Illustration copyright Nikolai Gulakov Image caption Natalya Osipova presented a modern ballet performance at Sadler's Wells Theater in London
On the stage of London's Sadler's Wells Theater world premiere performance of three one-act ballets, in which the famous Russian ballerina Natalya Osipova performed in the genre of modern dance.
Between classic and modern
Classical ballet dancers embark on the path of modern dance, as a rule, when their path in the academic theater comes to an end. Despite all the temptingness of solo enterprises with your name in large letters on the posters, such a step is still considered a kind of retreat, which the star takes only if, for one reason or another, it is impossible to successfully continue his classical career.
When applied to Natalya Osipova, all these considerations seem completely inappropriate. She has just turned 30 - not a young age in ballet, but in no way does it imply the end of her academic career. She constantly appears in leading roles on the stage of the Bolshoi Theater in Moscow, the Mikhailovsky Theater in St. Petersburg, the Grand Opera in Paris, and the American Ballet Theater in New York.
In 2012, she became a guest soloist with the London Royal Ballet (Covent Garden), and in 2013 she was accepted into the company as a prima ballerina. She was dancing" Swan Lake", my favorite "Giselle", Tatiana in "Onegin", Juliet in "Romeo and Juliet" and many other roles.
However, as Natalya Osipova admitted in a recent interview with the Sunday Times, the injuries that plagued her, including an extremely painful hip dislocation, led to the cancellation of many performances and a long break.
The turn to modern dance became a way to escape - albeit temporarily - from the rigid, sometimes merciless rehearsal routine of classical ballet.
This turn, however, is by no means sudden or unexpected. While still at the Bolshoi, she danced in the play “In the Room Upstairs” by contemporary American choreographer Twyla Tharp; at Covent Garden, leading British choreographers Christopher Wheeldon, Wayne McGregor and Alistair Marriott created parts especially for her.
Two years ago, three modern choreographers - the Belgian Sidi Larbi Cherkaoui, the Israeli Ohad Naharin and the Portuguese Arthur Pita - created for her and for her then partner both on stage and in life Ivan Vasiliev a performance of three one-act ballets "Solo for Two", which premiered on stage at the London Coliseum Theater in August 2014.
Alliance with Polunin
Illustration copyright Bill Cooper Image caption The British press, not without reason, calls Polunina the enfant terrible of classical balletThe current performance, which Sadler's Wells Contemporary Dance Theater commissioned three choreographers specifically for the Russian ballerina, in no small sense follows the path trodden two years ago by Solo for Two. And not only because two of the three directors - Cherkaoui and Pita - working with Osipova again. In two of the three productions, she is again on stage only with her partner - both on stage and in life, this partner, however, is now different - Sergei Polunin.
The British press, not without reason, calls Polunin enfant terrible classical ballet. In 2003, a 13-year-old teenager, a native of Kherson, Ukraine, thanks to a scholarship from the Rudolf Nureyev Foundation, moved from the Kyiv Choreographic School to the Royal Ballet School. In June 2010, he became the youngest premier in the history of the London Royal Ballet.
However, already in 2012 he left famous theater. He left in scandal, accompanied by rumors of cocaine abuse, complaining that ballet did not allow him to fully enjoy the freedom of his youth and declaring that in academic ballet “the artist inside me dies.”
The first thing he did after leaving was to open a tattoo parlor in London. Then, already as a freelancer, he disappeared a few days before the scheduled premiere of the play "Midnight Express", thus disrupting the premiere.
Since then he has been migrating between Russian academic theaters- Stanislavsky and Nemerovich-Danchenko in Moscow and the Novosibirsk Opera and Ballet Theater and prestigious and commercially profitable engagements in the West - from La Scala to video clips shot by the American photographer and director of clips in the style of “surreal glamor” David LaChapelle.
“When we teamed up, many people thought I was crazy,” admits Osipova. - They immediately began to give me a wide variety of advice. But I always did what I wanted. And if my heart tells me that this is what I should do, then that’s what I will do.”
