About how a career began, about romanticism and endurance, the Bolshoi and Mikhailovsky theaters, the Ratman and much more - in exclusive interview, recorded in the USA.
Natalya Osipova is the most unpredictable, most unusual ballerina of our time.
The ballet “Lost Illusions,” staged by choreographer Alexei Ratmansky to specially commissioned music by Leonid Desyatnikov, has been anticipated for a long time and with great trepidation. Desyatnikov’s reputation, like Ratmansky’s, is the most obvious: if not them, then who? Therefore, pre-premiere art preparation began long ago. Moreover, throughout the last season both the composer and the choreographer were consistent newsmakers. And not always of their own free will.
After graduating from the Moscow Choreographic School, she joined the corps de ballet Bolshoi Theater, but already in the first season she danced eight solo roles.
All of Moscow started talking about Osipova’s brilliant jumps and flights. Kitri, Giselle, Sylphide, Medora - the main roles followed one after another.
Her name became known to the ballet world in 2007, during the triumphant tour of the Bolshoi Theater in London. After Don Quixote, ballet critic Clive Barnes called her “a rare and wonderful talent,” and The Guardian newspaper advised ballet lovers to see Osipova at any cost: “Beg for tickets, steal, take away with a fight!”
New York, Paris, Milan, Berlin; American Ballet Theatre, Grand Opera, La Scala, Bavarian State Opera Ballet - in just a few years, Osipova conquered all the ballet capitals of the world and performed with all the best ballet companies.
Her prizes and awards became a natural continuation of a dizzying career. Leonid Massine Prize, Golden Mask Jury Prize, Benois de la Dance Prize, Grand Prix of the International Ballet Prize Dance Open... Last fall, the whole world started talking about the ballerina again.
Osipova leaves the Bolshoi and on December 1, 2011 becomes a prima ballerina of the Mikhailovsky Theater.
I found Natasha in New York in the midst of rehearsals for “The Firebird” by I. Stravinsky. World premiere The ballet will take place at the end of March in California.
And before that, Natalya Osipova will perform for the first time in Chicago as part of the American Ballet Theater troupe. On March 24 she dances Giselle.
- Do you like to dance this part?
- This is one of my favorite games, if not the most favorite. Each of the great ballerinas of the past - Ulanova, Bessmertnova, Fracci, you can’t list them all - had her own Giselle.
“Giselle” is not the kind of ballet in which you can amaze the audience technical methods. I perceive it as a dramatic performance. The main thing in it is to be sincere, to find your Giselle, to imagine yourself in this image.
- Do you think you have found this image or are you still searching?
- Live forever and learn. I will always continue to search for my Giselle. I just found the thread for this image. I have my own idea of what kind of Giselle she is. How well I reveal this image is not for me to judge. But in every performance I strive to discover something new.
When you first started rehearsing Giselle, ballet world they said: “This game is not for Osipova.” Have you heard such talk about yourself?
- Of course, I heard. Apart from my first role - Kitri in Don Quixote - each subsequent role (La Sylphide, Gamzatti, Aurora) caused bewilderment among those around me.
“How will she dance this performance when it’s not her thing at all?!” It was absolutely the same with Giselle. Nobody believed in me, and I myself, I can honestly say, approached this role with caution. Alexey gave it to me
I understand that my image probably lacks romance. That's why I pay more attention to realism.
I want viewers to see a story with real emotions and experiences, and not just a beautiful fairy tale.
- How do you like working with the American Ballet Theater troupe?
- I have been working with her for four years. At first, of course, it was difficult. ABT was the first foreign company I performed with. But then I got used to it, settled in.
I love dancing with ABT, I adore this company. Our legendary teacher Irina Aleksandrovna Kolpakova works here. I prepared all my American games with her. I have wonderful partners here!
After performing at the Bolshoi Theater, your partner David Hallberg became especially popular among Russian-speaking ballet lovers.
- David was my partner in the debut performance at ABT. It was just “Giselle”. The performance was wonderful, the impressions of it will remain with me for the rest of my life.
David is a wonderful person and a wonderful partner. I am very glad that I met him in my life and we danced more than one performance with him. We dance with him in Chicago.
It’s great that we’ll see you with him! Natasha, is it true that we should say thank you to Nina Ananiashvili for inviting ABT head Kevin McKenzie to take you to the theater?
