Natalia Osipova personal life. Natalya Osipova became the prima ballerina of the Perm theater

Elena FEDORENKO

The marathon of Christmas fairy tales ends on February 1 at the State Kremlin Palace. The Perm Opera and Ballet Theater named after Tchaikovsky will present the premiere of “The Nutcracker,” staged on the eve of the New Year holidays by the theater’s chief choreographer Alexei Miroshnichenko. In the role of Marie is the favorite of Muscovites, world star Natalya Osipova.

She once fled from the Bolshoi Theater, stayed briefly at the Mikhailovsky Theater, four years ago became a prima ballerina at Covent Garden, and since the beginning of this season she has also been a prima ballerina at the Perm Opera. The long-awaited guest will not stay in Moscow for long - immediately after the performance she will go to St. Petersburg, where on February 16 at the Mariinsky Theater she will dance for the first time in Yuri Grigorovich’s play “The Legend of Love.” “Culture” asked the ballerina about new performances, immediate plans, partners and hobbies.

culture: You haven’t appeared in Moscow for a long time, but she loves you so much.
Osipova: Not because I don’t want to, I have a great desire, I miss you. But now my place of life and work is London, subject to the strict rehearsal schedule of the Royal Ballet. Unfortunately, almost never did the schedule coincide with the opportunity to prepare and dance a full-fledged performance in Moscow. It finally worked out - and happily: I found myself free in the first half of February. So I accepted the invitation to perform in my hometown with great joy.

culture: You will dance the new “Nutcracker” of the Perm Theater for the first time. The Ural viewers were a little offended that you did not participate in the premiere screenings.
Osipova: I’m sorry that I couldn’t do this, but my December plans were interrupted by a rather serious injury. After the difficult performance “Sylvia”, problems with the Achilles began, and I had to treat my leg for four weeks.

culture: What choreographic versions of The Nutcracker have you already danced?
Osipova: Ballet by Vasily Vainonen, Nureyev's version at the Paris Opera, performance by Peter Wright at the Royal Ballet. Unfortunately, it was not possible to perform at the Bolshoi Theater in “The Nutcracker” by Yuri Grigorovich.

culture: The chief choreographer of the Perm Theater Alexey Miroshnichenko always inserts mini-quotes from famous productions into his choreographic texts - he respects the classics and loves roll calls of times. Is there stylization in his “Nutcracker” too?
Osipova: The performance was created in classical traditions, paying tribute to many predecessors. Alexey put his feelings and imagination into the ballet. He's a great dreamer, and I always admire how great his plots are and how respectful he is of detail.

At the beginning of the Perm performance, the story of Princess Pirlipat, who rejected the Nutcracker, is “told”, which makes a strong impression on Marie. She doesn’t understand how someone so good can literally be kicked away. Then, when the Prince invites Marie to stay in the fairy-tale kingdom and practically lays his heart at her feet, the heroine is overcome by doubts for a brief moment. This is what destroys love: the Nutcracker again becomes ugly and wooden. The girl is ready to run after him and ask for forgiveness, but it’s too late. He disappeared, the world was destroyed. This is how the choreographer explains Tchaikovsky’s tragic music in the duet of happiness. His idea is close to me. When I rehearse, I think about life, and, indeed, in true and full-fledged love, especially when it arises, even the smallest injustice hurts deeply and is perceived as a universal betrayal. If we relate this poignant scene to the usual theme of growing up in The Nutcracker, we can grasp the moment of transition from youthful dreams to adulthood.

culture: So the ending is sad?
Osipova: No, no, wonderful. Marie returns to reality, runs out into the winter streets of St. Petersburg in the 19th century, where she meets Drosselmeyer, meets his nephew, recognizes him as the Nutcracker whom she saw in her dream. At the rehearsal, I shouted to Lesha: “No, don’t - they will get married, then they will get divorced, and it will be the way it most often happens...” And then I thought: can’t a fairy tale exist in reality?

culture: Your Prince is Nikita Chetverikov, remembered by viewers from the Bolshoi Ballet television competition. Are you happy with the duet?
Osipova: We danced Giselle and Romeo and Juliet together. Nikita is a reliable partner and an excellent dancer - both in technique, and in the purity of performance, and in fullness. He feels me, at rehearsals he sets the right tone. They say that I am bright on stage and often adjust my partners to suit me. It’s hard for boys with me, not because I do something incredible, but because I have such a character and such emotions. Nikita and I dance in contrast, and at the same time he always understands what I want to say and immediately responds.

culture: Aren't you afraid of the stage of the Kremlin Palace - huge as a training ground?
Osipova: I don’t really like it, although I danced there many times when I worked at the Bolshoi Theater. I have a difficult impression of not hearing the audience, not feeling their reaction. As well as an incredible space that needs to be filled with your energy. But it’s a long-awaited event: I’m finally dancing a full performance in Moscow to wonderful music, one of my favorites. In general, I have somehow hardened myself and am no longer afraid of anything in terms of creativity. By and large, I don’t care what they say or write about me, who perceives me and how. I myself get great pleasure, and that means the audience does too.

culture: Why did you, a world-class star, need to become a prima ballerina of the Perm Theater?
Osipova: We have developed warm relations with the artists, with the choreographer Alexei Miroshnichenko, with the conductor Teodor Currentzis. I fell in love with the open, sincere people working in Perm. The ballet troupe is amazing, I did not expect and was even surprised at such a high professional level. It’s good and pleasant for me to dance here, but I don’t manage to do it very often. I sincerely love coming here, although the journey is long and inconvenient and takes a lot of time. I didn’t calculate anything, I acted as my heart told me. I can’t answer more clearly.