Polunin reciprocates: “Dancing with Natalya is simply wonderful. I immerse myself in work, for me this is a new full-fledged reality, and I would like to dance with her always.”
Performance at Sadler's Wells
However, in the first of three productions of the new play, Osipov is on stage not with Polunin, but with two other dancers. The play is called Qutb: translated from Arabic, this word means “axis, rod.” But it's also spiritual symbol, which in Sufism denotes a perfect, universal person.
Sidi Larbi Cherkaoui was born in Antwerp. His mother is Belgian, but his father is an immigrant from Morocco. He studied at a madrasah and the culture of the East is as native to him as the culture of the West.
Illustration copyright Alastair Muir Image caption In the performance Qutb, the bodies of three dancers are woven into a single ball.The bodies of the three dancers are woven into a single ball, in which you cannot understand where the men are, where the woman is, whose hand, leg or head is. In this interweaving of bodies, however, there is nothing erotic - according to the choreographer, Natalya Osipova personifies Venus, James O'Hara - Earth, and Jason Kittelberger - Mars. They rotate together and around each other, accompanied by Sufi music, personifying - with some, however, pretentiousness is neither more nor less than the process of the universe.
The second performance - "Silent Echo" staged by British choreographer Russell Maliphant - is the most abstract, the most avant-garde, and, paradoxically as it may sound, the most traditional. Osipova and Polunin emerge from complete darkness, one at a time, caught by the spotlight in the most unexpected places on the stage, now moving away, now approaching each other. They don't touch each other for most of the play. In this detachment, reinforced by the prickly, cold electronic music British musician Robin Rimbaud, known under the artistic name Scanner, has something otherworldly, as far removed from classical ballet as possible.
Mechanistic movements to mechanical music evoked in me associations with the restrained expression of the classic of the choreographic avant-garde, Merce Cunningham, when suddenly, in its final part, after two solo numbers, the dance acquired an unexpected classicism.
The choreographer himself admits this: “I wanted to create a form close to the classic pas de deux - a duet, two solos, and a duet again.”
Illustration copyright Bill Cooper Image caption The ballet "Run Mary Run" has a playfulness that brings to mind the legendary "West Side Story" by Jerome RobbinsAfter the emotional avarice and restrained philosophical detachment of the first two parts of the performance, in the third this very emotionality goes over the edge. Even the title itself - “Run, Mary, Run!” - implies a story, a plot, which is not often found in modern dance. The characters even have names: Osipova - Mary, Polunin - Jimmy. Bright, colorful, even deliberately vulgar costumes; twist, rock and roll, sex and drugs; the nature of the dance and movements brought to mind the classic “West Side Story” by Leonard Bernstein and Jerome Robbins.
Even the music dates back to the same era - the early 60s. Maiden group The The Shangri-Las are almost forgotten today, but their emotional songs, often performed as theatrical scenes, inspired Amy Winehouse, and, according to choreographer Arthur Pita, Osipova, in her appearance and movements, was intended to repeat the uncontrollable despair of the untimely departed singer. And the harsh instrumental sound of The Shangri-Las, invented by the author of the “wall of sound” concept, Phil Spector, gives the whole show a characteristic echo of “discs of death” - that’s what the band’s music was called.
Harsh verdict from the press
Such a motley, motley and devoid of a single stylistic core performance caused very unflattering assessments from British critics.
“Russian ballerina lost in space” is how a Guardian reviewer titled her article. Giving credit to Natalya Osipova’s determination to move towards modern dance, the newspaper writes that this is a long and difficult path, and Osipova has not yet achieved the freedom and relaxedness that, in contrast to the strictly regulated academic ballet, this art demands.
The Financial Times, however, places the blame for the failure not so much on the dancers themselves, but on the theater and choreographers: “The artists were trapped by the terrible inadequacy and monstrous pretentiousness of Sadler's Wells. The performance distorts and does not allow their gift and their true face to appear.
The Daily Telegraph’s verdict in the title of the review sounds no less harsh: “Star couple Osipova and Polunin misfire in a non-erotic triptych.”