- I know that it was Nina’s idea, for which I am incredibly grateful to her. She talked to Kevin about my coming to the theater.
“Natalya Osipova and Ivan Vasiliev are leaving the Bolshoi for the Mikhailovsky Theater.” " Star couple Osipova-Vasiliev are leaving the Bolshoi Theater." “Natalia Osipova and Ivan Vasiliev have outgrown the Bolshoi.”
These and other headlines have dominated recently news feeds newspapers and magazines. The news from Moscow surprised the entire ballet world. Leading soloists, premieres on the Moscow stage, the pride of the Bolshoi - and suddenly leaving the theater.
Of course, in a conversation with Natalya Osipova, I could not ignore the main ballet news of recent times.
At the Bolshoi Theater everything became very predictable. I understood that I had already danced everything interesting and the repertoire would not increase...
We love Big very much. I can’t say anything negative about the theater or its partners. We just wanted to change something in life. I don't want to stop. I want to move forward and develop!
- Were you persuaded to stay?
- Everyone was not very pleased that we did this, and it was very difficult for us ourselves...
Of course, they were offended at us. We understand this. But on the other hand, we did not want to offend anyone with this decision. The troupe at the Bolshoi Theater is wonderful, but, unfortunately, our paths diverge.
Are you leaving forever or do you not rule out the possibility of returning to the theater as a guest prima ballerina?
- The Bolshoi Theater is our home. We grew up there, achieved recognition, our teachers work there.
I worked with my teacher Marina Viktorovna Kondratieva for seven years, and having recently arrived in Moscow, I continued to rehearse with her.
She will remain my main teacher for the rest of my life. We would not like to break off relations with the Bolshoi Theater. Of course, I would like to appear in the theater as guest artists.
- You have worked at the Bolshoi Theater since 2004. What have these seven years been like for you?
- Very bright! Every year was busy, there was a lot of work, and I did quite a lot. I reached a certain stage, became a ballerina, danced almost the entire classical repertoire, modern ballets, toured a lot...
And now the period has come when, with the accumulated experience, I will improve further... Time will tell whether this is the right decision. I don't regret it at all yet.
Your departure from the Bolshoi Theater coincided with the opening of the historical stage after reconstruction. Is this an accident?
- Certainly. At first we wanted to leave at the beginning of the year, but it didn’t work out. We had to leave at a time when the schedule for the next season was being drawn up.
In all European and American theaters this is done at the beginning of the season. If we had left in the winter, we would not have been able to build the next season the way we wanted. It just so happened.
- Why did you move from the Bolshoi Theater to the Mikhailovsky Theater?
- We really didn’t want to leave Russia. Vladimir Abramovich Kekhman ( General manager Mikhailovsky Theater. – Approx. author.) has long since approached me with an offer to join him in the theater.
At first we somehow didn’t take it seriously, but this season, when we decided to leave the Bolshoi, we started thinking about it. The St. Petersburg Mikhailovsky Theater is a progressive theater.
A wonderful choreographer, Nacho Duato, works there; there are performances that we are interested in dancing, for example, the ballet “Laurencia,” which is performed only at the Mikhailovsky Theater, plus the rest of the classical repertoire.
- How were you greeted at the theater?
- They created excellent conditions for us. Performances with our participation are staged at a time convenient for us, depending on our schedule. They promised that they would stage plays for us.
The troupe at Mikhailovsky is wonderful, and the theater is wonderful: cute, cozy, homely. We just wanted some intimacy after the Bolshoi Theater and huge amount people.
- It’s very nice that you joined the Mikhailovsky Theater troupe. He has always been in the shadow of the Mariinsky Theater...
- This different theaters. Mikhailovsky was always full of life, there were innovators, new and interesting ballets. Now the theater has very good prospects, and it is becoming interesting to the general public.
But you can’t escape competition in the ballet world! How did ballerinas Ekaterina Borchenko, Oksana Shestakova, and other Mikhailovsky prima dancers greet you? They danced the main roles, and then you come, and all the best is already yours, and they fade into the shadows...
- I didn’t notice this. On the contrary, we were being introduced to a new performance, and everyone sincerely tried to help us.
We are absolutely not stellar people. We don't have such habits. In addition, we dance one or two performances a month. I don't think we take much away from others.
We are all quite different. I have my own performances, they have theirs. That's why we don't take anything from anyone. We came with respect for the troupe.