culture: How did you end up in Perm? Have you known Alexey Miroshnichenko for a long time?
Osipova: Once upon a time, many years ago, we saw each other at the Bolshoi Theater at the rehearsals of the first workshop (shows of the works of beginning choreographers. - "Culture"). Lesha staged his own, I was busy in another room, we just crossed paths. We met in Perm when I came to dance Romeo and Juliet on my own initiative in December 2016.

culture: How is this?
Osipova: My favorite ballet is “Romeo and Juliet” by Kenneth MacMillan, I often perform it with pleasure, for the first time at the American Ballet Theater almost eight years ago. But there was a season when the play was not on in London, and I really wanted to dance. With great surprise I found it in a Perm poster. I then dreamed of performing in a duet with David Hallberg, who, as it seemed to him, had recovered from an injury. But he was in a hurry. I came, met Alexey and the troupe, the performance took shape and left an amazing feeling. It’s good that you were active then and agreed to perform.

Don’t be surprised, I also applied to the Mariinsky Theater with a request to dance Mekhmene Banu in “The Legend of Love” by Yuri Grigorovich. I'm glad that I was given this opportunity. After Perm I’m going to St. Petersburg to rehearse.

culture: Have you always wanted to dance this ballet by Yuri Grigorovich?
Osipova: You could say since childhood. I was so delighted with the performance and the role that at the choreographic school I prepared a monologue by Mehmene Banu for the final exam in acting. Unfortunately, at the Bolshoi Theater I was never able to perform this role; there was a lot of things I couldn’t do there: they didn’t trust me with the responsible repertoire.

culture: Who will be your Ferkhad?
Osipova: Volodya Shklyarov. The first time we met was at the Royal Ballet during rehearsals for the play “Margarita and Armand”. He helped me a lot as a human being during the period when I was left without a partner. I like his warm energy - not like that of a brutal macho, but somehow gentle, intelligent. I think our duet in “Margarita and Arman” is one of the most successful in my career.

culture: Will we never see you at the Bolshoi?
Osipova: I plan to come to the gala in honor of Marius Petipa and take part in the Benois de la Danse concert.

culture: I know that you answer “no” to almost all proposals, but it turns out that sometimes you come up with your own initiatives.
Osipova: To be honest, I've been giving up a lot lately. I balance interest and time. I always need careful rehearsals, immersion in work - only then can I do the role well. It’s already quite awkward just to come and dance something that has long been in my repertoire. It doesn’t matter to me where I dance, the choice is determined by an unusual role, a performance I dreamed of, or a partner. There are fewer performances on the side, but each one is special for me. Of course, we, artists, work for the public, they give us a lot of energy, but it’s still a great pleasure to do what inspires you. For example, I don’t dance “Don Quixote” anymore.

culture: But “Don Quixote” brought you world fame, after which you and Ivan Vasiliev were called “child prodigies of the Bolshoi Theater.” You'll probably want to return to Kitri.
Osipova: I have no doubt. I’ll just wait for the inner impulse when, upon hearing this name, my heart will beat and my soul will respond.

culture: There are legendary duets in the history of ballet: Fontaine - Nureyev, Maksimova - Vasiliev. Many thought that the pair Osipova - Vasiliev or Osipova - Polunin would take place. It didn't happen. Why?
Osipova: Vanya Vasiliev and I did a lot together. It was a wonderful period, then our paths diverged. He needed one thing, I needed another. Everything happened naturally, and I don’t have any regrets about it. And with Sergei Polunin we continue to dance. Not much, but this season they have already performed The Taming of the Shrew and Giselle in Munich. Sergei has his own schedule, plans, interests, priorities.

culture: After Sergei’s confessions about a painful love affair with ballet in the film “Dancer,” it’s even surprising that he performs the classics.
Osipova: He's in amazing shape. A sought-after talented person who does many things besides dance: acts in films, carries out his own projects. I'm very happy for him. Limiting both yourself and him to the fact that we must dance together is stupid. The more partners and different performances, the better. It is still a great happiness for me to dance with Sergei, he is an outstanding artist.

culture: Are you used to life in London?
Osipova: Yes, I settled down in the city and in the troupe. In the team I am a little on my own, a kind of separate person. I come, do my rehearsals and performances, I don’t really know what’s going on among the artists, who communicates with whom. I am very passionate about my dramatic roles, the repertoire is interesting to me, every season gives me new works. I feel good and comfortable, but I don’t rule out the possibility that I’ll rush somewhere else.

culture: Is this season busy for you?
Osipova: Yes, like the previous ones. The world premiere of the ballet “Wind” has already taken place. Choreographer Arthur Pita staged this performance for me. She danced the technically difficult “Sylvia” by Frederick Ashton. These are two big works at the Royal Ballet. After “The Nutcracker” in Moscow and “The Legend of Love” in St. Petersburg - a wonderful cascade of performances at Covent Garden: “Giselle” and “Manon” with my beloved partner David Hallberg, “Swan Lake” with Matthew Ball - a young artist, promising, with Vladimir Shklyarov - “Margarita and Arman”. The whole palette of female characters! With David, and I was so looking forward to his recovery, at the American Ballet Theater on May 18 - our common birthday - I will dance “Giselle” again.

culture: Isn’t it sad because you fanatically devote your life only to work?
Osipova: You see, I'm pleased with this. Dancing makes me happy, gives me joy and energy. And besides him, of course, there are parents, friends and a lot of hobbies.

culture: Friends from the world of ballet?
Osipova: Among my colleagues, I would only name ballerina Lauren Cuthbertson as my friend. The rest of our close friends are non-ballet people, but they love our art very much, it once introduced us.

