“I am no hostage to my profession”
We can say with certainty that the Kyiv stage has witnessed the riding of a brilliant new ballet star, Anastasiya Volochkova. Winning the Serge Lifar de la Danse international contest five years ago, she got off to a flying start in her career. Now the ballerina dances for the Mariyinsky and Bolshoi Theaters. But early popularity and an army of admirers have not spoiled Nastia. She is still friendly, smiling, and open.
“We congratulate you: you became a soloist with the Bolshoi Theater after making a debut in the renewed Swan Lake staged by Yuri Grigorovich. Are you going to become a Muscovite or combine appearances at the Mariyinsky and Bolshoi?”
“Last March saw the premiere of Yuri Grigorovich’s renewed production of Swan Lake. I am very pleased that the critics gave a warm welcome to our work which became an important event not only for the Bolshoi but also for all music lovers. It is very nice that the choreography of Grigorovich, an outstanding maestro of our time, is making a comeback at Russia’s main theater, for it is his productions that brought glory to the Soviet school of ballet. Swan Lake is again the Bolshoi’s top draw. During the premiere, I danced with Nikolai Tsiskaridze and Andrei Uvarov, with Vladimir Neporozhny as stand- in. The rehearsals were in a creative atmosphere. We were upbeat, forgetting the time. I think this was the happiest time in my life. I’ve been offered a contract with the Bolshoi Theater.
“At the Serge Lifar de la Danse Festival I performed the Mehmene-banu solo from A Legend of Love staged by Grigorovich, the ‘Russian dance’ from Swan Lake in Vladimir Vasiliyev’s choreography, and a modern number, ‘Fallen Angel’ created specially for me by Dan Tai- Sung. I wanted to show Kyivans a varied repertoire. I cannot complain about lack of work: apart from dancing at the Mariyinsky and the Bolshoi, I also do other things on my own. I recently had solo performances in Switzerland, France, and Britain, in which I included ten numbers from the classical repertoire.”
“What do you think about the opinion of many theater critics that now there are no young choreographers capable of staging not only one-act ballets but large-scale shows?”
“This is subject to dispute. Let me give you an example. I was privileged to work with Boris Eifman who staged the ballet Russian Hamlet specially for me. It premiered last year. I played the role of Catherine the Great. In my opinion, he is today the only person in Russia who knows how to put on large-scale dramatic works. They are striking with their dramatic spirit, patriotism, and fidelity to history. As a choreographer, he has been acclaimed the world over. I cannot agree with those critics who think that Grigorovich is a ballet master of the 1970s, a has-been. His productions have an astoundingly long life; they have no time limits. But Boris Eifman simply represents a different style, a different trend — ballet of the twenty-first century. It seems to me that young choreographers are now gaining experience and engaging in experimentation, which means that audiences will soon see interesting modern dramatic spectacles.”
“Is there no more antagonism and rivalry between the Bolshoi and Mariyinsky Theaters?”
“They are theaters of different caliber. You just cannot compare them. I can only admire the Bolshoi and Mariyinsky troupes. I had the privilege of dancing with both. Now I want to show in Moscow all the best I learned in Saint Petersburg, my hometown. But I also want to absorb all the new things the Moscow ballet school is famous for. Rivalry is present in any performing collective. The main thing is the desire to show yourself and arouse the audience’s interest without stooping to intrigues and bickering inside the theater.”
“You have a varied repertoiry: you dance both classic and modern pieces. I wonder which of these you prefer as a performer?”
“I consider myself a classical ballerina, and I feel extremely happy when I dance in big full- fledged spectacles. My favorite ballets are Swan Lake, La Bayadere, Giselle, and Don Quixote. As to modern numbers, I like improvising in them. The point is these numbers enrich plasticity and give a chance to show oneself as a ballerina with a multiplicity of styles. I like learning all things new in my both artistic and everyday life. I believe a ballerina should not stop at what she has achieved; she ought to constantly develop, trying various genres. Classic ballerinas have the advantage that it is easier for them to master modern dance. But those who exclusively do modern numbers cannot fully reveal themselves in a classical repertoire because they lack the technique. During one of my recent visits to Kyiv I did a number dedicated to the memory of Princess Diana (choreographed by Aleks Ursuliak). This dance is very precious to me. I still have it in my repertoire. Very recently, Chinese choreographer Dan Tai-Sung staged for me a composition titled Fallen Angel. This is the story of a soul seeking a place to rest and living in poverty among the people. The soul comes under a shower of stones, and finally God takes the angel to heaven.”
“Many ballerinas try acting. Do you plan to perform in a film or theater?”
“Pavel Sanayev is currently writing a script for me. The film is supposed to be made by the Moscow-based director Yevgeny Langin. I will play the role of a ballerina, a contemporary of mine. I earnestly hope that our story will pique the interest of audiences.”
“Nastia, can you say that winning the Serge Lifar International Ballet Contest in 1996 was a springboard for your further career?”
“Of course, it helped. It was in Kyiv that I met Aleks Ursuliak, a remarkable choreographer. He and I have prepared several numbers. In addition to the piece in memory of Princess Diana, he staged for me a cheerful dance ‘Joke’ and ‘Dance with a Scarf’ set to pop music. It was also at the contest that I met Askold Makarov (who, alas, passed away in December). The very participation in the contest was an impetus for me: my performance drew the attention of Yuri Grigorovich who chaired the jury. I received the gold medal from him personally. Fate decreed that after a gala concert in Austria he suggested that I work at the Bolshoi. I believe in fortune and luck. Kyiv is one of my most favorite cities: some relatives of mine also live here. I am three-fourth Ukrainian: my grandparents were Ukrainian, mother was born in Lviv and father in Zaporizhzhia. I always come to Kyiv with great pleasure and I would like to take part not only in concerts but also in Ukrainian National Opera productions. I’ve got some experience: I once danced with Kyiv performers in the ballets, Don Quixote and La Bayadere. I repeatedly participated in programs organized in Donetsk by Vadym Pysarev.”
“Being a ballerina means constant workout, diet, and regimen. Do you ever wish to have a feast and, for example, eat pastries to your heart’s content and relax all day?”
“Ballet demands self-sacrifice and dedication. I start my mornings with daily rehearsals. You can achieve a filigree technique only with practice. Nevertheless, I live a normal life and find time to meet friends, read books, listen to music, and watch new films. I try not to miss an interesting theater premiere. I have no friends in the world of ballet. In Saint Petersburg, I am personal friends with only one partner: Yevgeny Ivanchenko, a Mariyinsky Theater soloist. As a rule, my friends have absolutely nothing to do with ballet and are much older than me; they are directors, actors, musicians, doctors, engineers, and athletes. I am by no means a hostage to my profession. On the contrary, I am a very happy person because I do ballet, my favorite thing.”
