On Saturday, 18 February, nearly 5000 people filed into the great hall of the Kremlin Theatre in order to attend the gala concert in honor of Andris Liepa’s 55th anniversary. Film clips of Liepa’s early years greeted the audience pre-curtain — the “Ballet Russes” curtain — referring to the Diaghilev works that Liepa has helped restore over the past few decades in various international theatres.
You were born in Perm and began to dance there?
Yes, both of my parents danced in the Perm Theatre, and I studied there as well for 5 years. But my parents were invited to join the Stanislavsky Ballet troupe in Moscow. So we moved, and I transferred to the Moscow Academy of Choreography, where I studied for 4 years.
Was there a noticeable difference? Perm is known to uphold the strictly Vaganova traditions.
In fact I was advised to repeat one year when I came to Moscow because the two programs differed. A lot of things that I should have known in the 5th year I didn’t, so they asked me to work an extra year. As a result I studied a total of 9 years, not 8.
The upper stage of the Bolshoi Theatre: a small auditorium located under the building’s roof, complete with a small orchestra pit and audience seating that mimics the actual stage where performances are held. It is a hallowed yet impressive space, and today it’s empty except for a small team of six people: Alyona Kovalyova, her partner Yakopo Tissi, two coaches, a pianist, the conductor…and me. It is just five days before Kovalyova and Tissi’s debut in Swan Lake. As the dancers rehearse, their coaches, former Bolshoi soloist Alexander Vetrov and former Kirov ballerina Olga Chenchikova, lead the rehearsals to the sounds of a single piano onstage. The conductor for the premiere, Aleksey Bogorad, sits to mark notes about the score and inquires frequently about the tempo while the rehearsal goes on.