Unfortunately, I don’t have a husband or children, but I really hope that I will have my own family, which is missing, of course. I always tell myself: if not, then it’s not time yet, it will appear a little later, but now I need to do something else. Everything comes naturally and in due time.

culture: On stage you are flight and temperament. What about in life?
Osipova: No, in life I’m probably not temperamental and by nature I’m a maximalist. I'm difficult to be around. Especially for men, because I react to everything subtly and emotionally, and this is hard to endure. I feel like I’m changing; five years ago I was completely different. Now, it seems, I have become smarter and learned to take everything calmer. Previously, every smallest incident became a drama for me.

culture: You mentioned hobbies - what are they?
Osipova: Painting, literature, music, although I can’t say that I spend all my free time in museums and at concerts. I fell in love with communication, I wouldn’t call it social life, but now I like being around people. It’s interesting with those who are older and smarter. Until recently, I was a completely closed person.

But I have no goal to change anything in my destiny - to take up photography or modeling. I have a kind of unambiguous love and one for the rest of my life - this is dance. Not ballet, but dance. The more I look at it, the more deeply I understand how much you can express with this amazing language, how much you can give to people. I am far from politics, and in our difficult times, although they are always difficult, I am glad that the audience can come and enjoy the peace reigning on stage. I constantly catch myself thinking: what a blessing that I am in dance and I have no plans not related to the theater. It’s just that the ideas in my head have become more global and large-scale.

culture: Which of them will be implemented in the near future?
Osipova: My busy program at Sadler's Wells is planned. Choreography by Anthony Tudor, Jerome Robbins, Alexei Ratmansky, Ohad Naharin and Ivan Perez. Five solos and duets - different styles and choreographers. In addition to the well-known ones, a number of numbers will be staged specifically for me.

I’m preparing a one-woman show, Two Feet, about Olga Spesivtseva, composed by Australian choreographer Meryl Tenkard. We are waiting for confirmation from the Old Vic - a wonderful, one of the best English drama theaters. This is a serious production, new for me, where you will need to speak a lot in English, and not just dance. Two sections, one and a half hours. I will talk about the fate of Spesivtseva and my life as a ballerina.

culture: Spesivtseva is a tragic figure, her life ended in a psychiatric clinic, and you rhyme her image with your fate, which is quite successful.
Osipova: From my life - only real facts and reasoning. How I came into the profession, what I encountered, specific cases, both funny and dramatic. Many people believe that the path of a ballerina is thorny, consisting of diets and grueling exercises. I don’t agree with the idea that this is some kind of terrible life devoid of many joys. So I’m talking about what we do, what we don’t allow ourselves, how our days go. In fact, ballet is a great happiness, not only the performances, but also our everyday life is beautiful and amazing. It’s just that childhood and the beginning of a career are connected with the fact that you invest a lot of physical and emotional strength into an unknown future.

culture: Why don’t you talk about the play “Mother”?
Osipova: We named him "Mom". I cannot announce this project, but since you ask... In England there is a very big problem with the location of the show - the plans of theaters, including the one we have in mind, are scheduled in advance for a long time. I hope that we will find free days, and perhaps we will show the premiere in the summer at the Edinburgh festival.

It is based on Andersen's fairy tale "The Story of a Mother", the choreographer is Arthur Pita, the partner is the actor and wonderful contemporary dancer Jonathan Godard. He plays many roles - from Death and the Old Woman to the Lake and the Flower - everything that gets in the way of the mother.

culture: Andersen's tale is dark and heartbreaking.
Osipova: A very sad story - terrible, tragic. She made an indelible impression on me.

culture: Did you find it yourself?
Osipova: Arthur Pita. But he knows me so well that he immediately understood that I couldn’t pass by. We quickly assembled a wonderful team: Arthur, musician, producer, costume designer. We've already had several rehearsals. The fairy tale attracted me because I had never seen such roles before. I played with different feelings, but the love of a mother, who will go to the very end and sacrifice everything she has, was not necessary, so I wanted to try. The choreographer is close to me not only in the language of dance, but also because he masters the skill of directing. All our work seems successful to me. Both the surreal grotesque ballet Facada, which Moscow saw, and the recent “Wind” at Covent Garden, which was controversially received in England, and I consider my role in this performance one of the best.

culture: Several years ago you admitted to our newspaper that you dreamed of dancing Cinderella. Didn't come true?
Osipova: A wonderful project is planned with choreographer Vladimir Varnava and producer Sergei Danilyan. A new version of Cinderella is my biggest dream. I hope there will be a premiere soon, and next season we will show it in Russia.

