© Bolshoi Ballet Yanin in reviews Bolshoi reviews

Gennady Yanin graduated from the Moscow Choreography School in 1986 and joined the Stanislavsky Ballet in Moscow. He performed there solo and leading roles in "Romeo and Juliet" (Mercutio), "Swan Lake" (Jester), "Giselle" (classical duet) and others.

In 1995, he was invited to join the Bolshoi Ballet. His repertoire there includes Golden Idol ("La Bayadere"), Pas des deux ("Giselle"), Prince’s Friend ("Swan Lake", Vassiliev’s version), Modest Alexeyevich ("Anyuta"), Carabosse (“The Sleeping Beauty”), Gipsy and Spanish dances (in the opera "La Traviata").

In 2004, Yanin was awarded a Special Golden Mask Prize for his role of Accordion Player in a new ballet “The Limpid Stream”. This interview (one of three) was conducted at the Palais Garnier in Paris during the Bolshoi's tour in January 2004.

Gennady, apart from your job as a dancer you also occupy an administrative post. What is it and what responsibilities does it imply?

Officially it is called Head of the Ballet Company although I like the word “Manager”. It is quite difficult to describe the responsibilities of the occupier of this post because everything related to the ballet company has to pass through me. 250 people! That means 250 characters, 250 lives, 250 families and 250 “body healths”. I have to consider everything, all financial, artistic and health issues. I have to find a method of approach to everyone because the company consists of live working people and if someone or something gets broken, the whole thing starts to disintegrate. Not at once of course but gradually. It is quite a task to keep it in good shape, so that the Bolshoi remains one of the best theatres in the world.

Can you describe how those 250 lives and 250 “body healths” pass through you?

Well, let’s take casting.

“Every dancer wants to appear on stage often. Unfortunately, not many dancers make impartial assessments of themselves and have a realistic view of their own potential.” Gennady Yanin

Casting is done by me and the Artistic Director. Every dancer wants to appear on stage often. Unfortunately, not many dancers make impartial assessments of themselves and have a realistic view of their own potential. As a rule their self-assessment is rather high. What a stumbling block this is! I have to explain to everyone gently that his/her claims are not justified, and to explain why they are not justified, at the same time I shouldn’t offend them and to explain everything in gentle terms. The way I speak to dancers, well, I don’t speak so gently even to my own children. Every dancer requires a different approach. If yesterday I spoke to someone softly-softly and he did not understand, then next day I have to be strict and implacable. And I have to find the right moment to speak to that person.

Apart from casting, what other responsibilities you have?

I have to make sure that all dancers prepare and rehearse their roles in good time. Together with the Artistic Director I have to make sure that the standards of performances are maintained, I have to watch all performances and to see what dancers do on stage and to make my comments when necessary. It is also a difficult task because nobody likes to be criticized, especially after performances, hot on the trail. Whatever quality of his performance was the dancer after the performance feels that he had given everything and here I have to tell him that it was not enough. And sometimes it is not even his fault: God is generous towards some people but shortchanged others. Even more difficult is to tell the teachers off. A teacher should be even more responsible for his pupil’s standard.

Do you mean that to keep yourself in the tactful mode is most difficult for you?

Of course. It could be the easiest thing if I pounded the table and said that I want it to be done my way. Sadly, there were such precedents in the past but I know that it will create an unhealthy atmosphere and I wouldn’t have been able to work like that.

How do you manage to share your time between managing the company and your own performances and rehearsals?

This is a dreadful issue and I pay dearly for this. I could retire but yet I see that the dancer Yanin still gives good performances and still can dance.

How old are you?

I am 36. The first half of this season has passed and I started getting accustomed to my new, administrative role. In general, I feel young and full of energy. If I manage my time well, this situation is not lethal. (He laughs.) The most difficult is to find time for the family. My children and my wife don’t see me often. I try to be with them more but am always short of time.

Does your wife work?

Luckily, she does not work at the moment. She used to dance with the Kremlin Ballet.