- Have you moved to St. Petersburg?
- No, my house and my parents remained in Moscow. We don’t have our own housing in St. Petersburg. We come there while we dance.
We also spend time in America. Unfortunately, I now understand that we will practically not be in Moscow this year. Four to five days a year, no more.
Do you feel the difference in preparation? ballet dancers– graduates of the Vaganova and Moscow Choreographic Schools?
- We all represent one Russian ballet school, but only we are different, just like Moscow and St. Petersburg are different. I have already danced so much in different troupes both in America and in Europe that I have absorbed a little from everyone.
I have a flexible nature, I adapt to any choreography. ( Laughs.) We are all different, but in general I think the Russian school is the best.
From the age of five Natasha Osipova studied gymnastics. I came to ballet by chance, after a back injury. The coaches advised the parents to try ballet.
Natasha, if it weren’t for the injury, would you have continued doing gymnastics or were you still thinking about ballet?
- As a child, I didn’t have any thoughts about ballet, so I probably don’t rule out that if everything had worked out well for me, I would have continued to do gymnastics. My transition to ballet was truly an accident.
And if you were now told to rewind the “film of life” fifteen years ago, would you take the ballet path again?
- Yes, of course, and I would study even more persistently. On the one hand, it is difficult and difficult, on the other hand, it is very interesting. This is the meaning of life. Without ballet you can neither live nor breathe.
Already at the age of ten it is nice to realize that you have a profession, and at eighteen you are a ready-made professional and know what you are working for.
At the age of forty we finish our career, and we have half our life left to realize ourselves in something else.
- You still have everything ahead of you in ballet, so it’s too early to think about the second half of your life.
- Yes, I didn’t even work half of my term. ( Laughs.)
- Natasha, in 2007 in London you woke up famous. What is this test of glory?
- I don't know yet. You can’t even imagine what a colossal amount of work was done before I went on stage in London.
I was very young, and Alexei Ratmansky believed in me and let me dance Kitri in Don Quixote. I worked day and night preparing this performance.
I was so tired that I didn’t care anymore on stage. It was very difficult to withstand such tension, but in the end I received incredible pleasure from the performance.
Was wonderful press, and now I remember it like a fairy tale. On the other hand, it seems to me that at that moment I deserved it.
- Did you think, starting at the Bolshoi Theater with the corps de ballet, that you would immediately take on the main roles?
- From the first month at the Bolshoi Theater they started giving me variations, and in the corps de ballet I danced practically nothing. She immediately began dancing the leading parts.
- They write about you that you are physically very resilient. How do you withstand such stress?
- Sports training from childhood plus my “physics”. I was born this way. Strong by nature. Strong.
- But at the same time, no one canceled the machine and you continue to rehearse like everyone else?
- Always different. It depends on what performances and what schedule. Sometimes we don’t do the whole class. But we rehearse every day.
- The most banal question - favorite ballet role?
- They are all favorites, but in different times I like different parts more. Today – Juliet in Prokofiev’s Romeo and Juliet. I don’t prepare for any game with such trepidation now. For me, Prokofiev’s music is space.
- This game is very romantic...
- Juliet is a very strong heroine. I can’t say that it is lyrical, it is rather lyrical-dramatic. She is real. She is a person.
- Do you have an idol in ballet?
- There are a lot of them, but I will name one - Rudolf Nureyev.
- Are there any parts that you haven’t danced yet, but that you dream about?
- I dream of many games. I always dream of dancing everything! In the near future I would like to dance Manon.
Soon I will dance Tatiana in the ballet “Eugene Onegin”. This year I still have to dance." Swan Lake", which I refused for so long.
Why? This is the pinnacle that no ballerina can do without! Not dancing “Swan...” is the same as a musician never performing Bach and Mozart.
- It's hard to say why. I didn’t feel, didn’t understand this part, didn’t believe in myself, didn’t know what I wanted to say in this ballet.
Everyone is used to seeing swans beautiful and tall. I am different. Not tall, I don’t have stunningly beautiful lines.
“Physics” alone won’t take you there. Therefore, we need to tell the audience something incredibly interesting in this performance. Just a year ago I thought that I would never dance “Swan...” in my life! There wasn't even a desire.
But now I’m starting to understand what I would like. I think I should try it. If it’s not mine and I can’t do it, I’ll understand myself and won’t do it again. But you should definitely try it!
