistic family environment laid the groundwork for his own later involvement in ballet.

Ballet training

Asaf Messerer began his ballet training in 1919 with private studies under Mikhail Mordkin in Moscow. Alexander Gorsky recognized his potential and placed him in a class at the Bolshoi Ballet School. He completed his studies and graduated from the Bolshoi Ballet School in 1921. His early immersion in rigorous classical technique under these influential teachers laid the foundation for his rapid professional entry into the Bolshoi Ballet.

Performing career

Bolshoi Theatre principal dancer

Asaf Messerer joined the Bolshoi Ballet as a principal dancer in 1921 immediately after graduating from the Bolshoi Ballet School. He remained one of the company's leading performers for the next 33 years, retiring from the stage in 1954. In his first leading role as Siegfried in Swan Lake, he created a stir by substituting naturalistic acting for conventional mime. His technical virtuosity took Soviet male dancing to new levels, while his artistic versatility allowed him to excel equally as a dramatic or character dancer and as a premier danseur. He performed leading roles in classics including Swan Lake, Don Quixote, La Fille Mal Gardée, Coppélia, and Petrouchka, demonstrating technical mastery throughout his career. Messerer was regarded as one of the strongest and most individual principal dancers in the Bolshoi Ballet during this period.

Choreography

Notable works and style

Asaf Messerer created a number of notable choreographic works that emphasized virtuosic technique and dynamic expression, drawing from his long experience as a principal dancer at the Bolshoi Theatre. His most famous creation is the concert pas de deux Spring Waters, which became emblematic of the Bolshoi's bravura style with its bold lifts, rapid footwork, and exuberant energy. This piece has remained a staple of classical ballet repertoire and a symbol of Soviet-era technical prowess. Messerer also created Ballet School as a divertissement for the Bolshoi Ballet's 1962 tour to the West, where it was widely praised for its dazzling showcase of classical ballet technique and precise ensemble work. Among his other works are the concert divertissement The Football Player to music by A. N. Tsfasman, revivals of classical productions including Swan Lake (1937) and The Sleeping Beauty (1936), and the co-choreographed Ribbon Dance (from the ballet The Red Poppy) with Lev Lashchulin to music by Reinhold Glière. He collaborated with director Vsevolod Meyerhold on dances for dramatic productions, integrating ballet elements into theatrical contexts. During World War II, Messerer served as artistic director of the Bolshoi Theatre while it was evacuated to Kuybyshev.

Teaching career

Pedagogical method and influence

Asaf Messerer began teaching at the Bolshoi Ballet School in 1923 and took over the classe de perfection, the highest professional class, in 1942, remaining a leading instructor there for decades. His pedagogical method, rooted in his performing and choreographic experience, emphasized a logical progression from precise basic positions to more complex movements, characterized by rare logic and care in execution. Messerer developed classes that served as models of invention and well-rounded exercise, stressing both precision and fluid artistic control. He served as ballet master for the Bolshoi Ballet's foreign tours during the late 1950s and early 1960s. In 1960, he acted as ballet master for Maurice Béjart’s Ballet of the 20th Century in Brussels, where his work drew critical acclaim. Messerer authored the book Uroki klassicheskogo tantsa, published in Moscow in 1967, which systematically documented his detailed technique and teaching philosophy. An English translation titled Classes in Classical Ballet appeared in 1975, featuring nearly 500 photographs of Bolshoi dancers illustrating positions and steps, along with an introductory section outlining his basic plan and approach to teaching. Messerer continued teaching at the Bolshoi and internationally until his death in 1992, cementing his status as one of the great Russian ballet pedagogues whose classes influenced generations of dancers and contributed to the refinement of classical technique at the Bolshoi School. His method, preserved in his book, has been followed in part by subsequent teachers and has gained an international reputation for its structured, comprehensive approach to classical ballet instruction.

Film and media credits

Roles and contributions

Asaf Messerer made limited but distinctive contributions to film and media, primarily through projects that captured or adapted elements of classical ballet associated with his career at the Bolshoi Theatre. He appeared as an actor in the 1951 film The Grand Concert, a documentary-style presentation highlighting performances from the Soviet arts scene, including Bolshoi-related material. In 1957, Messerer received a writer credit on the film Swan Lake. That same year, he was credited as choreographer for the "Spring Waters" segment in The Bolshoi Ballet, a production documenting Bolshoi repertoire. His choreography provided the foundation for Ballet Adagio, a 1972 short film directed by Norman McLaren for the National Film Board of Canada, featuring slow-motion cinematography of a pas de deux set to Albinoni's Adagio and performed by Canadian dancers David and Anna Marie Holmes. These credits often drew from his existing Bolshoi choreography. Archival footage preserves performances such as his 1940 Ribbon Dance and a 1979 recording of Spring Waters .

Personal life

Marriages and descendants

Asaf Messerer was married twice. His first wife was Anel Sudakevich (1906–2002), a Soviet silent film actress recognized for her roles in 1920s cinema before later working as a costume designer. They had one son, Boris Messerer (born 1933), who became a celebrated Russian artist, theater set designer, and painter, notably contributing to productions at the Bolshoi Theatre. His second wife was Irina Tikhomirnova (1917–1985), a Bolshoi Ballet dancer and teacher. No other children or direct descendants are documented in reliable biographical accounts.

Extended family connections

Asaf Messerer belonged to the prominent Messerer family, a Russian dynasty of dancers and actors whose members significantly shaped Soviet ballet and the performing arts. He was the brother of Sulamith Messerer, a ballerina who partnered with him in performances, including their pioneering 1932–1933 tour in the West—where they became the first Soviet ballet dancers to perform abroad in countries such as Latvia, Sweden, Denmark, France, and Germany. Through his sister Rakhil Messerer-Plisetskaya, Asaf was the maternal uncle of the renowned prima ballerina Maya Plisetskaya. He was also uncle to Rakhil's son Azari Plisetsky, who went on to become a dancer and choreographer. His nephew Mikhail Messerer, son of Sulamith Messerer, later became a distinguished ballet teacher and carried forward the family's legacy in dance. The Messerer-Plisetskaya dynasty's generational contributions have profoundly influenced ballet in the Soviet Union and beyond.

Awards and honors

Death and legacy

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