Andrian Fadeev: “You can't deceive the public! Masterpieces need no comparison

In December 2016 and January 2017, the St. Petersburg State Academic Ballet Theater named after Leonid Yakobson comes to Germany on tour. On the eve of the tour, the artistic director of the theater, Honored Artist of Russia Andrian FADEEV kindly agreed to answer the questions of our magazine.

– Andrian Gurievich, despite the fact that the theater repertoire includes many excellent modern performances, you bring only classical ballet to Germany. What is the reason for such a choice?
– Russian ballet is famous primarily for the classics. Therefore, this program was chosen for our tour in Germany. Moreover, this visit coincides with Christmas and New Year holidays, which means that we must definitely show our famous Nutcracker.

– What else do you plan to surprise the German public with?
– We will bring Giselle, The Nutcracker, Chopiniana and a gala program. All this is amazing music, beautiful design, the skill of dancers and stories that have been touching human hearts for more than one century. We do not seek to surprise. If the audience came, turned off their mobile phones for three hours, forgot about their daily problems and, no matter how trite it sounds, plunged into the world of beauty, then our task is completed. And if they wanted to attend the next performance, then this is already a victory.

- Five years ago you headed the ballet theater. Has the repertoire changed over the years? What do you prefer - classics or modern productions? What tasks are, in your opinion, among the priorities?
- Our main task is to be interesting to the viewer. What will be needed tomorrow, no one knows. We try to work in a variety of areas and do it professionally and conscientiously. And how the theater succeeds, to judge the public. You can't fool her.

- You have repeatedly been on tour in Germany. Is the German audience somehow different from other audiences in Europe?
– Visual perception does not depend on geographic location. In any country there are people who came to the ballet for the first time, there are sophisticated connoisseurs, and in the end it all depends on the artists - how much they manage to touch the hearts of the audience.

- You know many countries. Which audience do you think is most receptive to ballet?
- Perhaps, Japan, they are especially reverent about this type of art. In this country it is difficult to find a girl who does not attend a ballet studio. Over the past 20 years, Japanese ballet has changed beyond recognition. Russian teachers work all over Japan. And today, in any ballet troupe in the world, a representative of the Land of the Rising Sun is dancing. Our theater is no exception.

Petersburg is famous for many famous ballet companies. How do you manage to withstand such strong competition and what place does the Yakobson ballet occupy among the theaters of the Northern capital?
- Our theater does not compete with anyone. We have our own place in the ballet space of St. Petersburg, our own repertoire, our own destiny and, of course, our own audience. In addition, young dancers who perform with us get the opportunity to immediately perform the leading parts. Of course, admirers of Leonid Yakobson's work do not miss memorable evenings dedicated to the master and his ballets. Some people prefer our classical performances, but there are those among the audience who are following with interest the search in the field of modern choreography.

– The performances of your theater often take place on the stage of the Bolshoi Theater or the Alexandrinsky Theatre.
– Own site is still a dream, and I hope it is feasible.

– The best ballet troupes from all over the world come to Germany on tour. What is the distinguishing feature of the Yakobson Ballet Theatre? What can the audience see at your performances that is not in the productions of other theaters?
- Our theater is an academic state theater, and it is simply obliged to meet high professional criteria. And not just in terms of performance. Therefore, we pay such close attention to the scenery and costumes. Everything must be at the same high level, otherwise dissonance arises: with a poor design, you no longer want even the most brilliant dances, and a bad orchestra will spoil the impression of the whole performance. After all, this is a holistic work, where every detail is important.

– You were born in a dancing family. And from an early age they were in love with ballet. What else makes your heart beat?
– My mother was a soloist of the Mikhailovsky Theatre, in those years it was also called the Maly Opera. Therefore, childhood passed behind the scenes. My parents did not really want a ballet fate for me. For too much has to come together for an artist to succeed in the profession. But the stars didn't let me down. I graduated from the Vaganov School and was accepted into the troupe of the Mariinsky Theatre. It cannot be said that it was an easy path. In those years, Farukh Ruzimatov, Igor Zelensky shone on stage, and there was fierce competition among my peers. I worked a lot in the evenings, after ten o'clock, when the ballet halls were vacated, and not only with teachers, but also on my own. Believe me, it is a great pleasure to slowly, step by step, go towards the goal. And I had her. I became the premiere of the Mariinsky Theater, performed on the best stages of the world, worked with John Neumeier, Alexei Ratmansky, William Forsyth... What else can a dancer dream of? I am a happy person, my creative life has turned out well. My wife, Alexandra Gronskaya, is also a ballerina, but our twelve-year-old son breathes evenly in regards to dance. But we are not upset: let him choose what the soul lies to.