In 2003 she won the Grand Prix of the International Ballet Competition “Prix of Luxembourg”.
In 2005 she won the 3rd prize at the International Competition of Ballet Dancers and Choreographers in Moscow (in the “Duets” category in the senior group).
In 2007, she was awarded the “Soul of Dance” prize from “Ballet” magazine (in the “Rising Star” category).
In 2008 she received the annual English award (National Dance Awards Critics' Circle) - the National Dance Critics' Circle Award (best ballerina in the "Classical Ballet" section) and the National Theater Award "Golden Mask" for her performance in the ballet "In the Room Above" F. Glass directed by Twyla Tharp (season 2006/07) and the Leonide Massine Prize, awarded annually in Positano (Italy), in the category “For the significance of talent.”
In 2009 (together with Vyacheslav Lopatin) she was awarded the Special Jury Prize "Golden Mask" - for the best duet in the ballet "La Sylphide" (season 2007/08) and the prize of the International Association of Choreographers "Benois de la Danse" for the performance of the parts of La Sylphide, Giselle, Medora in The Corsair and Joan in The Flames of Paris.
In 2010 she was awarded the International Ballet Dance Open Award in the Miss Virtuosity category.
In 2011, she again received the annual English award (National Dance Awards Critics’ Circle) - the National Dance Critics’ Circle Award (best ballerina); was awarded the Grand Prix of the Dance Open Prize and the Leonid Massine Prize (Positano) in the category “Best Dancer of the Year”.
In 2015, she was again awarded the National Dance Critics Circle Award, and received the award in two categories at once (“Best Ballerina” and “Outstanding Performance” / for her performance of the role of Giselle in the Royal Ballet production).

Biography

Born in Moscow. In 2004 she graduated from the Moscow State Academy of Choreography (rector's class) and was accepted into the ballet troupe of the Bolshoi Theater. The debut took place on September 24, 2004. She began rehearsing under the direction of. Then her permanent teacher-tutor was.
She left the Bolshoi Theater in 2011. She performs with many of the world's leading ballet companies, including the American Ballet Theater (ABT), the Bavarian Ballet, and La Scala Ballet.
Since 2011 - prima ballerina of the Mikhailovsky Theater in St. Petersburg, since 2013 - of the Royal Ballet Covent Garden.

Repertoire

2004
Insert pas de deux
Nancy(“La Sylphide” by H. Levenschell, choreography by A. Bournonville, revised by E. M. von Rosen)
Eleventh Waltz(“Chopiniana” to music by F. Chopin, choreography by M. Fokine)
Spanish doll(“The Nutcracker” by P. Tchaikovsky, choreography by Yu. Grigorovich)
mustard seed(“A Midsummer Night’s Dream” to music by F. Mendelssohn-Barthold and D. Ligeti, staged by J. Neumeier) -

2005
Spanish bride(“Swan Lake” by P. Tchaikovsky in the second edition by Yu. Grigorovich, fragments of choreography by M. Petipa, L. Ivanov, A. Gorsky were used)
Part in the ballet “Passacaglia”, soloist in the ballet “Passacaglia”(to music by A. von Webern, choreography by R. Petit)
Typists(“Bolt” by D. Shostakovich, staged by A. Ratmansky) -
First variation in grand pas(Don Quixote by L. Minkus, choreography by M. Petipa, A. Gorsky, revised by A. Fadeechev)
Cinderella(“Sleeping Beauty” by P. Tchaikovsky, choreography by M. Petipa, revised by Yu. Grigorovich)
frivolity(“Omens” to music by P. Tchaikovsky, choreography by L. Massine)
Cancan soloist(“Parisian Fun” to music by J. Offenbach, arranged by M. Rosenthal, choreography by L. Massine) - first performer in Russia
Four Dryads, Kitri("Don Quixote")
Soloist of the III part(“Symphony in C major” to music by J. Bizet, choreography by J. Balanchine)
Second variation in the painting “Shadows”(“La Bayadère” by L. Minkus, choreography by M. Petipa, revised by Yu. Grigorovich)
Soloist(“Playing Cards” by I. Stravinsky, choreographed by A. Ratmansky) - was among the first performers of this ballet

2006
Waltz soloists(was among the first performers)
Autumn(“Cinderella” by S. Prokofiev, choreography by Y. Posokhov, director Y. Borisov)
Ramsey, Aspiccia(“The Pharaoh’s Daughter” by Ts. Puni, staged by P. Lacotte after M. Petipa)
Manka Fart(“Bolt” by D. Shostakovich, staged by A. Ratmansky)
Gamzatti(“La Bayadère”) - the debut took place on tour of the theater in Monte Carlo

2007
Soloist(“Serenade” to music by P. Tchaikovsky. choreography by J. Balanchine) -
Soloist(“In the Room Upstairs” by F. Glass, choreography by T. Tharp) - was among the first performers of this ballet at the Bolshoi Theater
Classical dancer(“Bright Stream” by D. Shostakovich, staged by A. Ratmansky)
Soloist(“Middle Duet” to music by Y. Khanon, choreography by A. Ratmansky)
Soloist(“Class-concert” to music by A. Glazunov, A. Lyadov, A. Rubinstein, D. Shostakovich, choreography by A. Messerer)
Third Odalisque(“Corsair” by A. Adam, choreography by M. Petipa, production and new choreography by A. Ratmansky and Y. Burlaki)
Giselle(“Giselle” by A. Adam, choreography by J. Coralli, J. Perrot, M. Petipa, revised by Y. Grigorovich)

