Anna Tsygankova Ballerina Biography

What is closer to you? So I want to dance here with even greater return. As for the role, it seems to me that some time ago I have already outgrown this concept. I can now dance the lyrical parties, and heroic, and everything that stands between them. If the ballerina all his life remains only in one role, where and when does it develop? How did you get there? A soloist from the ballet of the Netherlands came to us, she transferred one of the ballets to the music of Wagner to our stage and was my refrigerator.

For three weeks, while we worked, we became very good friends. When she left, she took my DVD with fragments from different ballets in Amsterdam. There they were just looking for a soloist. So I was at the right time in the right place. I returned to Budapest, I already with a contract in my pocket. I signed it right away, because I understood: if I don’t sign it now, then I will regret my whole life.

We must take risks to grow further. At one time, she graduated from the Moscow Choreographic School, was the leading ballerina of the Novosibirsk Theater. I was lucky that I studied with her. When I was 16 years old, she prepared me, and I danced the leading party in Lake Swan at the Novosibirsk Theater. In the last year of school, I already worked in the theater, and this was a good practice for me.

Of course, I plunged into the world of the theater ahead of schedule, but this gave me a certain rod. In Siberia people are kind, I was lucky both in the theater and in the school. There was no humiliation, there was no breaking. In the second year of the school, I went to the Arabesk contest to Perm. There, Vyacheslav Gordeev saw me and said that I was already a ready -made ballerina, I did not need to finish my studies at the school, and he can take me to the Bolshoi Theater right now.

I had enough reason to understand that I had to finish his study, because if something goes wrong, I will scold myself, that I abandoned the school. I had never regretted this decision, because, as I already said, I already came to the theater in my last year and worked a lot. I decided to enter the troupe of the Bolshoi Theater. I will not hide, it was a painful transition. But I knew: I will always be able to return, and if you want to move forward, I need to do this both through pain, and I can’t.

The first months in the large were very difficult, I constantly wanted to go home. This is understandable: when you are young, when you are not from the capital and you have a different mentality, it is very difficult. But then I got it, friends appeared, and from the second season they made me a soloist, which happened very quickly for the big. The Bolshoi Theater is a great school when there is an opportunity to watch all performances live.

But at some point I realized that it was large-this is not entirely my place, we must grow further. At this moment, it became possible to go abroad. She danced two Swan Lakes in the National Opera of Budapest, and I was offered a contract. I performed the leading party in Macmillan's ballet "Mayerling" to the music of Liszt, for the Hungarians, due to historical events, this is a special performance.

But almost no one spoke English, two girls spoke Russian. Everyone spoke in Hungarian.

I had to urgently master the Hungarian. Now Hungary is my second house for me, golden people live there. When I served in the Hungarian opera, I was like in a cradle - all the worries, all the anxieties disappeared. I could be by itself, and this is very important. I was not afraid that someone would condemn me for something. In Amsterdam, do you have a sense of security?

I compare this to Hungary with the Big Theater. Now the childhood is gone, I have swept. It was better to understand people. The Netherlands are different. Hungary and Russia - they are similar. Holland is the West, there I had to take for work and understand how they think, how they live, what their way they have. People there are moderately ambitious, no one will sit you and make dirty tricks.

No matter how regrettable, this is more common in Russian theaters. If there is envy in the Dutch theater, this is not such a “envy” with a capital letter as we have in Russia. I was young, I just fluttered from home, I had idealistic ideas about the world and its structure. It was a difficult path, but everyone should go through it, it is useless to hide from life. If we take even the Middle European Theater, then the fees of artists are much higher than in Russia.

If you come with European income to your homeland, then life here seems very nothing. But in the West we have very high taxes, this must also be remembered. He suggested participating in the Nurievsky festival. Before that, I saw the Kazan troupe on the tour in Amsterdam, watched the Bayadere. The level of Kazan ballet is very high, so we - my regular partner Matthew Golding - agreed to come to the festival.

It was a year ago, this year the invitation repeated, and we happily accepted it. But what does this dancer mean to you? He is a man of extremes for me. Nuriev, as I know from the books that I read about him, could be incredibly generous and could be, for no one, no secret, terrible switches.For me, a mystery: how did his ego and his divine essence get along in him?

I don’t know ... In short, for me Nuriev is a man of extremes. I think that this raging passions, sometimes directly opposite, made it so charismatic. When you watch a video with Nuriev, we can say that the technique has gone forward. This is so, but Nobody has no one yet. And will it be? And how important for you is interaction with a partner? If there is such a contact, none of this energy field will fall out.

And the artist simply bathes in this incredible, walking through an orchestral pit and conductor of the energy flow of spectators. She was a soloist of the Novosibirsk Theater, the Bolshoi Theater, the National Opera of Budapest. Now - the leading soloist of the ballet of the Netherlands. Laureate of international competitions. Lives in Amsterdam.