- How do you prefer to relax?
- I can't rest. Of course, it's great to get on a plane and fly with your family to the sea. But I never get 100% off work. Maybe wrong, but it's a given.

– What associations do you have with the word “Germany”?
– I remember my work at the Deutsche Oper in Berlin. It was September, I flew in with my wife after my honeymoon, the weather was amazing, I danced Romeo, and my whole creative life was still ahead ...

– Munich and Berlin applauded you. How did your work develop in this country?
- For a conscientious professional artist, there is no difference - to dance in Russia or in Germany. Now all the troupes in the world are absolutely international. For a dancer, this is a huge experience and moving forward - to have contracts in different cities and countries of the world.

– Are there any must-see places that you would like to visit during your tour in Germany?
– For me, places are often associated with people. I have many friends here, and, of course, if there is such an opportunity, I will try to see them ...

Order tickets for performances by phone: 069-48 00-8787 and 069-48 00-89 89.

Aleskandra, in your opinion, what is the difference between the Kyiv school and other schools?

I traveled a lot to various schools in Europe for internships. I have been to London, Paris, Monaco, Vienna and Barcelona. The Russian school stands out for its discipline. In Europe, the work of the feet, fine technique and good rotation are more valued, while in our country - purity of execution and academicism. Kyiv school can be seen by the hands. Our top is tighter. In Barcelona, ​​many immediately spoke to me in Russian, not yet knowing where I was from.

Many ballet stars from Ukraine - Nina Semizorova, Svetlana Zakharova, Sergei Polunin. Why do you think so?

Ukrainians are hardworking and purposeful. We are ready to work day and night. And in Ukraine there are very beautiful people, and the stage loves beauty.

You have a stylish instagram. Is it a tribute to fashion or a desire to become more popular?

I am extremely pleased that he is considered stylish! I try to combine posts in colors, make them interesting and beautiful. At first, it was really a tribute to fashion - all the girls had their own page, and I also wanted to. And now, thanks to him, I can meet and communicate with people from other parts of the world and share what I love.

Lots of poetry on the page. Why? What is your favorite poet?

Favorite poet - Sergei Yesenin. I always carry a small collection of his poems with me, and I know most of them by heart. From acquaintance with his work, my love for poetry began. I read Blok, Lermontov, Fet, Pushkin and Mayakovsky. I compose myself. Previously exclusively for myself, now I share with my subscribers. But while I do not indicate my authorship under all the poems, I am embarrassed.

In which theater would you like to dance?

The dream theater is the Mariinsky Theater in St. Petersburg or the Grand Opera in Paris. These are theaters with a rich history and insanely beautiful, many great artists have performed on these stages. Hope to join them someday.

How do you manage to combine studies and hobbies, dance and travel?

As a child, I did not let my parents switch the channel "Culture", which often showed ballet. From the age of 3, I already knew that I would connect my life with classical dance, and other hobbies appeared later, and do not prevent me from doing what I love. I give myself completely to ballet, and everything else fades into the background. It's hard to say that I combine it. On the plane, I study poetry, stretch, reading books. I have been to many countries, but not as a tourist, but as an artist who improved his ballet skills.

What is your biggest fear?

I'm afraid to be wrong. I am an idealist, I believe that everything should be done perfectly or not done at all. Because of this, I used to be afraid that they would scold me, but now I have practically overcome this fear. And I realized that they make comments when they want to help, and if something continues to fail, the principle will work - more work, less nerves.

What is your favorite discipline in school?

I love all subjects at school, but especially classical dance. Everyone in my family is either mathematician or physicist. My parents once wanted me to follow in their footsteps, so I had no chance not to love technical disciplines.

Try to remember a case during training when something did not work out for you for a long time. What was it? And how did you find a way out?

Once I wanted to dance a variation from the ballet Esmeralda. Everyone said that I was a lyrical ballerina and would not be able to dance it either emotionally or technically. Everyone is used to the fact that Esmeralda is a fatal beauty, although, according to the plan of Victor Hugo, she is an expression of innocence and purity. I managed to convince the teacher, and I danced this variation in the semi-finals of the YAGP competition in Paris.

Are there any ballet dancers you want to be like?

I like Oksana Skorik, Victoria Tereshkina, Sylvie Guillem, Diana Vishneva. But I don't want to be like someone else, I don't want to become a copy. I strive for individuality.

