Natalya Osipova personal life. Famous Russian ballerina, world celebrity Natalya Osipova. Harsh verdict from the press

In June, “Marguerite and Armand” was shown at the London Royal Opera House. This is a special production for the British, which premiered at Covent Garden more than half a century ago. For the first time in history, both roles were performed by Russians: prima ballerina of the Royal Opera House Natalya Osipova and premier of the Mariinsky Theater Vladimir Shklyarov. ZIMA attended the rehearsal. For Osipova this was the last production of the season, and we will soon see Shklyarov again in London with.

Almost an hour of rehearsal takes place in one breath. It’s scary to the last that the dancers will no longer have the strength to do the interview, but when they leave the hall and wipe off their sweat, they look quite cheerful. “Let’s have a snack and talk at the same time?” - Natalya suggests. Vladimir presses the elevator button: “We’re going to the buffet!” The voice recorder starts in the elevator:

– How long have you been in London?

Vladimir: A week.

- How do you like it here?

Q: London is wonderful. Although I don’t know what it would be like if I danced without Natasha.

Natalya: Say that you would be disgusted!

Q: I'll say anything for you!

They both laugh. We arrive at the buffet. Vladimir takes yoghurts, bananas and soda. We sit down at the table.

N: Sorry that we are constantly making fun of you. I haven’t danced with Russians for so long, and I’m so pleased. Volodya and I have a lot in common in terms of humor. There is a good emotional connection: we can joke, talk, discuss everything.

– Is it harder with foreigners?

N: I have to feel more physically partners who don’t speak Russian; we still have some kind of boundary. Although, for example, I have a wonderful American partner, David Hallberg - this is just my love. I feel him so much in my heart that I don’t even need to talk to him.

– Tomorrow is your first joint performance with Shklyarov?

N: We have already danced one performance, we had a premiere on June 5, tomorrow there will be a second one. This is the end of the season. Honestly, I'm very glad that this is the end. Although then I have a tour... A very busy season.

– How many performances did you have this season?

N: I don’t count how many performances, but over the last month I have had three new roles. It's very hard. Not so much physically, but psychologically - each role requires development...

Q: And Natasha is a very emotional person...

N: And Volodya is such a psychoanalyst!

-Have you known each other for a long time?

N: Yes, since childhood.

B: Well, no! Although it already seems so. We met at the age of 18 at the Mariinsky Theater.

N: We are of the same generation. This is very noticeable - both in work and in communication.

– Is working with Russian dancers very different from working with foreigners?

N: I would say that ballet schools are different from each other. But I have become so cosmopolitan that I would no longer call myself a Russian ballerina. I worked in almost all companies: both in England and in America. I study everywhere, master new techniques, this helps a lot.

– You have been living in London for four years. Are you used to it? Are you bored here?

N: No. I'm never bored. I am a person who lives for work. Our century is not that long. A career may well end at 40. Or an unexpected injury may occur and your career will be interrupted. Therefore, I seize every moment and try to use the talent that is given to me to the fullest.

– But do you rest sometimes? What do you do when you're not dancing?

N: Of course, I’m resting. I have wonderful friends with whom I can spend time. I love being alone. I really like to read. It is a great pleasure for me to sit on the balcony and read a book - honestly, one of the most pleasant moments. I'm currently reading Salman Rushdie's book The Ground Beneath Her Feet. I would like to use the plot of this book in my work, for a ballet performance. I also really love my area, Maida Vale. I spend almost all my free time there: in my favorite cafes, on ponds, in Regent’s Park. We also often gather with friends at someone's apartment. And recently Volodya and I watched a ballet on the embankment! Completely unexpected! We went to Trafalgar Bridge and there was a live broadcast from the Royal Opera House, the same ballet we were dancing. It was very funny. We caught familiar music, I thought: “God, and here it is!” It turned out it was a Live Cinema broadcast. The Royal Opera House set up screens in the streets and broadcast their best productions. We sat and looked from the side. It was great.

– Are your friends Russian? Are they from the ballet world?

N: Friends are mostly Russian. Of course they love ballet, but they are not from the ballet world. Among my close friends there are only a couple of dancers.

