We have managed to interview Olga Marchenkova, Leading Soloist of The Bolshoi Theatre. It was quite difficult to do as she spoke very little English.
Then it was agreed that she would answer them via email with us sending (the same questions, as with Melissa Hamilton) This she answered through interpretation arranged by the Bolshoi Press Department. Arranged by Mr. Makhar Vaziev, Artistic Director of Ballet.
Interpreter: Hello! I would be delighted to answer your questions on behalf of the Bolshoi Ballet dancer. Let's dive into the world of ballet...
1). From the very beginning: what inspired you to study ballet?
Oh, those are magical memories! When I was six, my mother took me to see the Nutcracker ballet at the Bolshoi. I remember how I froze when I saw Masha (the Sugar Plum Fairy)! She seemed like a creature from another world, incredibly light and shining. I was amazed that you could tell a story without words, only with movement and music. I walked out of the theater and said: "I want to fly like her!"
2). How did you find learning the art of ballet? Was it difficult or did it come naturally?
I had been doing rhythmic gymnastics since I was five. Of course, it was good preparation and that's why it was quite easy to master the technique at the beginning of my training! But ballet is not only about technique! The best roles are danced with the soul! During the classes, I had to repeat the same movements day after day to achieve perfection, flexibility, and musicality! Every day is an overcoming, muscle pain, calluses from pointe shoes, but also the joy of doing what you love and going towards your dream! Naturally, only a huge desire and love for dance were driving me. The technique itself is years and years of titanic work, self-discipline, and the ability to endure. It's like a diamond - it needs to be polished for years to make it shine.
3). Tell us about your feelings and emotions before, during, and after the performance.
Before the performance: It's a cocktail of adrenaline, excitement, and utmost concentration. Behind the scenes - an almost meditative state. You check your pointe shoes, costume, makeup, and mentally go through complex combinations. A little nervousness is normal; it keeps you in good shape. But the main thing is to pull yourself together, get into character.
During: It's like flying! Fear evaporates with the first bars of music. You completely dissolve in the role, in your partner, in the orchestra. The stage lives its own life, you feel the energy of the audience, but at the same time you are absolutely focused on every movement, breathing. This is both a huge physical load and an incredible emotional release. There are moments of complete happiness when everything turns out exactly as you dreamed.
After: At first - huge physical fatigue and emptiness, as if squeezed out. But very quickly comes an incomparable feeling of euphoria and gratitude to the audience, partners, orchestra, and yourself for overcoming. Applause is the air breath. Then comes the analysis: what was successful, and what still needs to be worked on. And the next day again to the bars.
4). Which production brought you the most pleasure, and which was the most difficult technically?
The greatest pleasure:
This is the role of Mekhmene Banu from the ballet "The Legend of Love" by Yury Grigorovich. It is technically and emotionally difficult! What attracts me to it is the heroine's inner life, the painful trials
of the spirit, the drama of the ballet, the characteristic poses of the hands, the bizarre interweaving of movements! The crowd scenes of processions and dances sound as a defiant contrast to the heroine's sorrowful and frantic monologue!
ππππ πππ£ππππππ π§π as Makhmene Banu in βLegend of loveβ - Video
The most technically difficult:
"The Pharaohβs Daughter" It's a whirlwind! The speed, the fine technique of the Parisian school, endless pirouettes, jumps that require filigree precision and endurance. One slightest mistake - and the entire fragile pattern of the dance falls apart. It's a constant challenge to yourself.
5). What ballet companies, besides yours, do you value and why?
I endlessly admire the Mariinsky Theatre. Their school is the standard of purity of style, depth, and musicality. They are our kindred spirits, the keepers of the great Russian tradition.
Also, great respect for the Paris Opera. Their elegance, style, impeccable lines, and incredible school of male dance. And of course, the Royal Ballet of Great Britain in Covent Garden. Their repertory diversity, depth of dramatic works and preservation of the Ashton and MacMillan traditions are impressive. Each of these companies is a unique world with its own unique history and energy.
6). What is your opinion about contemporary, modern ballet and the companies and choreographers who create it?
Contemporary ballet is an important and living part of art! It expands boundaries, searches for a new language, speaks on current topics. Companies like the Nederlands Dans Theater or the Ailey American Dance Theater amaze with their physicality and boldness of ideas. I like choreographers like Forsythe (I would like to dance the famous duet performed by Sylvia Guillem) βin the middle,β Killian, McGregor, Christian Pita, Neumeier. They are all innovators. I think the artists who can perform the works of these choreographers are unreal! They are amazing.
Contemporary companies, in my opinion, are a breath of fresh air, without it there is no movement. The main thing for me is that the experiment is meaningful, and not for the sake of shocking, that dance remains an art that requires skill and depth, and not just movement. Classics are our foundation, and modern dance is an opportunity to grow in breadth, to explore. They can and should coexist and enrich each other.