Interview Elizabeth Emelkina

A photo Ira Yakovleva

Four years ago, Honored Artist of Russia Andrian Fadeev was offered to head the St. Petersburg State Academic Ballet Theater named after Leonid Yakobson. The offer was one of those from which it is impossible to refuse, and he undertook this difficult, but interesting business.

Elena DOBRIAKOVA

Andrian, in May of this year, the team managed to stir up the St. Petersburg public when the ballet "Stone Shore" choreographed by Vladimir Varnava was shown on the stage of the Hermitage Theater. The audience saw a short, but very bright, figurative performance with unusual plasticity, with a clearly built dramaturgy, tragic in sound.
- Yes, the topic is poignant - about the victims of the Holocaust. In Hungary there is a monument: on the banks of the Danube there are stone shoes - these are the shoes of those who were shot by the Nazis. The dead fell into the river, their legs were tied with a single rope, and the shot dragged the other condemned into the water. Vladimir Varnava, a young and very talented choreographer, set to work with great enthusiasm, and, it seems to me, the performance turned out to be poignant. We are going to continue to cooperate with this director.

"Laziness is fraught with loss of health"
- What remains in the priority direction of the Yakobson Theatre? Classical or modern choreography? Large multi-act ballets or short productions?
- I think we succeed in both sweeping canvases and choreographic miniatures. Everything has the right to exist, including modern choreography in its most unexpected manifestations. The main thing is that it should be spectacular, talented and interesting to the viewer. After all, the laws of the theater have not changed over the past 300 years. In Russian ballet, everything rests on the classics, and, believe me, not a single troupe, not a single artist who speaks only the language of contemporary dance will perform Swan Lake or Sleeping Beauty. Our art has always been a subject of Russian pride. Domestic dancers master the skill of classical dance much better than their foreign counterparts. Not without reason today, contrary to the political situation, tours abroad are not canceled, but even vice versa. Our theater is negotiating trips for 2017-2018. Russian ballet is alive and in great shape!

- When you came to the Yakobson Theatre, what was the state of the troupe?
- The theater was going through difficult times. Now the composition of the artists has been completely renewed, and today I am satisfied with the quality of the work of the team. There were no revolutions - I acted very calmly and persistently.
First of all, he demanded discipline. Having worked in various ballet companies, I understand how the theater should exist and what are the components of success. You need to work hard and honestly in a team of professionals. And here, some of the artists did not come to the lesson in the morning, and the reasons were very different. One time, another - you believe, and then you are convinced: a person is just a slacker. In ballet, laziness is fraught primarily with loss of health. So that people do not break their legs, do not tear their ligaments, they need to work out every day. Soloists should work on their physical form, go to the gym, run.
And, of course, I was not satisfied with what I saw on stage. The sets and costumes were in terrible condition. And even if the artists danced superbly, with such backdrops and props it would be impossible to offer performances to any impresario. Now we have completely changed the design of Giselle, The Nutcracker and Swan Lake. And most importantly, we became one team: I treat both teachers and artists as partners, we are united by a sense of responsibility for the cause we serve.

"I'm not afraid to take risks"
- Recently you had the premiere of "Romeo and Juliet" to the music of Prokofiev. Experimental thing, however, came out! Two clans - Montagues and Capulets - are at war with each other as two opposing dance schools - classical ballet and modern dance. But in the end, everything merged into one cocktail. So intended?
- When the theater invited drama director Igor Konyaev to stage Romeo and Juliet in such an unexpected reading, of course, I knew that this was a big risk. And he deliberately went for it, realizing that today you will not surprise anyone with another classical version of Shakespeare's work. Romeo and Juliet is staged at the Mariinsky Theater in the wonderful choreography by Leonid Lavrovsky and at the Mikhailovsky Theater directed by Nacho Duato. Our performance is fundamentally different. It is up to the viewer to judge how much they managed to realize their plans. In any case, I believe that the troupe has made a huge step forward, full houses and the reaction of the public convince of their success. This means that in the field of bold experiments it is possible and necessary to move further.
I'm not afraid to take risks. Romeo and Juliet is the third modern ballet in the last two years, including Stone Shore. Not so long ago, the premiere of the play "Faces of Modern Choreography" staged by Anton Pimanov and Konstantin Keichel took place. Different directors, different styles of choreography: neo-classical and modern. We consciously support young Russian choreographers, of course, we will invite foreign ones as well. There is an idea to stage a ballet based on the works of Mikhail Lermontov. This is our yet unborn project with Vladimir Varnava.