– Natasha, Vladimir, you are dancing “Margarita and Armand” - a very difficult plot. Is it easy for you to deal with it?

Q: This is a stylized performance in which Rudolf Nureyev and Margot Fonteyn shone many years ago. It was staged at the Royal Opera especially for them, and then for a long time no one was allowed to touch this masterpiece. The first was Sylvie Guillem... But Natasha is a unique ballerina. You are the first Russian at the Royal Opera who was entrusted with this role?

N: Yes. It is so accepted that this is also an age group. When this ballet was staged, Margot Fonteyn was almost 20 years older than Nureyev. Probably not every ballerina will be able to convey all the feelings that the heroine experiences on stage. When girls are 17–18 years old, they cannot feel this range of emotions so deeply. It is believed that the older the ballerina, the better she does. And ballet girls always look good. Often at 40 they barely look 25. Such a nice trick! I am probably the first in the theater who is 30 years old and who was entrusted with this role. It was even scary to touch her. It was not clear how to do it, how I would succeed. In the end, I decided that I would act intuitively, and I think I did a decent job.

– Were you immediately paired with Vladimir?

N: No, I had to dance with another partner (Sergei Polunin. - ZIMA note). Unfortunately, due to certain circumstances it didn’t work out, and I urgently had to look for another partner. There was no one there because in England no one is allowed to dance this ballet anymore. It is still performed in Russia, but there are practically no good dancers who could dance it. Volodya was the only suitable candidate for this role, and also a brilliant dancer. First we waited for a visa. As a result, Volodya arrived five days before the performance. It was the premiere. The fact that we managed to prepare is still a shock to me. And they didn’t disgrace themselves on stage, which is an even greater achievement. This ballet is very special for the British. There is just ballet, and there is Marguerite and Armand. The two of us are also Russian, so it was especially scary.

Q: What was difficult was that acting is treated differently in Russia and England. We usually try to find individuality, and this is probably the exact opposite of the performances of Frederick Ashton (director of the play at ROH - ZIMA note). He does everything clearly, absolutely according to the rules, no acting liberties are allowed. This is how it should be done. If you clench your fists on the count of “six”, you should do it on “six”, not “five”. It is very difficult to put personal emotion into it so that it reaches the viewer.

N: And we only had five days. We learned the procedure in two days. Volodya had already danced this part, and I danced it for the first time. I was completely shocked. I decided that I had nothing to lose: I just had to go out in five days and dance the most special role for the British. We rehearsed for two days and went on stage to the audience. This was the first time in my life that this happened. I was terribly worried. But when we went on stage, it felt like we were completely ready.

– You have been performing in the leading theaters of the world for so many years! Doesn't the excitement go away with experience?

N: What are you talking about! Sometimes the anxiety becomes even greater. It comes with responsibility. Sometimes it is very difficult for me to work and perform here. When I was invited, I had to constantly prove that I was worthy of it. From the very beginning, I had to prepare each role like some kind of miracle. And I did it, and I got used to it.

Now tickets for my performances are sold out immediately, within two hours. You understand that people expect a miracle from your performance, and you have to keep the bar, and it’s hard.

– How do you recover?

B: A cigarette, a bottle of wine... (laughs)

N: Volodya! (Strictly.) Well, maybe in your case!..

- Natasha, is it true? Do you have a diet?

N: I don’t have a diet. We have such a crazy workload that I eat absolutely everything. I don’t know which ballet dancers are on a diet. With such hard work, dieting is very difficult.

– Today’s rehearsal lasted 45 minutes. Is this standard time? How long do rehearsals usually last?

N: It depends. Today it was 45 minutes. Sometimes an hour. We sometimes rehearse classical ballet for two hours. Sometimes we can come at ten in the morning and work until six in the evening, rehearsing without stopping. Depends on the repertoire. Most often I spend the whole day here. I also have to perform in other places, and I go there to rehearse. I don’t have a family yet, so I’m “dedicated to art.”

– There is no desire to relax and not dance?