2008
Sylphide(“La Sylphide” by H. S. Levenskold, choreography by A. Bournonville, revised by J. Kobborg) - first performer at the Bolshoi Theater
Medora("Corsair")
Zhanna(“Flames of Paris” by B. Asafiev, staged by A. Ratmansky using choreography by V. Vainonen)
Couple in red(“Russian Seasons” to music by L. Desyatnikov, staged by A. Ratmansky) - was among the first ballet performers at the Bolshoi Theater
Variation(Great classical pas from the ballet “Paquita” by L. Minkus, choreography by M. Petipa, production and new choreographic version by Y. Burlaka)

2009
Swanilda(“Coppelia” by L. Delibes, choreography by M. Petipa and E. Cecchetti, production and new choreographic version by S. Vikharev)
Nikiya("La Bayadère")
Esmeralda(“Esmeralda” by C. Pugni, choreography by M. Petipa, production and new choreography by Y. Burlaki, V. Medvedev)

2010
Main role in the ballet “Rubies” to music by I. Stravinsky (choreography by J. Balanchine) - participant in the premiere at the Bolshoi Theater
Pas de deux(Herman Schmerman by T. Willems, choreography by W. Forsyth)

2011
Coralie(“Lost Illusions” by L. Desyatnikov, staged by A. Ratmansky) - first performer

Participated in the Bolshoi Theater project
“Workshop of New Choreography” (2004), performing in the ballet “Bolero” to the music of M. Ravel (choreography by A. Ratmansky) In 2007, she performed in the ballet “Old Women Falling Out” to the music of L. Desyatnikov (choreography by A. Ratmansky) , shown first at the Territory festival, and then as part of the “Workshop of New Choreography” In 2011, she was a participant in the joint project of the Bolshoi Theater and the Californian Segerstrom Center for the Arts (“Remansos” to the music of E. Granados, staged by N. Duato; “Serenade” to music by A. Ciervo, staged by M. Bigonzetti; Pas de trois to music by M. Glinka, choreography by J. Balanchine; “Cinque” to music by A. Vivaldi, staged by M. Bigonzetti).

Tour

DURING WORK AT THE BOLSH THEATER

December 2005 - performed as Kitri in the ballet Don Quixote (choreography by M. Petipa, A. Gorsky, revised by S. Bobrov) at the Krasnoyarsk State Opera and Ballet Theater.

2006- participated in the XX International Ballet Festival in Havana, performing with Ivan Vasiliev (Bolshoi Ballet) a pas de deux from the ballet “The Flames of Paris” by B. Asafiev (choreography by V. Vainonen) and a pas de deux from the ballet “Don Quixote”.

2007- at the VII International Mariinsky Ballet Festival she performed the role of Kitri in the ballet Don Quixote (partner - soloist of the Mariinsky Theater Leonid Sarafanov) and the pas de deux from the ballet Corsair in the gala concert that concluded the festival (same partner);
- at the international festival “Dance Salad” (Wortham Theater Center, Houston, USA) she performed “Middle Duet” staged by A. Ratmansky with the leading soloist of the Bolshoi Ballet Andrei Merkuriev;
- at a gala concert in honor of Maya Plisetskaya, held on the stage of the Royal Theater of Madrid, she performed a pas de deux from the ballet “Don Quixote” (partner - Bolshoi Ballet premier Dmitry Belogolovtsev).

2008- with Ivan Vasiliev took part in the gala concert “Today’s Stars and Tomorrow’s Stars” (pas de deux from the ballet “Flames of Paris”), which concluded the IX International Competition for Ballet School Students of the Youth America Grand Prix, in 1999 . founded by former Bolshoi Ballet dancers Gennady and Larisa Savelyev;
performed the title role in the ballet “Giselle” in Kazan with the ballet troupe of the Tatar Academic Opera and Ballet Theater named after Musa Jalil as part of the International Festival of Classical Ballet named after Rudolf Nureyev (Count Albert - Andrey Merkuryev) and performed in the gala concerts that concluded this festival, performing pas de deux from the ballet “Flames of Paris” (partner - Bolshoi Ballet soloist Ivan Vasiliev);
as part of the First Siberian Ballet Festival, she performed in the performance of the Novosibirsk State Academic Opera and Ballet Theater “Don Quixote”, performing the part of Kitri (Bazil - Ivan Vasiliev);
took part in the gala concert “An Tribute to Maya Plisetskaya”, held as part of the Cap Roig Gardens festival (Girona province, Spain), performing with Ivan Vasiliev a pas de deux from the ballet “Flames of Paris” and a pas de deux from the ballet “Corsair” ";
took part in a gala concert of ballet dancers, held on the stage of the Lyon Amphitheater (variations and coda from the ballet Don Quixote, pas de deux from the ballet Flames of Paris, partner Ivan Vasiliev).
performed in the title role of the ballet La Sylphide (choreography by A. Bournonville, revised by J. Kobborg) in Zurich with the ballet company of the Zurich Opera;
performed in the title role in the performance of the Novosibirsk State Academic Opera and Ballet Theater “Giselle” (Count Albert Ivan Vasiliev);

2009- performed the part of Nikia in the ballet “La Bayadère” (choreography by M. Petipa, revised by V. Ponomarev, V. Chabukiani, with separate dances by K. Sergeev, N. Zubkovsky; production by I. Zelensky) in Novosibirsk with the ballet troupe of the Novosibirsk State Academic Opera Theater and ballet (Solor - Ivan Vasiliev);
performed in the title role of the ballet “Giselle” (edited by N. Dolgushin) with the troupe of the Mikhailovsky Theater in St. Petersburg (partner Ivan Vasiliev).
As a guest soloist of the American Ballet Theater (ABT), she took part in the performances of this troupe on the stage of the New York Metropolitan Opera. Performed in the title role of the ballet "Giselle" (choreography by J. Coralli, J. Perrot, M. Petipa; Count Albert - David Hallberg) and the title role of the ballet "La Sylphide" (choreography by A. Bournonville, revised by E. Brun; James - Herman Cornejo );
performed the role of Ballerina in the ballet “Petrushka” by I. Stravinsky (choreography by M. Fokine) in a performance at the Paris National Opera.