Please tell us about your work with Alexei Ratmansky. What sets him apart from many other contemporary choreographers?
- In my opinion, he is either one of the best or the best choreographer of modern ballet. He is incredible musical man, which is very important in ballet.
He stages ballets in almost any genre, works with any form and any content. He has his own language and his own handwriting. It's universal.
Ratmansky's choreography and his style cannot be confused with any other. He incredibly attracts artists when he shows, explains...
Every meeting with him is an interesting labyrinth with unknown ending. I danced in many of his performances, and they are all different.
“Flames of Paris”, avant-garde “Game of Cards”, “Russian Seasons”, “Middle Duet” - it is impossible to imagine that all these ballets were staged by one person! It is very diverse.
Your debut in Chicago is ahead. You don’t know the Chicago ballet crowd yet, but you are already familiar with the New York ballet crowd quite well. Is it different from the Russian one?
- Every audience in every country is very different from each other. But in America it's always nice to dance. The audience is lively, receptive, reacts very warmly to everything and does not skimp on applause. People empathize and are not shy about expressing their emotions.
- Where is it more difficult to dance: on tour or at home?
- It’s always more difficult to dance at home.
- What about the expression “houses and walls help”?
- They seem to help, but they also require a lot.
Questions asked by Sergey Elkin (Chicago)
Natalia Osipova and Sergei Polunin
Its radiance eclipsed the torches.
She's like bright beryl
There are arapkas in my ears, it’s too light
For a world of ugliness and evil.
Like a dove among a flock of crows,
I can immediately spot her in a crowd.
I'll get through to her and look at her point-blank.
Have I ever loved before?
Oh no, they were false goddesses.
I have not known true beauty until now...
He is the main ballet bully, she is the Russian superstar of the Royal Ballet.
Natalya Osipova and Sergei Polunin talk about fear, pain, and love that arose on stage.
“I heard about his reputation, everyone in our world has heard about it. They said that he was not very responsible, that he ran away. So at first I thought I would never dance with him." Natalya Osipova glances at Sergei Polunin, who, as if taking care of her, sits next to her, and the pale, reserved face of the ballerina lights up with a sudden smile: the dancer with whom she vowed not to appear on the same stage is now her life partner.
Few could have predicted their romance. Not only because each of the dancers was too famous for them to make a convincing pair together. But also because their careers developed in too different directions. Osipova, who left a distinguished career at the Bolshoi Theater with former partner Ivan Vasiliev, moved to London in 2013 and became a principal dancer with the Royal Ballet.
Polunin had left the theater 18 months earlier and, amid stories of cocaine abuse and deep professional dissatisfaction, had gone to Russia to clean up his astonishing resume as a ballet dancer, model and future film actor.
In 2015, Osipova was supposed to dance main role in the ballet "Giselle" in Milan. For various reasons, she did not find a suitable partner. Her mother suggested contacting Polunin, who, despite all his eccentricities, still had incredible natural talent, clean classical lines and a soaring jump that could perfectly set off Osipova’s bright energy. The ballerina carefully sent Polunin an email. And when, to her surprise, he agreed to become her partner, she discovered that he was not at all the enfant terrible, as she had assumed. “He turned out to be very sincere. I felt that he kind person- someone I can trust."
It was during the rehearsals of Giselle, the most romantic ballet of the classical repertoire, that the dancers fell in love with each other. For Polunin, playing the role of Count Albert on the same stage with Giselle Osipova became more than a romantic epiphany. By that time, he was so disappointed in ballet that he was about to leave the stage, but then his opinion changed. “Dancing with Natalia was wonderful. I was 100 percent involved, everything was real and real for me, and now I would always want to dance with her.”
He is now living in London again, and although their work schedules are confusing, they are making plans that will allow them to work together as often and closely as possible. Polunin intends to return to the Royal Ballet as a guest dancer (“I’d really like to discuss that”), but the couple also wants to do independent projects together. Osipova says quietly: “This is the peculiarity of our work. To see each other, to return to each other's homes, we must find an opportunity to work together."