N: Yes. I'll be on vacation now. I was recently so tired that I literally screamed: “Soon I won’t do anything for two months!” And I really hope I don't. I'll travel. Really want to. I want to go to South America: Peru, Brazil, to stay there. Well, I also want to be with my parents, I don’t see them very often.

– Do they come to London to see you?

N: Yes, mom comes quite often. Dad less often. They like it in London. But they still prefer Moscow.

– Vladimir, what do you prefer? Would you like to live in London?

Q: I love London. But... how to put it correctly... I am very worried about the events that are happening. Just the other day there was the Champions League final. We watched football in the pub. Natasha supported Real Madrid. It was near London Bridge station. When we went out and heard the news about the terrorist attack, it was out of the blue. There was a shock.

N: Well, this is happening not only in London now... Unfortunately.

– How do you both feel about risk? Your work is connected with him. They pulled a ligament, broke their leg - and it was the end of their career.

Q: You never need to think about this!

N: Firstly, you will never predict it. Injuries happen absolutely out of the blue, no matter what you do... You went and slipped and tore a ligament. He took care of his leg and then fell down the stairs.

Q: Personally, I attacked everywhere possible. Fear goes away when you crash for the first time. I remember we were rehearsing “Young Man and Death”, there were chairs and a table on the stage. Then I fell off everything at once: from tables and chairs. I don't know what's cooler.

N: It seems to me that I’m actually a record holder. Nobody fell more than me. At the Bolshoi Theater I danced the ballet “Bright Streams” and within 40 seconds I fell three times. There is a part where you have to jump high - and I love that. She jumped out so much that someone even later said to me with sarcasm: “Like Nijinsky flies.” Well, she fell. The pain is severe. But I got wound up: “How?! Did I fall?!” That means we need to jump even harder. I started the jump in this state and fell again. Then she finally jumped, got down on her knee, and fell off her knee again. In 40 seconds, can you imagine? Our choreographer later said to me: “Are you crazy? Are you really crazy?!” And I say: “Yes, I’m probably crazy.”

– Is it built into your character: I need to prove to everyone that I can?

N: Over time, I dealt with it. My energy used to be so crazy: I was so wound up that sometimes I couldn’t control my body. Now there is no such thing. But once even in Covent Garden the curtain was closed. I danced Don Quixote at the premiere and fell so hard that I couldn’t get up. People in the theater are now even asking me not to rehearse before premieres so that nothing happens to me.

– Today Russian teacher Alexander Agadzhanov taught you. Is he just preparing you for this performance?

N: He has been working at the Royal Opera as a teacher for 30 years. I work with him all the time, although there are some roles that I do not rehearse with him. He is my closest person in the theater. At first it was hard for me alone, and, of course, he was very supportive. He is an incredible professional, he taught me so much during this time: manners, culture. It's nice to be with him; he has such a confident energy. He inspires the desire to work and study.

– Is he different from foreign teachers?

N: All my teachers are people close to me. I can't say that the British are very different from the Russians. Maybe there are differences between working with a woman and a man. Sasha is a man: he’s tougher, he doesn’t react to my fatigue, doesn’t get into my soul, doesn’t tell me how a woman should feel. At the same time, he always controls my movements and sees me from a male point of view. He will always tell you what is wrong. Women are a little different: they all love you, adore you, they will cry with you, they will calm you down. It's nice to be with women, especially when they were also amazing ballerinas in the past. They can teach you not only technique, but also how to convey certain emotions.

– Is the language difference painful for you? How is your English now?

N: I understand everything in English, but my social circle is mostly Russian. I wouldn’t sit down to give an interview in English now without a translator. I'm just starting to speak English normally one on one. I tried to take lessons, but I realized that sometimes I just physically don’t have time, and sometimes I’m too tired. But I think I will definitely do this. I want to become a citizen, so I'll have to take exams.

– Do you want to stay and live in England?

N: I don’t know how fate will turn out. But now this is my hometown and my home theater.

Although it is unknown what will happen. And personal life - it also influences.

– I really want to ask about my personal life. And about Sergei Polunin.

N: Well, ask.

- Are you OK?