The Bolshoi demonstrated more than once that the people in administrative positions can be replaced quite unexpectedly. What prospects you see for yourself if you will be made to leave this job? What other things would you like to do?

It sounds funny but all my childhood friends would remember that even as a little boy I was thinking of this job and was telling them of my desire to be the manager of the Bolshoi Ballet Company. I could not of course imagine at that time what this job involves. But I love it and at the moment can not even think what else I would like to do. I really love it, it is so interesting, it has worked for me so far, and I hope I don’t ruin things.

If, by your own admission, this job is so difficult and requires a lot of patience, tactfulness and strength of mind, why do you like it?

Exactly for these particular reasons. I love working with people. There are other advantages here. I am involved in everything new that appears in the theatre although probably these advantages are few and questionable: if I learn about something new four months before others, it means that my head starts aching four months earlier than anyone else’s. I take everything close to my heart.

Are you happy with the audience’s reception of this tour in Paris?

That’s tremendous success. A expected that there will be a success but I am especially pleased that the success was increasing from one ballet to another, from “Swan Lake” to “The Limpid Stream”. It is especially enjoyable since the latter was not originally planned for this tour. Of course it is a great pity that we could not bring “The Queen of Spades”. Here, in France, Petit’s choreography would have been ‘condemned’ to a great success, especially with such a phenomenal artist as Nikolai Tsiskaridze.

I am delighted that such an unusual ballet as “The Limpid Stream”, with its realities of Soviet life, which Russians know well but which have to be explained to and understood by foreigners, was not only well received here but had a fantastic success. The great success of “The Pharaoh’s Daughter” wasn’t unexpected but “The Limpid Stream” also received a marvellous response. It is especially appreciated since there were no well-known stars on the cast list; all the dancers were new for the Parisians. I suppose that some people come on the opening night for the sake of fashion, others were quite experienced ballet-goers; nevertheless it was a huge success.

Which roles will you dance in those five ballets that have been chosen for the London tour?

If God helps, I will dance my favourite role of Carabosse in “The Sleeping Beauty”*). I love it so much that I could dance it every day. I will also dance the Jester in “Swan Lake”.

My two jobs complicate things. I find it difficult to accept new roles. The choreographer Radu Poklitaru wanted me to dance Tibalt in his “Romeo & Juliet”. I had to decline this since it could be interpreted that I use my position and grab the best roles for myself. Therefore, I am satisfied, modestly, with my old repertoire. The role of Tibalt is quite exhausting both physically and emotionally. Does this mean that you don’t wish to do any new roles?

I want them very much but I will be a spent bullet soon. I wouldn’t like to experience the drama which is faced by those dancers who are clinging to their roles for too long. I want new roles but I feel that the end of my career is

“I want to leave the stage gently and calmly, without weeping into my pillow.” Gennady Yanin

approaching. Therefore, I don’t want to live through a drama. I want to leave the stage gently and calmly, without weeping into my pillow. It is difficult to cut off at once, therefore, I will be slowly moving towards character roles, without much pain.

Having said that, I can tell you that John Neumeier talked to me yesterday and asked me whether I shall continue dancing. Since we were discussing his new production for the Bolshoi in the next season, I allowed myself to think that he looks at me as a potential participant. Therefore, I have to keep myself in good form. Neumeier is such a choreographer that I wouldn’t like to miss a chance of working with him.

And now my last question…

The last one? We only started…

Some critics in London were not terribly kind to the Bolshoi during the latest tour at Drury Lane in 2001. Their reviews were harsh and sometimes unfair. Do you think the Bolshoi can make them change their mood this time?

I hope we can do it. We are bringing our trademark works – “Don Quixote” and “Spartacus”. “Swan Lake” as well. And also two absolutely new ballets, which created a furore in Moscow. They were produced exclusively for the Bolshoi. It should overcome the inveterate and unfair opinion that nothing new happens at the Bolshoi.

(*) At the time of this interview it was not known yet that “The Sleeping Beauty” will be replaced by “Romeo & Juliet”.