“Where is the fire, where is the passion?” the critic asks rhetorically. “The bar is set high, but overall the performance leaves the impression of wasted talent.” However, the reviewer does not believe that the dancers have no chance in this area: “Let’s hope that Osipova and Polunin “harness for a long time”, and the best is still ahead of them.”
The play has room for improvement: after a short premiere, it will go to Edinburgh in August theater festival, then will return to Sadler's Wells in September, and will be shown at the New York City Center in November. There are no plans for a tour in Russia yet.
Illustration copyright Bill Cooper Image caption According to the British press, Osipova and Polunin have not yet achieved the freedom and looseness that, in contrast to the strictly regulated academic ballet, requires modern danceAppearing on the ballet horizon, she quickly made a dizzying and incredible career. But first things first.
How the future prima came to ballet
Natalya Osipova was born on May 18, 1986 in Moscow. At the age of five, parents sent their daughter to the section artistic gymnastics. In 1993, the girl received serious injury back, and playing sports was out of the question. The coaches recommended that Natalia's parents send their daughter to ballet. From that moment on, Natalya Osipova and ballet became synonymous words.
Natalya completed her ballet training at the Moscow Academy of Choreography. Upon completion educational institution joined the troupe of the famous Bolshoi Theater. Her debut took place in September 2004.
Career at the Bolshoi Theater
Natalya Osipova immediately attracted the attention of the capital's public. All of Moscow started talking about her brilliant jumps and flights. And already in the first theatrical season the ballerina danced many solo parts. She captivated the audience with her impeccable performance technique and fantastic lyricism.
In 2007, while on the triumphant tour of the Bolshoi Theater in London, on the stage of the world famous Covent Garden, Osipova was enthusiastically greeted by the English ballet public and was awarded the British National Award as the best ballerina of 2007 in the “classical ballet” category.
Therefore, it is not at all surprising that since the fall of 2008, Natalya Osipova has become the leading dancer of the Bolshoi Theater. The ballerina rehearsed her leading parts under the guidance of the outstanding teacher Marina Viktorovna Kondratieva. And there were not so few of them... Medora, Kitri, Sylphide - these images were brilliantly embodied on stage by Natalya Osipova. Giselle in her performance was especially remembered by the audience. In one of her interviews, Natalya admitted that this is her favorite part, and she strives to reveal to the audience not just a beautiful fairy tale, but real story with emotions and experiences. In 2009, the ballerina, at the invitation of the American Ballet Theater in New York, performed in the title roles in the ballets La Sylphide and Giselle on the stage of the Metropolitan Opera.
Since May 2010, she received the status of prima of the Bolshoi Theater. In the same year, on tour in America, she again performed on the stage of the Metropolitan Opera.
The creative life of ballerina Natalia Osipova after leaving the Bolshoi Theater
Natalya Osipova is a ballerina who is not like others. For her creative career Numerous fans are closely watching. For them it became a complete surprise departure from the Bolshoi Theater of the great star couple - Ivan Vasiliev and Natalya Osipova. In her interviews, the ballerina explains her decision with the desire to move forward and develop.
Since December 2011, Natalya Osipova has become the prima of the St. Petersburg Mikhailovsky Theater. Here the ballerina is provided with excellent working conditions. In December 2012, she received an invitation to work at the London Royal Ballet. In the same year, Osipova takes part in a gala concert dedicated to the diamond jubilee of Elizabeth II.
Currently, Natalya Osipova is a prima ballerina of the famous American Ballet Theater. In 2013, she was offered a permanent contract with the famous London Royal Ballet.
Personal life and creative plans
Natalya Osipova, whose personal life is constantly in the spotlight, never ceases to amaze lovers of gossip columns. Her fans still remember love triangle, which developed in Bolshoi Theater. The ballerina broke up with her fiancé Ivan Vasiliev after he fell in love with dancer Maria Vinogradova. Natalya then left for London. After her departure, Vasiliev and Vinogradova got married.