N: I wouldn’t like to go into details, but now I’m free. And I feel great. I'm going through a transition period. This is a good time when you can be alone with yourself and enjoy it.

It's great to be alone sometimes. When something ends, a new door always opens.

I'm generally an optimist. For me, everything bad that happens ultimately leads to something very good. I have a useful property - to learn from my mistakes and bad things.

- Oh, wow. Natasha, I wish you even greater success! Thank you very much for the honest interview and for the opportunity to see the rehearsal. Vladimir, thanks too. It was an incredible pleasure to see you today.

Q: Well, today at rehearsal Natasha was a “motor”. The material is about her, and I thought that two “engines” cannot fit in one issue.

– Where else can we see you?

Q: Next there will be two performances at the Mariinsky Theater with my participation, and then our theater will come on tour to Covent Garden, from July 24 to August 12. Be sure to come. We will try not to disappoint the London public.

PS. A couple of weeks after this interview, we learned that in support of the Gift of Life Foundation, Vladimir Shklyarov is providing two tickets to London performances with his participation, as well as a tour of the backstage of ROH, a book and a photo shoot. – on the foundation’s website.

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 proportionate, 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 roles: 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, Nikiya, 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, which reveals not just a 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 of 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 of the press, never ceases to amaze with her 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. Her affair with her partner Ivan Vasiliev was discussed for a long time. But he suddenly and quickly married ballerina Maria Vinogradova.

Sergei Polunin is now her permanent 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 notorious Polunin is staged by 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 she was created, and will delight her fans with both familiar, beloved images and new ones, revealing all facets of her unique talent.

Natalya Osipova is the most famous Russian ballerina in the world in her generation. Already the first performance of the graduate of the Moscow Academy of Choreography became a sensation. Osipova was invited to the Bolshoi, but was kept “young,” not allowing her to expand her repertoire.

She probably would have remained the eternal Kitri from Don Quixote, but together with her partner Ivan Vasiliev, the ballerina slammed the door and went to the troupe of the St. Petersburg Mikhailovsky Theater, and then to Covent Garden. Already in London, the prima of the Royal Ballet Natalya Osipova became a world ballet star. "RG" found out how she got to Perm to perform as Masha in "The Nutcracker", a new production of the theater.

Natalya, how did you get from London to Perm?

Natalya Osipova: It was my initiative! I sat one evening and thought: it’s been a long time since I danced “Romeo and Juliet” by Kenneth MacMillan - it’s one of those performances from which I get great pleasure. I spontaneously called David Hallberg, it’s a shame that with such a wonderful partnership we only danced Romeo and Juliet three times. They began to think: the play was not performed in London, it was not performed in America, neither at La Scala, nor in Munich. And then it hit the network - Macmillan is going to Perm! And she wrote to Lesha (ex-soloist of the Mariinsky Theater, artistic director of the Perm Ballet Alexey Miroshnichenko).

Just like that, without an agent, spontaneously?

Natalya Osipova: At first they didn’t believe me, they called and asked if I was Natasha. And when they believed it, they brought in Teodor Currentzis and MusicAeterna, since the performance would be in Perm. At the last moment Hallberg suffered an injury, but it was too late for me to retreat. In addition, I rarely visit Russia and my parents were happy that I would drop by to see them in Moscow on my way to Perm. As a result, I danced two performances, receiving great pleasure from the choreography and from working with open, kind people. So they began to discuss what else could be done.

Then there was “The Firebird” at the Diaghilev Festival?

Natalya Osipova: I managed to learn it on my days off: rehearsals in Covent Garden are scheduled long in advance, and you can’t break the rules. Giselle also danced in Perm.

Russian ballerina, prima of the Royal Ballet Natalya Osipova has become a world ballet star. Photo: RIA News

Is Masha in The Nutcracker a childhood dream or a ballerina must have?

Natalya Osipova: No, I didn’t dream about Masha, and when I wasn’t allowed to dance with her at the Bolshoi, I wasn’t even upset. Then she danced at the Paris Opera in Nureyev’s version, rehearsing with the excellent teacher Laurent Hilaire, now the head of MAMT. When you watch, it chills you, and even more so when you dance. I respond to Tchaikovsky.