Their first collaboration will be a new duet directed by Russell Maliphant. This will be part summer program modern dance, prepared personally by Osipova. For her, this is a continuation of the project that began with “Solo for Two” - an evening of modern dance, presented together with Vasiliev in 2014. It was an experiment that both excited and frustrated her because there wasn't enough time to prepare it. Work on new program, for which Arthur Pita, Sidi Larbi Cherkaoui and Russell Maliphant created the numbers, is conducted differently. Osipova intends to work as much as necessary to adapt her body, trained in classical ballet, to different styles. “I want to master the languages of these choreographers. And I want to speak each of them very well, without an accent.”
Polunin dances in the works of Pete and Maliphant. The flowing movements creeping along the ground became a challenge for the dancer. “It always seemed to me that there was a wall between me and modern dance. I didn't know how to overcome it. And for me all this is quite difficult, especially when I have to get down on the floor. But I watch how Natalya makes this choreography her own, and I understand that I can also do it in my own way.”
Doing it your own way is a new experience for Polunin. In recent interviews, he spoke with anger and resentment about being forced into ballet, and how it was difficult for him to leave his native Ukraine at 13 and, not knowing a word of English, to adapt to a foreign culture. Now, after meeting Osipova, it is easier for him to deal with his past.
He speaks slowly and carefully, still with a slight Ukrainian accent: “At the Royal Ballet school I was looked after very well, as if it were a family. The theater also gave me everything I could. But I felt unhappy and didn't know how to express it. At home, if you are angry, you can fight with someone. But no one fought at school - they would have simply been kicked out for that. I felt lost in the theater, I wanted to try something else - like being in a musical or a film - but I was afraid of ruining it. I lived in London, which became my home, but I still did not have citizen status. If the director got mad at me and kicked me out, where would I go? I think when I left the theater, I wanted to go through the things that were most terrible for me - so that I would no longer be afraid of them.”
Now that Polunin spends so much time with Osipova, he is also close to the Royal Ballet. “I think and talk about ballet more than ever. I have changed." And although he wants to remain faithful to the classics, his main goal is to participate in the most different projects. The “Take Me to Church” video, created with director David LaChapelle, has reached nearly 15 million views on YouTube. The dancer says that he would like to interest a young audience that does not have special interests. “I would like to participate in more projects that connect representatives of cinema, music and fashion. It fascinates me."
Osipova listens carefully. “Sergei’s ideas are wonderful. I think it’s very important that they come to life.” She herself is happy to remain a prima ballerina of the Royal Ballet, because she believes that the repertoire of this theater is an ideal combination of classics and new works. “Now that I’m a mature dancer, I want to seriously concentrate on some classical ballets - like Swan Lake and Sleeping Beauty.” However, she believes that the ideal frame has yet to be found for her talent. “I think there is a choreographer who will help show me the best of what I can do. You just need to find him."
Balancing their personal and professional ambitions is not easy: it will be a delicate balance. However, the cheerful nonchalance with which the dancers giggle and the absolute seriousness with which they listen to each other shows how close they are. Osipova smiles tenderly when she remembers their first performance together: she was waiting to go on stage - the moment when Albert would knock on Giselle’s door. “For me this is a very emotional moment, very poetic and symbolic. I felt like I had been waiting for this knock all my life.”
As a child, they once tried to deceive me, take away a coin,and suggested, making a wish, to throw her down the stairs.
Since then I've been tossing coins my whole life.One day I, for example,wished to become the best dancer in the world.
December 23, 2015, 15:31First, a few different photos of my beloved Polunin 
Little is known about Sergei’s personal life. Sergey dedicated the tattoo “Sorry, Tiger Cub” to one of his beloved, because she abandoned him, and he hoped to get her back in this way;) 
For two years he dated a British ballerina Helen Crawford(who is 9 years older than him), she was his first serious hobby, but after Helen expressed her desire to have children, Sergei decided that it would be easier and more honest if they separated. 
A year ago, for some time, Polunin appeared in society with an aspiring ballerina Yulia Stolyarchuk.
And this summer Seryoga made another tattoo: “NATASHA” with back side palms.
Tattoo is dedicated new girl Polunina - Natalia Osipova.
I don’t know when they met, but they met at the beginning of 2015, when they were rehearsing “Giselle” at La Scala. 
From Natalia's interview:
culture: Your duet with Polunin is something of a sensation. The favorites of the Moscow public have united. How did you meet?