Today Natalia Osipova's companion is famous artist ballet Sergei Polunin. At one of the press conferences in London star couple officially confirmed that they are having an affair. Natalya Osipova also announced her retirement from classical ballet. She decided to try herself in modern dance.
The upcoming performance with the participation of Polunin and Osipova “A Streetcar Named Desire” aroused great interest. This is their first collaboration on stage. They had never danced together before. The premiere will take place in the summer of 2016 in London at Sadler's Wells Theatre. Natalya will perform the role of Blanche in the play, and Sergei will dance Stanley.
Natalya is now recovering from her injury. She also plans to return to the Royal Ballet soon.
The creative life of Natalia Osipova
Milan, New York, Berlin, Paris, American ballet theater, La Scala, Grand Opera - in a short period of time, Natalya Osipova conquered all the leading dance capitals of the world and performed with the best ballet troupes.
Her numerous prizes and awards are all a natural continuation of her successful career. The L. Massine Prize, awarded in Positano, Italy, the Benois de la dance prize, the prestigious jury award of the competition “ Golden mask" - this is far from full list awards won by the ballerina.
Ballerina Natalya Osipova - about romance and adrenaline.
“I don’t have the most beautiful legs, and I don’t have the most beautiful figure,” she admitted famous ballerina Bolshoi Theater Natalya Osipova.
“I don’t do intrigue”
“AiF”: - Natasha, playing Kitri in “Don Quixote”, you violated all traditional ideas about this legendary role. But here’s what I heard from the audience during intermission: “There are a lot of shortcomings. But it’s impossible to take your eyes off.”
N.O.: - Osipova is not quite a classical dancer according to Russian standards ballet school. Now these are the standards: ballerinas are tall, thin, with ideal leg lines. If you look at me, everything is different. I'm not tall, I don't have the most beautiful legs, and my figure in general. But I think a talented person can and should be allowed to create something new. There is such a thing as a “romantic ballerina”. Strict, aloof. The most romantic ballets are Giselle and La Sylphide. Nobody in my life represented me in these roles: I was always bravura, temperamental, with energy that was overflowing. But she danced both of these ballets in a row in one season. Now these roles are some of my best.
"AiF": - Theater world- this is also behind-the-scenes intrigue. Using “secret passages”, many make their way...
N.O.: - I won’t speak for others. It’s easier for me to work in the gym than to run around and organize intrigues. And in general... I believe that talented people should be good in their essence.
"AiF": - 5 years ago on Moscow international competition ballet you were given third place. This caused indignation in the entire room. They say that “bronze” is the consequences of your conflict with jury member Lyudmila Semenyaka. She was offended that you left her for another teacher.
N.O.: - I am convinced that I took third place because I did not prepare enough. But this was far from a defeat for me, but an impetus to work even harder.
As for Lyudmila Semenyaka, she is a brilliant ballerina and teacher. I respect her very much. We now have absolutely normal relations. Why did you leave?
It happened that way. Some people cannot work with each other: a combination of circumstances, characters. But even during the time that I spent with her, Lyudmila Ivanovna gave me a lot.
Instead of a diet - a stage
“AiF”: - Natasha, you look atypical for a ballerina... Short haircut, leather biker jacket...
N.O.: - I love thrash in everything. Black hair, dark nail polish, leather clothes, motorcycles. When I see them, adrenaline starts pumping in my blood. I have a hard time with conservatism. That’s why I will never be bored in my profession: I don’t set limits or boundaries for myself in anything! My mother is worried: “Natasha, put on a dress, you’ll look like a girl, you’re a ballerina. Why don’t you grow your hair?” But I think you should look and behave the way you feel comfortable. I love to jump, gallop, and have fun. I absolutely love dancing at discos.
“AiF”: - They say that ballerinas lead a half-starved lifestyle...
N.O.: - Nothing like that. Ballerinas have such a workload... Mom feeds me, buys me cakes and other tasty things. But when I'm on vacation, I get better from doing nothing. Then you come to the theater and say to yourself: “That’s it! Let's start working."
