If I can relay anything, it's that if someone has a dream, and it isn't the norm of what others are doing around you, it doesn't matter. Reach for it. Go for it - because I'm a shining example of that.
I have one coach and one coach only. His name is Alexander Vetrov. They brought him in for me when I joined the Bolshoi. He was a dancer with the Bolshoi, and we work very intensely together.
Certainly, when you train as a classical dancer, you are very much influenced by 'Giselle.' You see it all the time; you start to learn the steps a little.
I think I'm the same dancer everywhere. But I've learned a lot with Bolshoi - the history of the theater, the technique of the theater, different nuances in my technique.
To be honest, my partner Natasha is my inspiration. She is who I reference when searching for my role. I don't emulate what she does, but her interpretation of Giselle is so fragile and sensitive and so tender. It constantly inspires me. And I feel like it's the other way around. We have a great rapport together.
With Bolshoi technique, the movements are quite large, the jumps are big, and I'm a tall dancer, so I've learned to use my height more, to elongate my moves, jumps and positions. I'm physically using my body more to my advantage.
Ballet is certainly appreciated in New York, but it has been a part of the Russian culture, history and heritage for hundreds of years, so it's much more instilled in the Russian blood.
I'll never be satisfied in classical ballet. It'll never be good enough. I'll never be happy with most of my product.