Osipova: At La Scala, when they danced Giselle. The play was planned with David Hallberg, one of my favorite partners. But he has a serious injury, he is undergoing treatment for the second season and was unable to perform. I had to urgently look for a partner. Of course, I saw Seryozha on stage many times, I always admired him, and it was interesting to try to dance with him. Our duet has not yet formed, we are just starting to work together.
culture: You refuse to answer questions about your personal life, but Serezha has a new tattoo with your name...
Osipova: He did it after we met. At first it shocked me. I didn't expect this. But, of course, it's nice to know that you are important to the one you love. 
culture: Do relationships in life help on stage?
Osipova: They help me - I absolutely trust Seryozha, I give him the palm. He is a man, he leads... We have been together for about six months, and it is a great pleasure for us to be around. 
culture: With your temperament, it’s hard to imagine you being a follower...
Osipova: This is also a big and pleasant surprise for me. But in the current situation, nothing tugs at my ego; on the contrary, I submit to Seryozha with great pleasure - both at rehearsals and on stage. In our work, we always consult, talk a lot and decide everything together. 
culture: Sergei Polunin told our readers that he dreams of combining ballet and cinema. Project Polunin is starting now. Are you taking part in it?
Osipova: No, the project is not connected with me. I have my own job, Seryozha has his own. But there is a desire to work together as often as possible. Serezha has a lot of great ideas, and I hope everything works out. If he needs my help, I'm always there.
For the first time, fans noticed them in June, when after the play “Giselle”, where Sergei danced together with Svetlana Zakharova, Natalya Osipova was waiting for him. 
Since then, they began to appear together at social events and give joint interviews. 
In November, the couple announced their relationship at a press conference:
The Royal Ballet principal dancer and ballet's "bad boy" put an end to dating rumors when they announced they would be joining the contemporary dance program at Sanders Wells next year.
Two ballet superstars Natalia Osipova and Sergei Polunin will dance together in a contemporary dance program in London, sparking further excitement after they admitted they are also a couple in real life.
The couple's relationship has been the subject of numerous rumors in the ballet world. On Thursday, they put an end to those rumors: yes, they are a couple and are passionate about dancing together as often as possible. 
Polunin said: “ At the moment it’s quite difficult, for some reason the big theaters are trying to divide us. They do everything they can to prevent us from dancing together. We are fighting against this. It is very important for artists to experience real feelings for each other on stage“, he said and added that when he dances with another partner, he always imagines Osipova. " It's very difficult at the moment, but I hope that in the future we will dance together a lot more often». 
Earlier this year, Osipova and Polunin danced Giselle together at La Scala in Milan, but since they became a couple they haven't danced it again, and it's obvious that Polunin is very upset about it.
« It's not just us, it's always a problem and I don't understand why when people want to dance together the directors do everything they can to separate them. I think it's just easier to control people this way.»
And as you know, Sergei is a fighter with any restrictions, and no one will be able to control him)))
Below are photos from social networks: 
Sergei's birthdaySummer vacation on the HudsonWith fans: 
With Sergei's mother:
And a photo with Vadim Vernik, who filmed this program:
In the coming 2016, Osipova and Polunin plan to dance the main roles in London in a new ballet based on T. Williams' play A Streetcar Named Desire.
Russian ballet dancer Natalya Osipova was born in 1986 in Moscow. As a child, she did not think about ballet, preferring sports, namely gymnastics. But a very serious back injury received in 1993 forced adjustments to her life plans - now there was nothing to think about a sports career, but it was a pity to “bury” the girl’s abilities... the coach advised the parents to send their daughter to a ballet school. Thus, N. Osipova’s arrival in ballet was almost accidental, but many years later the ballerina admitted: if she could start life over again, she would come to ballet again.
At the Moscow State Academy of Choreography, Natalya Osipova becomes a student of M. Leonova. She liked, already at the age of ten, to realize that she had a profession, and at the age of eighteen to feel like an established person who knew what she was working for. Natalya Osipova graduated from the Academy of Choreography in 2004, performed the part of Odette at the graduation performance - this performance was mercilessly criticized, however, the graduate was accepted into the Bolshoi Theater. She began as a corps de ballet dancer, but already during the first theater season she was entrusted with the performance of eight solo roles.
