What aesthetics did you envision for this “Swan Lake?” You commissioned Georgian artist David Monavardisashvili to create new scenography (the backcloths are hand-painted in the Georgian tradition) and Russian fashion designer Cyrille Gassiline to work on new costumes? Both have collaborated with you before (on “La Bayadère,” 2024).

When we began, I told David that I wanted the look of the German fairy tale and that period [German folk tale published as “The Stolen Veil” in 1784, one of several cited influences on the original “Swan Lake” libretto]. Then there was a great influence on Germany from Asia, especially India, so we looked at this for the design, in the colours, for example. I think David combined these influences very well with a German gothic style, like for the palace. I think Cyrille’s costumes fit very well with David’s designs. When I showed Cyrille David’s scenography we agreed that we wanted the costumes to reflect the same period. We looked at a lot of historical images and then the adaptations needed to create costumes for ballet dancers. 

I see some of the tutus for the swans are more contemporary?

I like tutus that don’t interfere with the lines, the shape of the ballerina. I think the straight tutu looks really pretty. I am really interested in costumes and very picky about them. In my early career, I had to make some costumes for myself. It was hard. There was not enough material to make tutus, so I had to find the fabric around the world. I think what Cyrille has done with these new tutus, the way the material looks just like feathers, is incredible. 

Can we talk about the lead roles? You were 22 when you first performed Odette/Odile on the Bolshoi’s tour to Germany and still a corps member? 

Yes, I was very young. I didn’t have much time to think. They threw me on. I had just two days in Moscow to learn the choreography. Then we had two days on the train to Germany because we didn’t fly at that time. I had one day to rehearse before the performance, because I was also dancing in “Spartacus.” I was in the wings learning the steps [for “Swan Lake”]. The day before my first performance of “Swan Lake” in Hamburg, Grigorovich [Yury Grigorovich, then Artistic Director of the Bolshoi], said to me, “Don’t tell anyone you have not danced this ballet before.” I said, “Okay.” In the dress rehearsal, I was sharing the role with Natalia Bessmertnova. She did Act Two and I did Act Three. After the Black Swan pas de deux, all the company who were sitting down and in the wings got up and applauded. My colleagues came to me and said, “Nina, you passed the exam!” 

How has your experience of performing Odette/Odile shaped your coaching of the role?

You can see the photograph of Raisa Struchkova [1925-2005, Russian ballerina and coach to Ananiashvili at the Bolshoi]. I can say that any of the advice and teaching I give now comes from her. She said to me, “Nina, technique is technique. You are a ballerina, of course you can do this. But what you show is so important—your heart, your mind.” When we were rehearsing [for “Swan Lake” in 1982] over the short two days, she was teaching me about my eyes, where I needed to look. When I came back to Russia after this, and I was going to dance “Swan Lake” again, we started working more carefully, more slowly. With every performance I tried to improve many things. I can say “Swan Lake” became, perhaps, one of my trademarks. I danced it at the very beginning of my career and then for my first and last performances with American Ballet Theatre. I also danced it [as a guest artist in 1992] with the Kirov Ballet at the Metropolitan Opera, New York. With “Swan Lake,” something good always happens for me!

Now, when I teach my young dancers, I try to remember everything that I have collected working with my teachers. At ABT, I was working with Irina Kolpakova for a long time. Irina would say, “Yes, keep that as Raisa told you, but also try this, little corrections like keep your shoulder down here…” I don’t like to watch myself dancing on film because I’m always so critical, but I also look at these performances now and see how each one is different.