Natalia Osipova is called one of the best ballerinas in the world. Appearing on the ballet horizon, she quickly made a dizzying and incredible career. But first things first.
How the future prima came to ballet
Natalya Osipova was born on May 18, 1986 in Moscow. At the age of five, her parents sent their daughter to the gymnastics section. In 1993, the girl suffered a severe back injury, and playing sports was out of the question. The coaches recommended that Natalia's parents send their daughter to ballet. From that moment on, Natalya Osipova and ballet became synonymous words.
Natalya completed her ballet training at the Moscow Academy of Choreography. Upon graduation, she joined the troupe of the famous Bolshoi Theater. Her debut took place in September 2004.
Career at the Bolshoi Theater
Natalya Osipova immediately attracted the attention of the capital's public. All of Moscow started talking about her brilliant jumps and flights. And already in the first theatrical season the ballerina danced many solo parts. She captivated the audience with her impeccable performance technique and fantastic lyricism.
In 2007, while on the triumphant tour of the Bolshoi Theater in London, on the stage of the world-famous Covent Garden, Osipova was enthusiastically received by the English ballet public and was awarded the British National Award as the best ballerina of 2007 in the category “classical ballet”.
Therefore, it is not at all surprising that since the fall of 2008, Natalya Osipova has become the leading dancer of the Bolshoi Theater. The ballerina rehearsed her leading parts under the guidance of the outstanding teacher Marina Viktorovna Kondratieva. And there were not so few of them... Medora, Kitri, Sylphide - these images were brilliantly embodied on stage by Natalya Osipova. Giselle in her performance was especially remembered by the audience. In one of her interviews, Natalya admitted that this is her favorite part, and she strives to reveal to the audience not just a beautiful fairy tale, but a real story with emotions and experiences. In 2009, the ballerina, at the invitation of the American Ballet Theater in New York, performed in the title roles in the ballets La Sylphide and Giselle on the stage of the Metropolitan Opera.
Since May 2010, she received the status of prima of the Bolshoi Theater. In the same year, on tour in America, she again performed on the stage of the Metropolitan Opera.
The creative life of ballerina Natalia Osipova after leaving the Bolshoi Theater
Natalya Osipova is a ballerina who is not like others. Her creative career is closely followed by numerous fans. It was a complete surprise for them that the great star couple, Ivan Vasiliev and Natalya Osipova, left the Bolshoi Theater. In her interviews, the ballerina explains her decision with the desire to move forward and develop.
Since December 2011, Natalya Osipova has become the prima of the St. Petersburg Mikhailovsky Theater. Here the ballerina is provided with excellent working conditions. In December 2012, she received an invitation to work at the London Royal Ballet. In the same year, Osipova takes part in a gala concert dedicated to the diamond jubilee of Elizabeth II.
Currently, Natalya Osipova is a prima ballerina of the famous American Ballet Theater. In 2013, she was offered a permanent contract with the famous London Royal Ballet.
Personal life and creative plans
Natalya Osipova, whose personal life is constantly in the spotlight, never ceases to amaze lovers of gossip columns. Her fans still remember the love triangle that developed at the Bolshoi Theater. The ballerina broke up with her fiancé after he fell in love with the dancer Natalya then left for London. After her departure, Vasiliev and Vinogradova got married.
Today, Natalya Osipova’s companion is a famous ballet dancer. At one of the press conferences in London, the star couple officially confirmed that they were having an affair. Natalya Osipova also announced her departure from She decided to try herself in modern dance.
The upcoming performance with the participation of Polunin and Osipova “A Streetcar Named Desire” aroused great interest. This is their first time working together on stage. They had never danced together before. The premiere will take place in the summer of 2016 in London at Sadler's Wells Theatre. Natalya will perform the role of Blanche in the play, and Sergei will dance Stanley.
Natalya is now recovering from her injury. She also plans to return to the Royal Ballet soon.