"Jacobson's plastic surgery is very difficult"
- It's amazing, but Leonid Yakobson's choreography even today seems very interesting, modern. Will you keep it?
- This is one of the important areas of our work. We restore his masterpieces every year. And today, 50 years later, they look surprisingly relevant. After all, Yakobson was a revolutionary in dance, boldly experimenting, breaking traditions. Our artists organically feel his choreography, although the plasticity is very complex. Not so long ago we showed the ballet "The Wedding Procession". At first glance, nothing breathtaking, no need to twirl the fouette. But how to convey this brokenness of lines, the specificity of the characters? Extraordinarily interesting. We constantly give performances dedicated to the work of Leonid Yakobson. Recently we held such an evening together with the Academy of Russian Ballet.
- What is happening there today, do you know?
- I think everything is in order. The competition for admission is huge. Well, as always, there are not enough boys, things are better with girls. So it was 20 years ago. I saw the graduation of the Academy, I was a member of the state commission - everything is at a high level.
- The Yakobson Theater has been without its stage for many years, there is only a rehearsal base on Mayakovskogo Street. What are the prospects?
- Our theater, I'm sure, has its own special place in the city. Young dancers get the opportunity to immediately perform the leading roles. Well, having your own playground is a dream, and I hope it is feasible.

“I threatened my mother that I would steal her passport”
- Tell us about the vicissitudes and joys of fate. Ballet is your family?
- Mom was a soloist at the Mikhailovsky, in those years, the Maly Opera Theater. Therefore, childhood passed behind the scenes. My parents did not really want a ballet fate for me. After all, too many stars must light up for the artist to take place in the profession. I threatened my mother that I would steal her passport and still go to ballet school. It worked. And in the end, the stars did not let me down.
I graduated from the Vaganov School and was accepted into the troupe of the Mariinsky Theatre. It cannot be said that it was an easy path. In those years, Farukh Ruzimatov, Igor Zelensky shone on stage, and there was fierce competition among my peers. I worked a lot in the evenings, after 10 o'clock, when the ballet halls were vacated, and not only with teachers, but also on my own. Believe me, it's a great pleasure - slowly, step by step, to go to the goal. And I had her. I became the premiere of the Mariinsky Theater, performed on the best stages of the world, worked with John Neumeier, Alexei Ratmansky, William Forsyth.
What else could a dancer dream of?
I am a happy person, my creative life has turned out well. My wife, Alexandra Gronskaya, is also a ballerina, but our 10-year-old son breathes evenly in regards to dance. But we are not upset, let him choose what the soul lies to.
- Do not you miss today without going on stage?
- My wife's grandmother said: "You're bored - go to work!" I don't have free time, I'm always busy with work. I even tried for half a year to combine the activities of the soloist of the Mariinsky Theater and the leadership of the troupe. And made sure it's impossible. I rushed between Theater Square and Mayakovsky Street and realized that I needed to do one thing. Today my business is the Jacobson Theatre.

"Everywhere has its own characteristics"
- You said that you worked a lot abroad. What can we learn from foreigners, and what is unacceptable for us?
- There is also a strong ballet, excellent professionals who work all over the world. But our classical school is certainly the best, which is why Russian dancers are so valued. We can do everything!
There are no such influential trade unions in Russia as there are abroad. There it is unrealistic to detain an artist at a rehearsal in excess of the time prescribed in the contract. Otherwise, the insurance company will not pay compensation for an injury if it happens. All rules are strictly followed. Not so long ago we had a joint project with the Massimo Theater in Palermo - the play "Giselle". Italian artists joined our corps de ballet. And it started! One does not have the right under the contract to work on Saturday, the other has either evening rehearsals or morning rehearsals on some days. And processing for the sake of art, as is customary in Russia, is categorically unacceptable. It comes to the ridiculous: in Giselle there is a scene where the dancers take out the table. The Italians refused, saying that they were not props. Everywhere there are complexities and peculiarities. I think there are no such conditions for professional growth as we have anywhere else!
- How do you feel about Chinese ballet and the fact that China has set the goal of surpassing everyone in the world, including in the field of ballet art?
- I was in China at the invitation of the great ballerina and choreographer Natalia Makarova, who staged her version of Swan Lake at the Peking Opera. Danced in tandem with a Chinese woman. It is difficult for me to perceive Chinese artists in the classics. Although technically they are very well prepared: excellent teachers are gathered there, many, by the way, from Russia. The Chinese work fanatically, and if our ballet lesson starts at 11.00, in Europe - at 10.00, then in China - at 9.00 in the morning. But their dance is more like acrobatics. And what has been passed down from generation to generation in Russian ballet for centuries cannot be made up for in a few years, despite hard work and material investments. That is why we carefully preserve, appreciate and, of course, develop what we have.