At first glance, Natalia Osipova’s physique was not entirely suitable for success in ballet - this was especially true for her legs, but the ballerina managed to turn this disadvantage into an advantage: it was the “imperfect” legs that provided a magnificent jump - weightless, flying, hovering in the air. With this jump, as well as her bright temperament and impeccable technique, the ballerina captivated the audience. In 2007, N. Osipova, during the English tour of the Bolshoi Theater, was enthusiastically received by the London public. The Guardian newspaper advised residents of the British capital to attend a performance with her participation at any cost, even if this means stealing a ticket or taking it from someone in a fight. During these tours N. Osipova was awarded the British national award in the “Classical Ballet” category, and in 2008 she became a leading dancer at the Bolshoi Theater.
Under the guidance of ballet teacher M. Kondratyeva, N. Osipova prepared many roles: Kitri, Medora, La Sylphide... But most of the roles she received - with the possible exception of Kitri - invariably caused bewilderment among others: “This part is not for Osipova,” however However, the ballerina with her performances every time refuted such judgments. This happened with La Sylphide, and with Aurora in, and with Gamzatti in La Bayadère, as well as with the part that became especially favorite for the ballerina - the title role in.
This role was given to N. Osipova by choreographer A. Ratmansky, who believed in her. Throughout stage history work, each ballerina who performed the title role in it had a special Giselle, and N. Osipova also interpreted the image in her own way. According to the ballerina, she wanted the viewer to see not a beautiful fairy tale, but a story with real feelings and experiences, so in her interpretation of the image she leaned not towards romance, but towards realism, perceiving ballet as the embodiment of a dramatic image, and not as an opportunity surprise the audience with spectacular technical techniques.
Giselle N. Osipova danced not only at the Bolshoi Theater - when she came as a guest artist to the American Ballet Theater, this role in the ballet became her debut role. Her partner in the performance there was D. Hallberg, with whom she performed in other performances - in particular, in “Sleeping Beauty” directed by K. McKenzie. After Natalia Osipova's performance with D. Hallberg at the Bolshoi Theater, this American dancer became especially famous in Russia.
The Bolshoi Theater is dear to N. Osipova, but the time came when she felt that she had already performed the most interesting roles there; there was no new repertoire in sight that could provide an opportunity for creative development. And the ballerina decides to leave the Bolshoi Theater. At the same time, her partner I. Vasiliev left the theater.
After leaving the Bolshoi Theater, the ballerina did not want to leave Russia; in 2011 she came to the Mikhailovsky Theater. The dancer was attracted by the fact that in this theater, which was always “in the shadow” of the Mariinsky, there were many opportunities for development - according to her, here “life was seething, there were innovators, new interesting ballets were staged.”
Since 2012, N. Osipova has been a guest artist, and since 2013, a prima ballerina of the London Royal Ballet. The parts for her are created by leading English choreographers - W. McGregor, K. Wheeldon, A. Marriott. In 2014, N. Osipova and I. Vasiliev presented the three-act play “Solo for Two,” created by three modern choreographers - I, Ohad Naharin and Arthur Pita. Later he becomes the ballerina's partner.
N. Osipova considers classical ballet to be a kind of escape from reality: “A person touches the beautiful - and at least for a short time forgets about difficult problems.” In contrast, modern dance “drags reality onto the stage.” According to the ballerina, both directions are equivalent: “Some people need a fairy tale, others need a blow to the sickest,” she says. Having fully demonstrated herself in the “fairy tale” of classical ballet, N. Osipova in 2015 turned to modern dance. In this incarnation she appears in the plays “Qutb” by Sidi Larbi Cherkaoui, “Silent Echo” by Russell Maliphant, “Run Mary Run” by Arthur Pita.
Musical Seasons
All rights reserved. Copying prohibited
Natalya Osipova - this name says a lot to ballet lovers. Some compare her to the Great Maya. This is very flattering for the dancer, but she rejects such compliments, believing that she still has a lot of work to do.
Ballerina standards
Her parameters are considered very suitable for ballet: height 167 cm, weight 46 kg. Natalya Osipova is very proportional, and thanks to her natural abilities and, of course, talent, she received a lot of magnificent roles.
First steps
Natalya Petrovna Osipova was born on May 18, 1986 in Moscow. The parents took the five-year-old girl to gymnastics classes. But two years later she was injured. I had to leave gymnastics. The coaches gave recommendations to dejected parents: send their child to a ballet school. For ten years, Natasha Osipova mastered the technique and became imbued with the Russian approach to ballet parts at the choreography academy. Since that time, Natalya Osipova has not separated ballet from her life. Her debut took place in the Bolshoi Theater troupe in early autumn 2004. Four years later she was already dancing solo parts.
