An Interview with Andrei Uvarov
This week Andrei Uvarov, one of
the Bolshoi Ballet's most outstanding male dancers, is appearing in London
with Nina Ananiashvili in an eagerly awaited programme of new works at
Although there were no ballet traditions
in his family, Andrei loved to dance. So when his parents heard about
the Moscow Choreographic School holding auditions for young boys, they
went along to see if Andrei could be accepted. They were successful, and
young Andrei embarked on his studies there to eventually become a member
of the Bolshoi Ballet.
He replied that every performance
is an important performance for him, but his performances in 1993 in London
at the Albert Hall were of special significance as these were his first
international opportunities. Since then he has gone on to dance with the
Bolshoi pretty much worldwide.
"This is like asking a mother
which is her favourite child." It's difficult for him to say which
role is his favourite -- he now dances all the leading classical roles
at the Bolshoi -- but on reflection, Siegfried and Don Quixote are possibly
his favourite parts. Such widely different roles clearly indicate his
versatility and range.
He will be partnering Nina in the
ballet "Lea" by Alexei Ratmansky, the new Bolshoi director.
He likes the part very much and finds the concept of the ballet very interesting.
It is a ballet with a powerfully dramatic story and he gets "great
pleasure" from dancing the role.
Andrei is very optimistic about
Ratmansky becoming director and believes he is planning to make many new
ballets for the company. The dancers have great faith in him and are encouraged
by the fact that he has danced in Copenhagen and Canada and hope that
these western influences will be beneficial to the Bolshoi Company.
The Bolshoi is changing all the
time, and a chief concern is that tickets there are now so expensive that
they have become unaffordable for many Russian ballet lovers. What the
dancers do is to get complimentary tickets in order help the ballet fans
to get in. At the other end of the scale, rich people are now coming to
the ballet too, and it is a positive thing that they keep coming back.
In fact, these people do go on to become sponsors, and there is now a committee of sponsors at the theatre with this aspect becoming very developed