New Year's Eve in Cannes
- Where exactly is the theater going to tour?
- There are many places, we have permanent impresarios. This year the theater is expected in Japan, France and Switzerland. And we celebrated the New Year in Cannes, danced the Nutcracker on December 31 in the famous hall where the film festival takes place. We have such a holiday!
- What else will delight ballet lovers this summer at the Yakobson Theater?
- We show "Swan Lake" to the music of Pyotr Tchaikovsky, choreography by Marius Petipa and Lev Ivanov, in updated scenography and costumes by Vyacheslav Okunev, with wonderful soloists - Alla Bocharova, Daria Elmakova, Svetlana Smirnova, Artem Pykhachev, Alexander Abaturov and Stepan Demin. And, what is especially important, we are dancing this performance at the Mariinsky Theatre. And to step on this great stage is always a great honor and responsibility.

Dossier
Fadeev Andrian Gurievich FADEEV
was born on October 22, 1977. Ballet dancer, choreographer, soloist of the Mariinsky Theater since 1997. In 2011, he became artistic director of the St. Petersburg State Academic Ballet Theater named after Leonid Yakobson. In 2008 he received the title of Honored Artist of Russia.
In 2001, especially for Andrian Fadeev, John Neumeier created the main part in the ballet Sounds of Blank Pages. In 2003 he made his debut at the Berlin Opera as Romeo in Romeo and Juliet. At the Rome Opera, he danced in the performances of Apollo, Sleeping Beauty, Swan Lake. In 2005, he performed the title role in The Nutcracker (choreography by Vasily Vayonen) at the Tokyo National Theatre. He made his debut at the Munich Opera in Ivan Lishka's The Sleeping Beauty.
Performed leading roles in the ballets La Sylphide, Giselle, Le Corsaire, La Bayadère, Don Quixote, Chopininana, The Fountain of Bakhchisaray, Romeo and Juliet, Jewels, Youth and Death .
Laureate of the international competition Vaganova-Prix (1995), the Baltika Prize (1998), the highest theater award of St. L. Myasina (Italy, Positano, 2006).