2010- performed as Clara in the ballet “The Nutcracker” by P. Tchaikovsky (choreography by R. Nureyev) in a performance at the Paris National Opera (partner Matthias Eymann).
performed the role of Kitri in the ballet Don Quixote (version by R. Nureyev) at the La Scala Theater in Milan (partner Leonid Sarafanov);
participated in the X International Ballet Festival "Mariinsky" - performed the title role in the ballet "Giselle" (Count Albert - Leonid Sarafanov);
again took part in ABT performances on the stage of the Metropolitan Opera: she performed the roles of Kitri in the ballet Don Quixote (choreography by M. Petpa, A. Gorsky, production by K. McKenzie and S. Jones; partner Jose Manuel Carreno), Juliet in the ballet “Romeo and Juliet” by S. Prokofiev (choreography by K. MacMillan; partner David Hallberg), Princess Aurora (“The Sleeping Beauty” by P. Tchaikovsky; choreography by M. Petipa, K. McKenzie, G. Kirkland, M. Chernov, production by K. McKenzie ; partner David Hallberg).

2011- performed the role of Katharina in the ballet “The Taming of the Shrew” to the music of D. Scarlatti (choreography by J. Cranko) in Munich with the ballet troupe of the Bavarian State Opera (Petruchio - Lukasz Slawicki);
participated in the ABT season on the stage of the Metropolitan Opera - performed the role of the Classical dancer in the ballet “Bright Stream” (choreography by A. Ratmansky, Classical dancer - Daniil Simkin), the role of Swanilda in the ballet “Coppelia” (edited by F. Franklin, Franz - Daniil Simkin ); performed the title role in the ballet “Romeo and Juliet” (choreography by F. Ashton, revival by P. Schaufus) in London (Coliseum Theater) with the English National Ballet (Romeo - Ivan Vasiliev).

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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 distinguish 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 the 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 was a kind person - someone I could 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 of the summer contemporary dance program 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 was not enough time to prepare it. Work on the new program, for which Arthur Pita, Sidi Larbi Cherkaoui and Russell Maliphant created the numbers, is being conducted differently. Osipova intends to work as long as necessary to adapt her body, trained in classical ballet, to various 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 everything. 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 stay true to the classics, his main goal is to participate in a variety of 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.” At the same time, 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.

One of the brightest ballet stars talks about the roles that make her talent more multifaceted.

It was “a terrible event in the history of Russia,” says the prima ballerina of the Royal Ballet, “I could not even imagine that I would dance Anastasia in England... This is very unusual.”

Sitting in a small room at the Royal Opera House in London, she talks about one of the darkest periods in her country's history - the 1918 assassination of Tsar Nicholas II and his family, the mystery surrounding the whereabouts of their remains, and the unknown woman who, years later, declared herself the youngest daughter of the Romanovs, Grand Duchess Anastasia.

In the ballet Anastasia, Natalya plays the role of Anna Anderson, a mentally ill woman who believed herself to be Anastasia, who inexplicably survived the death penalty. In the ballet, Anderson resurrects the supposed life of a young princess in the Russian Empire and tries to discover who she is, or isn't. This is a fascinating conflict between memories and reality, fiction and truth, a search for similarities with the main character for a deeper understanding of the role.

She's been dancing with the Royal Ballet for four seasons now, but it's still hard to believe that this frail, pale girl sitting in front of me now in a black sweater and leggings made a splash with her first appearance on the Covent Garden stage in 2010. At the time, she was a prima ballerina at the Bolshoi Theater and amazed audiences with her incredible technique, athleticism and bravura performance. In 2011, she and her partner moved to the Mikhailovsky Theater in St. Petersburg in search of “creative freedom.” And a year later, after appearing in 2012 as a guest soloist with the Royal Ballet, she joined the company full-time, having received “an offer I couldn’t refuse,” Natalya herself said.

Born in 1986. She was still a child, but clearly remembers the time when, after the fall of communism, the bodies of five members of the Romanov family were exhumed and officially reburied in the Peter and Paul Cathedral in St. Petersburg in 1998. Natalya describes it as “a huge event in Russia.” Even when DNA analysis seemed to prove that Anna Anderson was not related to the royal family, this secret continued to live. "Even today, the Russian Orthodox Church still does not recognize that these are indeed the remains of the royal family."

Could Anderson be Anastasia? “I have to believe that yes. was absolutely convinced of this - (he died in 1992 before the DNA tests were made public) - he was fascinated by this woman, by what was happening in her soul.”