Evaluation of the work of Natalia Osipova
Milan, New York, Berlin, Paris, American Ballet Theatre, La Scala, Grand Opera - in a short period of time Natalya Osipova conquered all the leading dance capitals of the world and performed with the best ballet companies.
Her numerous prizes and awards are all a natural continuation of her successful career. The L. Massine Prize, awarded in Positano, Italy, the Benois de la dance prize, the prestigious jury prize of the Golden Mask competition - this is not a complete list of awards won by the ballerina.
She is one of the most famous and titled Russian dancers, prima ballerina of the Royal Ballet Natalya Osipova will perform on the stage of the Kremlin Palace in Moscow on February 1 in the ballet “The Nutcracker” Perm Theater opera and ballet. The ballerina spoke in an interview with RIA Novosti about this performance, shared her plans for New Year, announced her participation in the gala concert of the Bolshoi Theater, dedicated to the anniversary Petipa, about performances at the Mariinsky Theatre, on the stage of the Metropolitan Opera and Covent Garden, about his beloved partner and his favorite ballet.
— You danced in the ballet “The Nutcracker” choreographed by Yuri Grigorovich on the stage of the Bolshoi Theater and in the play staged by Rudolf Nureyev at the Paris Opera. What is special about the Perm Theater’s “Nutcracker,” which you will present in Moscow?
“I haven’t started rehearsing the play yet, I’ve only seen video clips of the rehearsals. But we actively discussed the concept with the choreographer of the Perm Theater Alexei Miroshnichenko. He has a very interesting view of this work - he wants to express all the tragedy of Tchaikovsky's score, his "Nutcracker" is not only a fairy tale for children, but primarily for adults. Pyotr Ilyich Tchaikovsky wrote music of amazing depth, and we will try to convey this.
The stage of the Kremlin Palace is not the easiest platform for dancers. But as far as I know, all the scenery will be brought in completely, and Muscovites will see the performance in its original form. And we, for our part, will try to give our best.
— Natalya, you are the prima ballerina of Covent Garden, and from this season you have also become the prima ballerina of the Perm Opera and Ballet Theater. How did this idea come about and how did it happen?
— Everything happened naturally. I came to Perm several times with my performances, I really like this place, this theater and the wonderful team that has now formed in this theater. And when they made me an offer, I agreed with great pleasure. Now we are preparing my first premiere - the ballet "The Nutcracker", and I really hope that this season in Perm there will also be "Don Quixote" with my participation. True, we will no longer bring this performance to Moscow.
— The Bolshoi Theater is always glad to see you and invites you, your many fans are waiting for you and want to see you at main stage in Moscow. Are you still going to find an opportunity and perform at the Bolshoi Theater?
— Yes, indeed, we are constantly negotiating, but we can’t agree on dates due to my busy schedule. However, in the new year I still hope to appear on the Bolshoi stage in early June as part of a gala concert dedicated to Marius Petipa.
— I’d really like to know about your plans for next year. Where will you dance and in what ballets? Will there be performances in Russia?
— One of the most long-awaited events for me is the performance “The Legend of Love” choreographed by Yuri Grigorovich at the Mariinsky Theater, which will take place on February 16. I will also dance Giselle and Manon in Covent Garden. This will be my first time dancing with David Hallberg. This is my beloved partner, he was on sick leave for three years, I have been waiting for him for a very long time, and now, finally, my old dream will come true. In May I will perform at the Metropolitan Opera in New York. I worked there for five years, but then I moved to London and didn’t perform there for a long time. On my birthday, May 18, I will dance my beloved Giselle there. And, of course, my speech in Moscow on February 1 in the Kremlin. I haven’t performed in Moscow for a very long time, I miss this city and the audience. I am sure that the Kremlin will be full house.
— You are a world-famous ballerina, choreographers create their works especially for you. But didn’t you yourself have a desire to act as a director?
— I’m always interested in trying new things, I love classical ballet and modern dance in its various forms. And I’ve even already tried to stage several numbers. But still, I am first and foremost a dancer, an interpreter, and as long as I can dance, I will dance.