She graduated in 1837, and joined the Mariinsky ballet troop where she was the first Russian dancer to interpret the title roles in Giselle (1842), La Peri (1844 ) and Paquita (1847).

Antagonism developed between Guedenov and Andreianova when guest French ballerinas Marie Taglioni and Fanny Elssler, were given some of her parts and got acclaim from audiences instead of her.

A dispute arose with management of the Paris Opera, who not only did not pay her for her performances, but instead demanded a fee for giving the troop the opportunity to show their art.

[5] In Italy she danced at  "La Scala" and was rapturously received, medals were cast in her honour, something only given previously to the greatest performers like Marie Taglioni and Fanny Elssler.

[5] The French choreographer Jules Perrot wrote two roles especially for her in his ballets: as the Black Fairy in Adana (1850), and the Countess Bertha in Wayward Wife (1851).

She decided to organise a tour of her own of the Russian provinces, taking with her artists from the Bolshoi Theatre and pupils from the Moscow Ballet School in a troop, led and managed by herself.

Andreyanova had the idea of a large two-act ballet for the tour called "The Fountain of Bakhchisarai" based on the poem of that name by Alexander Pushkin.