From Prima ballerina to Musical Director; an Interview with Nina Ananiashvili

By Rachel Scott

“I became free, and this freedom gave me the possibility to dance everywhere.” 

Holding four major international ballet awards, Nina Ananiashvili has revolutionised the world of ballet. Nina is the first ballet dancer to simultaneously work within both the Bolshoi and American ballet companies. Now, Anna is working as the musical director in an original take of the Nutcracker ballet coming to Belfast in November 2025. It is fascinating to recall her long-lived career and how it has influenced her artistic choices. 

Ice skates to pointe shoes:

Surprisingly, upon interviewing Nina she explained that “I was not a ballet person, I was a sports person.” Nina’s sporting life kickstarted with ice skating rather than ballet. It was only after realising that her physique was more suited to ballet at the age of ten that she made the decision to pursue the dance. Nina claims however that considering the intensity of the sport, “even then I was a little bit late.” Despite beginning training later than others, during her 4 years of rigorous training in Moscow, Nina won 2 international awards. 

East meets West:

Nina’s career has been unique in the sense that she worked for 16 years with both the Bolshoi and American ballet companies. 

“I had two homes…and the chance to dance without permission” 

One of Nina’s biggest observations was the culture shock she experienced when transitioning to the American ballet. Anna told me of the varying levels of freedom in the Bolshoi theatre in Moscow. “My first passport was locked inside the Bolshoi theatre,” Anna told me. The American ballet allowed Nina to spread her wings and reach her full potential in the career, being able to perform worldwide. Nina emphasized how special it is to dance with people from all around the world, and mentioned how her upcoming production of “The Nutcracker” includes talent from all over the world coming to Belfast. 

Swan legs:

We’ve all heard of the analogy of the elegant and graceful swan- a picture of beauty, where underneath the surface, the consistent hard work goes unseen. Ballet is certainly comparable to this, as Nina describes how “It’s stressful when you have a lot of pain, but you can’t show it to anybody.” Nina elaborates how three main principles of Ballet are “Acting, music and rules”. The performative aspect of the sport means that injuries and aches and pains are kept hidden, as an image of gracefulness and perfection must be maintained. 

“I’m so thankful for all of these things, they’ve given me character.”

Despite the stresses of injury, Nina affirms how the sport allowed her to grow as a person, teaching her resilience and strength in the face of hardship. 

Traditions kept alive:

“We learnt feet by feet, hand by hand, eye by eye.” 

Nina explains how within the sport there is a large emphasis placed on preserving traditional forms of Ballet. At the time of her training, learning was rooted in observing other established ballerinas i.e. how they carried themselves, their form, etiquette, style and attitude. More can be learnt by in person experience rather than blogs that are shared. The art is passed on “generation by generation” keeping tradition alive. 

A new direction; The Nutcracker

Now, acting as musical director for the November 2025 performance of the Nutcracker, Nina’s career has changed significantly. 

“You need to organise every person on stage, in synchronisation.”

Rather than dancing, Nina is now departing her lessons learnt in the industry to new talent. Less physical pressure has been placed on Nina; however, she describes how she now feels a “different stress” in being responsible for such a large cast. Every detail down to the positioning of a foot or a hand is portrayed as crucially important, especially considering the precise timing. 

Finally, as we shifted our focus onto the upcoming production of the Nutcracker, Nina shares her vision. 

“Everything is original, it’s our production.”

A unique feature Nina aims to incorporate in the upcoming ballet, is the “Georgian touch” honouring her own heritage. The decorations, sets and artwork are heavily influenced by a Georgian style, with the Nutcracker being produced in “The children’s view.” Nina elaborates how she wants the colours and decorative element of the show to be at the forefront of the ballet, creating an engaging spectacle for children as well as adults. 

A Thriving Legacy

From my interview with her, I was given a unique perspective on ballet, as a result of Nina’s cross-continental experience and awareness of her life. Nina warmly expresses how glad she is to bring the magic of the Nutcracker to Belfast, with the performance being in Belfast for five nights from the 18th to the 22nd of November 2025.