Andrian Fadeev was born on October 22, 1977 in Leningrad.
Graduated from the Academy of Russian Ballet. A. Ya. Vaganova (class of V. Semenov).
In the troupe of the Mariinsky Theater - since 1995, leading soloist - since 1997.
Born October 22, 1977 in Leningrad. Father - Gury Nikolaevich Malofeev (1932–2000), engineer. Mother - Fadeeva Svetlana Leonidovna (born in 1936), ballet dancer, teacher, Honored Art Worker of the Russian Federation. Wife - Alexandra Gronskaya, ballet soloist.
Andrian grew up in a family, one might say, through and through the theatrical. Mother - Svetlana Leonidovna danced the leading roles at the Leningrad Maly Opera Theater, ended her career after 20 years on the stage.
Andrian's older brother, Slava, studied at the choreographic school. Little Andrian admired him: what his brother was doing was incomprehensible to the mind! He could jump high and even beat one foot on the other! Or in a jump, turn in the air two or even three times! He grabbed the younger one, threw him up, let him fall steadily down, caught him at the very last moment at the very floor and praised the test subject for his courage. The spirit was captured from all these flights. And in the depths of my soul it was mature: dance is a miracle!
Everyone in the family thought so. My father worked as an engineer, but he lived by dancing. He helped his mother so that she would not care about anything while she was dancing. And he dreamed of becoming a dancer. He dreamed of an artistic path, but decided not to take risks, to devote himself to reliable technology. Even after his wife left the theater, both spouses lived by discussing theatrical affairs: what succeeded there, and what is unlikely to survive.
“The second, youngest, is also an artist? Are there many artists in one family? However, the theater is a part of our life, ”the parents reasoned. Andrian, of course, was brought to his mother's native Maly for a ballet performance. It was the old Coppelia, re-staged by Oleg Vinogradov. Long, by the standards of childhood, performance. It was difficult for the child to sit it through. Andrian fidgeted, grabbed his mother by the hand, pulled her to another - interesting, behind the scenes, place. To run there, behind the scenes, from the heart, laugh, marvel at the unsightly scenery and costumes that looked so attractive from the audience.
Mother decided: enough artists in the family! The father was despondent, but forced to agree. One protested - Andrian. He stated categorically: “I will steal your passport, mommy, since the presence of parents is certainly required. I'll give the document to someone else. To the one who believes: I can’t live without dancing!”
The mother calmed down. At the choreographic school, Andrian was examined, recognized as fit for the craft of a dancer, and enrolled.
And a new life began for him. Difficult. From 9 am to 5 pm. One break for 45 minutes: swallow a sandwich, drink tea, relax a little. And again take up the main thing: how to make the body obedient, expressive, and how to subordinate the dance to your will, the will of the one who composed the choreography and music.
The dance revealed its secrets reluctantly. The teacher demanded precision, but the body resisted. And mother repeated in the evenings: technique is one thing - art is another. How can you find your own way here, unlike anyone else's?
Release arrived. Fadeev had a chance to dance two pas de deux: one is an old one, from the "Carnival of Venice", the other is closer to us: "Pas de deux" to the music of Tchaikovsky, composed by J. Balanchine. Both performances showed: a virtuoso dance is expected from a graduate, a beginner is tipped for dancing premieres. Such that not only support the ballerina, but can also express themselves in a solo dance.
Fadeev's teacher was Vladilen Grigorievich Semenov. Favorite student of Boris Vasilievich Shavrov, who combined loyalty to academicism and curiosity for innovations. Semenov limited himself to academicism. With students he was quietly strict, but persistent. The first time after the arrival of Andrian in the troupe of the Mariinsky Theater V.G. Semyonov scrupulously rehearsed with him, but soon left for the West and settled in the USA. Andrian had to look for new mentors. Now he is preparing a repertoire with Yu.V. Fateev.
Fadeev did not linger in the corps de ballet: the capable novice was immediately instructed to prepare an inserted pas de deux in Giselle. Overcame difficulties with success. Then the leading parties fell like a cornucopia. Now he is the premier of the ballet troupe of the Mariinsky Theatre. Everyone likes to dance Andrian. At first, it was difficult, having performed an academic performance, to switch to modern plastique. Then I managed to find an answer here.
Success came to Fadeev early. In the year of graduation from the Academy of Russian Ballet, he became a laureate of the Vaganova-Prix International Competition (1995). In 2000 he was awarded the Golden Soffit (St. Petersburg) and Soul of Dance (Ballet magazine, Moscow) awards.
Andrian Fadeev is especially effective in academic classics, which require refined technique and a noble manner. His Prince Desire in The Sleeping Beauty is either majestically statuary or animatedly impetuous. And in Swan Lake, his hero, Prince Siegfried, is melancholy dreamy and thoughtful. He is immersed in his inner world, and everything that happens to him is a poetic dream. A poet who prefers his fiction to reality is one of the main themes in the dancer's work. Such is his James in La Sylphide. Other of his heroes - Albert in Giselle, Solor in La Bayadère - evade open clashes, succumb to circumstances. As a result, each of them loses the most precious thing in life and only through the pain of loss comprehends the true measure of morality.
The lover-hero is the dancer's real work: the ardent Romeo in Romeo and Juliet, the fearless Vaclav in the Fountain of Bakhchisarai, the mischievous Basil in Don Quixote are close to him. But the artist is no stranger to genre colors either: his Lanquedem in Le Corsaire is colorfully mercenary, haggling with relish, passionately defending his own profit. He enthusiastically trades in female beauty, slaves, because he knows the true price of his product.
Andrian Fadeev values ​​his performances in the modern repertoire. Here you can satisfy your craving for juicy, bright, contrasting plastic paints. Success was his participation in the productions of J. Balanchine. He dances the Soloist in the Symphony in C major and Rubies, Apollo in the ballet of the same name.
A little more - and Andrian will cross into the second decade of his stage career. Mature skill, experience, an extremely diverse repertoire came. Here is the beloved M. Petipa, and M. Fokin, and Y. Grigorovich, and J. Balanchine. And next - J. Neumeier, R. Petit, W. Forsythe, A. Ratmansky.
Strict domestic judges have increased. Now, in addition to his mother, Andrian's performances are attended by his beloved wife, also a ballet soloist, Alexandra Gronskaya.
Ballet, ballet all around. This is the main thing in the life of Andrian. What is happiness for him? “Perhaps there is harmony in my house,” he replies.
Lives and works in St. Petersburg.