On the stage of the Bolshoi Theater
Balletomanes in Moscow immediately drew attention to the young dancer. She had amazing jumping-flights, virtuosic technique and lyrical performance. In her first season, Natasha Osipova received solo parts: Nancy in La Sylphide, a Spanish doll in The Nutcracker, and a Spanish bride in Swan Lake. She danced the entire classical repertoire at the Bolshoi.
Kitri's spectacular flight across half the stage, performed by Natalya Osipova, is vividly captured in the photograph. As the ballerina herself says, she was immediately carried onto the stage when she heard Minkus’ music. The fiery image of the bright Kitri will forever remain in the memory of many. Therefore, it is not surprising that in the new season of 2008, Natalya Osipova becomes the leading soloist of the Bolshoi. The ballerina learned all her parts under the guidance of the exceptional teacher M. V. Kondratieva. They created the images of Sylphide, Giselle, Medora, Swanilda, Nikia, Esmeralda. Continuing to increase her skills, the dancer gradually deepened her images. They became more insightful. Natalya Osipova especially loved Giselle. The ballerina said in one of her interviews that this is her favorite role, in which it is not just fairy tale, but a sad story about the fragility of love. It is natural that N. Osipova already became a prima ballerina in May 2010.
Foreign voyages
In 2007, the Bolshoi Theater toured London's Covent Garden. The British public and critics reacted kindly to the aspiring dancer. She received the National British Award from the critics' community as the best ballerina of "classical ballet". In 2009, Nina Ananiashvili recommended her to the American ballet theater New York.
In "La Sylphide" and "Giselle" she soared above the stage because she always tried to achieve a level of performance that no one else performs at. In 2010, she was again invited to America, where she performed the roles of Kitri, Juliet, and Aurora. She was accompanied there by simply crazy success, but in 2011 Natalya Osipova chose the Mikhailovsky Theater in St. Petersburg.
On the banks of the Neva
Behind this is the desire to expand the repertoire. Will the choreographer be able to diversify the life of the artist and her constant partner Ivan Vasiliev? In any case, the Bolshoi is not canceling any plans related to these actors. The Mikhailovsky Theater did not give the actors any new dance experience, although the ballerina danced the most difficult part of Odette-Odile.
Immediately after her debut, the ballerina flew to America, where she had about 20 performances in 1.5 months: “Firebird”, “La Bayadère”, “Bright Stream”, “Romeo and Juliet”. There she is listed as a “guest star”.
In London
Already in 2012, Natalya Osipova accepted an offer from the London Royal Ballet. Since 2013, she has been assigned to permanent work in the troupe with an indefinite contract. In London she likes the discipline, the repertoire, the long schedule of preparing performances, when everything can be done to the smallest detail. She really appreciates the attention from the staff. Before the performance, the doctor always comes in several times and asks how you are feeling. Make-up artists will apply makeup, support staff will bring costumes and help you get dressed. This is not the case in Russia.
A little about personal
Natalya Osipova, whose personal life is always under close attention press, never ceases to amaze with its statements. She can say that she cannot imagine herself being lonely in old age. She needs a large circle of children and grandchildren. At the same time, she can say that her love lasts for two days, no more. For a long time, her affair with her partner Ivan Vasiliev was discussed. But he suddenly and quickly married ballerina Maria Vinogradova.
Sergei Polunin is now her constant partner and companion. They do not hide their relationship and have officially confirmed that they are having an affair. Polunin declares that he only wants to dance, looking into his partner’s eyes, with Natasha. They also have joint work plans.
Creative activity in modern ballet
The play “A Streetcar Named Desire” with Osipova and the infamous Polunin is being staged famous choreographers. N. Osipova said that she wants to try herself in modern ballet while she is young. This was also facilitated by a dislocated hip, which does not yet allow me to dance classically.
In the meantime, the play Qutb has already been staged. From Arabic it is translated as “axis” or “rod”. The three dancers intertwine their bodies without a hint of eroticism, because the creation of the world is shown.
We hope that N. Osipova will return to classical ballet, for which it was created, and will delight its fans with both familiar, favorite images and new ones, revealing all facets of a unique talent.