The Perm "Nutcracker" directed by Alexey Miroshnichenko is new, it appeared only a month ago. What's special about it?

Natalya Osipova: Peter Wright's version is coming to Covent Garden, albeit with a reference to Lev Ivanov's original choreography from the end of the century before last. And Lesha Miroshnichenko spoke so infectiously about the drama in Tchaikovsky’s music, which should be revealed. I caught fire. In Perm Masha, the meaning is actually sharper, more dramatic, the ending is open and gives options. Miroshnichenko’s heroine is not a little girl playing with dolls, but a girl, she already feels a lot and is ready to understand what actions should not be taken. She realizes that wrong steps can ruin a life. And that love is fragile, it costs nothing to break it. This idea is very close to me. I even remembered my first love, when any harsh word could be a disaster. It’s the same in the play - Masha is just wondering if she needs a prince, and then she immediately loses him. This fits very well with the music of the final adagio.

But everyone saw a happy ending with this music?

Natalya Osipova: Yes, it’s unusual and contrary to standards, but I’m always for things that touch more. Let there be more feelings, and the audience will decide what is best for them.

After the established relationship with the Perm ballet, did you have any plans to dance with other Russian theaters?

Natalya Osipova: In three weeks I have “The Legend of Love” at the Mariinsky Theater, dancing the strong queen Mekhmene Banu. I think I've missed the power of Russian performances.

So, we’ll be waiting for you at the Bolshoi soon?

Natalya Osipova: There was an invitation from Vladimir Urin, but the performance did not take place due to my fault. Maybe the situation will change, everyone treats me wonderfully, they officially invited me to participate in a concert in honor of the anniversary of Marius Petipa at the end of May.

I didn’t dream about Masha, and when they didn’t let me dance her at the Bolshoi, I wasn’t even upset

What about the performance? Do you have long-standing contacts with the head of the ballet troupe, Mahar Vaziev?

Natalya Osipova: It’s not working out yet, although we have really warm relations. You see, I enjoy choosing what to dance myself. At the Mariinsky Theater I chose "Legend...", in Munich "The Taming of the Shrew". Ahead at Covent Garden are “Manon Lescaut” with David Hallberg and “Giselle,” which we haven’t performed together for five years, and the premiere of “Swan Lake” by Liam Scarlett.

Should we wait for solo programs?

Natalya Osipova: Yes, I love the choreography that is being done right now. We agreed with producer Sergei Danilyan to make “Cinderella” with choreographer Vladimir Varnava, we will present it in August in America and then bring it to Russia. I have planned my evening of contemporary choreographers, five authors, for September, and Alexey Ratmansky will finally stage a 15-minute duet for me. At the end I will dance “The Dying Swan”.

Natalya Osipova: I wouldn’t call it sarcasm, maybe everything will be quite serious. A tribute to what I love about dance - the ability to express myself.

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 Prize 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. Burlaki)

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 Milan's La Scala Theater (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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About how his career began, about romanticism and endurance, the Bolshoi and Mikhailovsky theaters, the Ratman Theater and much more - in an 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 Bolshoi Theater corps de ballet, 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. The world premiere of 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 a ballet in which you can amaze the audience with its technical techniques. 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 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 just started rehearsing Giselle, people in the ballet world said: “This role 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 at 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 this 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.” “The star couple Osipova-Vasiliev are leaving the Bolshoi Theater.” “Natalia Osipova and Ivan Vasiliev have outgrown the Bolshoi.”

These and other headlines have recently filled the news feeds of 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. It is 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 Director of the 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 intimacy after the Bolshoi Theater and the huge number of people.

- It’s very nice that you joined the Mikhailovsky Theater troupe. He has always been in the shadow of the Mariinsky Theater...
- These are different theaters. Mikhailovsky was always full of life, there were innovators, new and interesting ballets were born. 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 the training of ballet dancers - graduates of the Vaganova and Moscow Choreographic Schools?
- We all represent one Russian ballet school, but we are different, just as 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 was engaged in artistic 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.

There was a 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 at 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 about 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 will 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 an incredibly musical person, 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 an 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)