Isn't this a strange theme for ballet? “On the contrary,” Natalya objects, “I think it’s very interesting. We are so accustomed to sweet, light stories in classical ballet; opera stories are much deeper and more meaningful. It’s wonderful for a ballerina to dance such a complex dramatic part.” I have never avoided such unpleasant topics as rape, suicide, sexual degradation and mental turmoil. In the third act of “Anastasia” the action takes place in an orphanage, and, he says, “it’s like a world that exists in her mind. Like fragments of memories that she tries to piece together to piece together the story of her life. I need to bring the audience into this world. It's very difficult. To do this, it’s not enough just to make dramatic gestures,” she waves her hand, “you need to understand every second what you are doing on stage, be aware of every movement.”

She is sure that “Anastasia” will never be staged in Russia. But one of the main reasons why she wanted to work with the Royal Ballet was precisely the diversity of the repertoire. “I came for the repertoire,” she says, “for modern performances. A lot of ballets are performed only here.”

In ballets she finds great opportunities for self-expression and performs roles “where you can be an actress, and not just a dancer.” Her acting talent was clearly demonstrated in “”, in which her heroine combines teenage recklessness and youthful passion. In "" she captivated with the image she created, showing the path of her heroine through dangerous ambitions and vanity to despair and hopelessness. She also loves the pas de deux, known for its complex lifts and jumps, which are also very long - a real test of a ballerina's endurance and technique. But it doesn’t seem to be difficult for her, she says: “difficult, difficult, but very natural. This is a very beautiful dance language.”

Choreography, however, does not come so easily to her. “I was not prepared for such choreography. Russian and English schools are very different, if you haven’t studied it since childhood, then it’s very difficult to dance.” And yet she was able to successfully cope with many of the difficulties of the work. She was especially successful in the ballet “,” where she perfectly showed the character of the wayward Lisa, thereby demonstrating her comic gift. “This is an amazing ballet, I dance it with such pleasure. There aren't many fun, joyful ballets. I didn’t have the opportunity to dance comic roles before.”

Perhaps there is only one question remaining in connection with her transition to the Royal Ballet - this is the problem of partners. There were several of them - Carlos Acosta, Federico Bonelli, Stephen McRae, Matthew Golding. Did she choose them? “Partners are offered to me... for each ballet the most suitable partner is selected, and it always turns out harmoniously. They are all amazing dancers and wonderful people,” she adds diplomatically. But sometimes it is clear that they do not quite fit together. The irony is that her life partner, one of the most talented dancers of this generation, worked at the Royal Ballet but left the company in 2012 due to differences with artistic director Monica Mason. They recently danced a program of contemporary ballets together at the Sadler's Wells Theatre. Can he be persuaded to return to the Royal Ballet? “They asked me not to discuss this,” Natalya said, smiling shyly.

The stumbling block for her at the moment is learning English. “This is a very sore point,” she admits, laughing. – In three years I have not yet learned the language. I only speak at a basic level” [we communicate through a translator]. Despite this, she seems to be happily settled in London. “I bought an apartment! - she exclaims. – I live next to the theater and it seems like my whole life is here – you can go crazy from this. But now I have a life outside of work.” Of course, she does not hang out in the company of oligarchs, leads a rather modest life, loves to walk around Little Venice, where her new home is now, sit somewhere in a cafe, see friends, “like any normal person.”

But this is where normal life ends. In addition to performing at Covent Garden, she has her own projects and guest contracts abroad. “The Royal Ballet is a priority,” she says, “but if I have free time, for example, I’m not dancing at the Ballet at Christmas, I can go dance somewhere else.”

Before the premiere of “Anastasia” she will go to Moscow for a gala concert. In the new year he will return to Covent Garden to work on the ballet “Works of Woolf” by choreographer Wayne McGregor. Also awaiting her is the large-scale classical ballet “Sleeping Beauty” (with another new partner Rioichi Hirano). One can only hope that she will not have to pay for such a load: last season she could not dance for several weeks due to a leg injury. Of course, now, at thirty years old, she is in her best shape, at the peak of her dancing and artistic capabilities, and will be one of the best in her profession for the next five to six years. And she knows that she must take advantage of every opportunity that comes her way.

Photographers: Harry Mitchell; Alice Pennefather

Text: Alison Gunn

Translation: Valentina Taratuta

Natalya Osipova is one of the five best ballerinas in the world who managed to conquer the famous European stages. The girl’s career developed rapidly; at the age of 24, Natasha was already a prima dancer at the Bolshoi Theater. Recently, the ballerina has been working in Europe and America, but in 2017 she decided to work in her homeland, and not just anywhere, but in provincial Perm. Her role called her there.

Childhood and youth

Natasha was born into a Muscovite family in 1986. When the girl was 5 years old, her parents took her to gymnastics, but her relationship with this area did not work out. A severe back injury put an end to his sports biography. The coaches advised me to try my hand at dancing, so Natasha ended up in ballet.

Osipova has the Moscow Academy of Choreography behind her. From the walls of the educational institution, the girl went straight to the troupe of the legendary Bolshoi Theater, where she first appeared on stage in the fall of 2004.

Ballet

The capital's public fell in love with the young ballerina. Ballet connoisseurs never ceased to admire the brilliant jumps and flights, the lyricism of the image and the perfect technique of performance. In the very first season, Natasha began to be trusted with solo roles. The actress lasted seven years at the Bolshoi.

In 2007, Natalya Osipova, as part of a grand tour, performed for the first time on the stage of the famous London Covent Garden. The audience warmly welcomed the ballerina, who also received the British National Award in the category “classical ballet”. A year later, her native theater awarded the talented girl the title of leading dancer.