7). Which ballerinas, choreographers, teachers of the past and present do you admire?
From the past: Galina Ulanova is the standard of spirituality and tragic gift. Maya Plisetskaya - her incredible power, charisma, and unique style. Marina Semenova - legendary technique and pedagogical genius. From choreographers: Of course, Marius Petipa - the creator of our classical universe and George Balanchine - the genius of musicality and form.
From the present: I admire Svetlana Zakharova. Her lines are mesmerizing! Her incredible capacity for work, perfection of lines and acting depth are constantly inspiring.
Diana Vishneva β her intellectual depth and versatility.
Of the teachers: I am grateful to each of my teachers at the Bolshoi Theater and the Academy of Choreography. They are the keepers of traditions and our strict guardian angels. At the Bolshoi Theater, I rehearsed for a long time with Svetlana Dzantemirovna Adyrkhaeva. Unfortunately, she died in 2023. Currently, I rehearse with Nina Lvovna Semizorova. Thank her for working together. Of the choreographers: this is, of course, the legendary Yuri Nikolaevich Grigorovich, who recently passed away. This choreographer is the foundation of all Russian ballet. His ballets are our foundation. There will be no more brilliant one.
Of the foreign ones: I like the works of Patrick De Bana! I was happy to be involved in his masterpieces.
Yuri Posokhov. Ballets that were performed on the stage of the Bolshoi Theater and those that are still in our repertoire. I admire Tamara Rojo, her career, and the management of English National Ballet.
8). Is there a person or a ballet company that you have not worked with yet, but would really like to?
I dream of dancing with the wonderful artist of the Bolshoi Theater Artemy Belyakov in the ballet "Carmen" (Carmen and Jose) and "La Bayadere" (Nikuyu and Solor). I danced with him in the ballet "Swan Lake", "A Hero of Our Time", "La Bayadere" ("Gamzatti"). With Artemy you feel like you are in good hands-on stage. Incredible care, attention to the partner. This is worth a lot.
Kim Kimin. Fascinates with his skill, musicality, acting. I would like to dance "Don Quixote" (Kitri and Basilio) with him.
And, of course, it would be an honor to dance with such dancers as Roberto Bolle (La Scala) and Ethan Stiefel (American Ballet Theatre). Their artistry and partnership skills are truly admirable.
9). How do you see the future of ballet in terms of its appeal and participation in the modern world?
Ballet is eternal because it speaks the universal language of beauty, emotion, and human overcoming. Yes, today there is a lot of competition for the viewer's attention. These include modern productions on current topics, the use of new technologies in scenography, and active work in social networks to be closer to the public, especially young people.
Accessibility is very important. These include broadcasts in cinemas and educational programs. Participation is also growing: More and more children are coming to the sections, adults are discovering ballet as fitness and art. The future is in balance. This is the careful preservation of a great heritage and bold, talented experiments that will find a response in the hearts of the new generation. Ballet should remain high art but not be divorced from life.
10). What moment in your career was the most memorable and dear to your heart?
This is a difficult question. Many bright moments! But, perhaps, the most intimate is my debut as Odette-Odile in Swan Lake on the Historical Stage of the Bolshoi theatre. This performance is the holy grail for any ballerina. I remember this incredible burden of responsibility, almost panic fear. And the moment when after Odette's monologue in the second act there was silence, and then the audience applauded. I felt an incredible connection with the audience, with Tchaikovsky's music, with the very soul of this ballet. It was the recognition of my Odette. That evening, I truly felt like the Swan Princess and part of the great history of the Bolshoi Theater. The emotions are still with me.
There was also a moment when I first came to the Bolshoi Theater in 2007. In the fall, at the beginning of the season, there was a joint project "Kings of Dance" with the participation of Nikolai Tsiskaridze, American dancers Ethan Stiefel, Angel Correia, and Johan Kobborg. I met Ethan Stiefel in person after their performance. Of course, I was impressed! Especially since I had previously watched the cult film "Center Stage". This was, of course, a bright moment in my life!
The invaluable experience with my teacher Svetlana Dzantemirovna Adyrkhaeva is very dear to my heart. She passed on to me the legacy of the great master Yuri Grigorovich. These are works under the strict guidance on the ballets "Swan Lake", "Spartacus", "Giselle" (Myrtha). I am also grateful to my teacher at the present time. With her, I continued to work on the roles in the ballets "The Legend of Love", "The Pharaoh's Daughter".
Thank you for such deep and interesting questions! Being a ballerina of the Bolshoi is a great honor, incredible work, and endless love. I wish your magazine success in covering this beautiful art!