Natasha tried on the images of Kitri in the production of Don Quixote, Sylphide in the ballet of the same name, and Medora in The Corsair. The role of Giselle caused a storm of admiration. However, the brilliant performance is understandable, because this is Osipova’s favorite character of all that she had the chance to embody. The girl admitted to journalists that every time she went on stage, she tried to convey the emotions and experiences of a fairy tale.

In the spring of 2010, the ballerina reached the pinnacle of her career at the Bolshoi Theater, becoming its prima. At the same time, the dancer received offers from the leaders of foreign temples of Melpomene. The American Ballet Theater turned out to be particularly persistent; at the invitation, Natalia shone several times at the New York Metropolitan Opera, dancing in “Giselle” and “La Sylphide.”

In 2011, Russian ballet fans were surprised by the news that Osipova and her partner had left the Bolshoi. The star couple went to St. Petersburg, where Natalya was appointed prima singer of the Mikhailovsky Theater.

Later, the actress told the press that in Moscow she was “kept in the youth,” her repertoire froze in one place - the girl did not want to remain the eternal Kitri. And in the St. Petersburg theater the field for unlocking potential turned out to be wider. The dancer transformed into Odette in Swan Lake, Juliet in Romeo and Juliet, and the princess in Sleeping Beauty.

Every year Osipova's star burned brighter. Soon the girl was invited to the London Royal Ballet (Coven Garden), and in 2012 she already performed at a grand concert in honor of the 60th anniversary of the reign. The invited soloist managed to dance three “Swan Lakes”, and Carlos Acosta became her working partner. In the future, the theater signed a permanent contract with the artist.

In a short time, Natalya managed to become a world celebrity, performing with the best troupes on the planet on the stages of Milan, Berlin, Paris, and New York. She became the prima of the American ballet theater. Plus, Natalya Osipova is the winner of numerous awards. Her collection includes the Golden Mask, the Leonid Massine Prize, the Benois de la dance prize, and the Grand Prix of the International Ballet Award “Dance Open”.

There was a time when Natalya betrayed classical ballet. The girl tried her hand at modern dance.

Personal life

Ballet fans admired the beautiful romance that flared up between Natalya Osipova and Ivan Vasiliev almost from the moment they graduated from the choreographic academy. Fans were convinced that the couple would definitely go down the aisle, but they were overtaken by disappointment. The Bolshoi Theater prima and Vasiliev broke up. The reason was the young man’s love for the dancer Maria Vinogradova, who later became his wife.

At the Italian La Scala theater, during a rehearsal for the production of Giselle, Natalya met an already famous ballet actor. Before this, the man managed to appear at social events with his colleague Yulia Stolyarchuk, but one day fans suddenly noticed a tattoo of the inscription “Natalia” on the dancer’s hand. The couple later admitted at a London press conference that they were in love.

The ballet stars first appeared on stage together in 2016, performing the roles of Blanche and Stanley in the play A Streetcar Named Desire. In May 2017, rumors spread that the ballet actors had broken up; allegedly Natalya preferred an unknown conductor to Sergei, although the couple still published joint photos on Instagram.

In every interview, journalists do not forget to take an interest in the actress’s personal life, but Osipova is not verbose on this matter. In one of her last conversations with representatives of the press, she noted:

“We communicate very well, we still have a good and even wonderful relationship.”

Natalya Osipova now

In 2017, the happy news appeared on the official website of the Perm Opera House that Natalya was becoming its prima. It was Osipova's decision. The girl told media representatives that one evening she thought that she had not danced “Romeo and Juliet” for a long time, a performance in which the actress brings great pleasure to work. Having looked through all the world's theaters, I did not find the production anywhere, only in the Russian provinces. A call from a ballerina of such magnitude surprised and incredibly pleased Alexei Miroshnichenko, the director of the Perm Ballet.

Osipova’s first performance as a prima singer was the play “The Nutcracker,” or rather, its original version. In a non-trivial production, the authors tried to convey the depth and tragedy of the music. The work is also notable for the fact that, unlike the original, it has a happy ending. On February 1, 2018, the premiere of “The Nutcracker” took place at the Moscow State Kremlin Palace. Natalya dances in a play with actor Nikita Chetverikov.

In the spring, the ballet star performed at the Mariinsky Theater in the role of Queen Mekhmene Banu in the play “The Legend of Love.” Together with choreographer Vladimir Varnava, he is preparing “Cinderella” for the August premiere in America, after which the production will come to Russia.

On May 26, Channel One screened a documentary about Sergei Polunin, “Dancer.” Director Stephen Cantor presented a study of the dancer’s life, combining family chronicles, archival materials and interviews with friends and relatives. Natalya Osipova also took part in the creation of the film.

Parties

• Spanish Bride, Swan Lake
• Marie, "The Nutcracker"
• Queen Mekhmene Banu, “The Legend of Love”
• Anna Anderson, "Anastasia"
• Giselle, "Giselle"
• La Sylphide, "La Sylphide"
• Medora, "Corsair"
• Esmeralda, "Esmeralda"
• Princess Aurora, Sleeping Beauty
• Juliet, "Romeo and Juliet"
• Laurencia, "Laurencia"
• Kitri, Don Quixote
• Aegina, Spartak
• Firebird, "Firebird"
• Carmen, "Carmen Suite"