Natalya Osipova performance schedule. Ballerina Natalya Osipova: step into modern dance. Wait for solo programs

Ballerina Natalya Osipova - about romance and adrenaline.

“I don’t have the most beautiful legs, and I don’t have the most beautiful figure,” admitted the famous Bolshoi Theater ballerina Natalya Osipova.

“I don’t do intrigue”

“AiF”: - Natasha, playing Kitri in “Don Quixote”, you violated all traditional ideas about this legendary role. But here’s what I heard from the audience during intermission: “There are a lot of shortcomings. But it’s impossible to take your eyes off.”

N.O.: - Osipova is not quite a classical dancer according to the concepts of the Russian ballet school. Now these are the standards: ballerinas are tall, thin, with ideal leg lines. If you look at me, everything is different. I'm not tall, I don't have the most beautiful legs, and my figure in general. But I think a talented person can and should be allowed to create something new. There is such a thing as a “romantic ballerina”. Strict, aloof. The most romantic ballets are Giselle and La Sylphide. Nobody in my life represented me in these roles: I was always bravura, temperamental, with energy that was overflowing. But she danced both of these ballets in a row in one season. Now these roles are some of my best.

“AiF”: - The theatrical world is also about behind-the-scenes intrigue. Using “secret passages”, many make their way...

N.O.: - I won’t speak for others. It’s easier for me to work in the gym than to run around and organize intrigues. And in general... I believe that talented people should be good in their essence.

“AiF”: - 5 years ago at the Moscow International Ballet Competition you were given third place. This caused indignation in the entire room. They say that “bronze” is the consequences of your conflict with jury member Lyudmila Semenyaka. She was offended that you left her for another teacher.

N.O.: - I am convinced that I took third place because I did not prepare enough. But this was far from a defeat for me, but an impetus to work even harder.

As for Lyudmila Semenyaka, she is a brilliant ballerina and teacher. I respect her very much. We now have absolutely normal relations. Why did you leave?

It happened that way. Some people cannot work with each other: a combination of circumstances, characters. But even during the time that I spent with her, Lyudmila Ivanovna gave me a lot.

Instead of a diet - a stage

“AiF”: - Natasha, you look atypical for a ballerina... Short haircut, leather biker jacket...

N.O.: - I love thrash in everything. Black hair, dark nail polish, leather clothes, motorcycles. When I see them, adrenaline starts pumping in my blood. I have a hard time with conservatism. That’s why I will never be bored in my profession: I don’t set limits or boundaries for myself in anything! My mother is worried: “Natasha, put on a dress, you’ll look like a girl, you’re a ballerina. Why don’t you grow your hair?” But I think you should look and behave the way you feel comfortable. I love to jump, gallop, and have fun. I absolutely love dancing at discos.

“AiF”: - They say that ballerinas lead a half-starved lifestyle...

N.O.: - Nothing like that. Ballerinas have such a workload... Mom feeds me, buys me cakes and other tasty things. But when I'm on vacation, I get better from doing nothing. Then you come to the theater and say to yourself: “That’s it! Let's start working."

There are a lot of all sorts of “Emerald” on “Gossip Man”.) I wanted to make a post about a real ballerina.

I discovered this ballerina three years ago, at a concert for the opening of the renovated Bolshoi Theater. She danced simply gorgeous there, with such drive and such incredible technique! Then she took part in the First Channel project “Balero” with Roman Kostomarov, and took second place there. I think she has a great future. And by the way, her husband, Ivan Vasiliev, is also a great dancer.

Biography, photos and videos.

Natalya Petrovna Osipova- genus. May 18, 1986, Moscow. From the age of five she was involved in gymnastics, but in 1993 she was injured and had to stop playing sports. The coaches recommended that the parents send their daughter to ballet. She studied at the Moscow State Academy of Choreography (class of rector Marina Leonova). After graduating in 2004, she joined the Bolshoi Theater ballet troupe, making her debut on September 24, 2004. Since October 18, 2008 - leading soloist, since May 1, 2010 - prima ballerina of the Bolshoi Theater. She rehearsed under the guidance of People's Artist of the USSR Marina Kondratyeva.

In 2007, on tour of the Bolshoi Theater in London on the stage of the Covent Garden theater, the ballerina was warmly received by the British public and received the British National Dance Award, awarded by the Society of Critics ( Critics" Circle National Dance Awards) for 2007 - as the best ballerina in the “classical ballet” section.

In 2009, on the recommendation of Nina Ananiashvili, she became a guest ballerina at the American Ballet Theater (New York), performing on the stage of the New York Metropolitan Opera in the title roles of the ballets “Giselle” and “La Sylphide”; in 2010, she again took part in ABT performances on the stage of the Metropolitan Opera in the roles of Kitri in the ballet Don Quixote, Juliet in the ballet Romeo and Juliet by Prokofiev (choreography by K. MacMillan), Aurora in The Sleeping Beauty by Tchaikovsky (production by K. McKenzie; partner David Hallberg).

In 2010, she made her debuts at the Grand Opera (Clara in The Nutcracker, Ballerina in Petrushka) and La Scala (Kitri in Don Quixote), and performed at the London Royal Opera (Medora in Le Corsaire).

In 2011, she performed the role of Katarina in the ballet “The Taming of the Shrew” to the music of D. Scarlatti (choreography by J. Cranko) with the ballet of the Bavarian State Opera. Twice she took part in the Mariinsky International Ballet Festival, performing the roles of Kitri in the ballet Don Quixote and Giselle in the ballet of the same name.

Since December 2012, she has been a guest soloist with the London Royal Ballet, having danced in this capacity three Swan Lakes with Carlos Acosta. Also in October, she - the only guest ballerina among the full-time artists of the Royal Company - participated in a gala concert in honor of the Diamond Jubilee of Queen Elizabeth II.

Currently together she is a prima ballerina of the American ballet theatre.

In April 2013, Natalya Osipova signed a permanent contract with the London Royal Ballet.

With her husband, Ivan Vasiliev.

Appearing on the ballet horizon, she quickly made a dizzying and incredible career. But first things first.

How the future prima came to ballet

Natalya Osipova was born on May 18, 1986 in Moscow. At the age of five, her parents sent their daughter to the gymnastics section. In 1993, the girl suffered a severe back injury, and playing sports was out of the question. The coaches recommended that Natalia's parents send their daughter to ballet. From that moment on, Natalya Osipova and ballet became synonymous words.

Natalya completed her ballet training at the Moscow Academy of Choreography. Upon graduation, she joined the troupe of the famous Bolshoi Theater. Her debut took place in September 2004.

Career at the Bolshoi Theater

Natalya Osipova immediately attracted the attention of the capital's public. All of Moscow started talking about her brilliant jumps and flights. And already in the first theatrical season the ballerina danced many solo roles. She captivated the audience with her impeccable performance technique and fantastic lyricism.

In 2007, while on the triumphant tour of the Bolshoi Theater in London, on the stage of the world-famous Covent Garden, Osipova was enthusiastically received by the English ballet public and was awarded the British National Award as the best ballerina of 2007 in the category “classical ballet”.

Therefore, it is not at all surprising that since the fall of 2008, Natalya Osipova has become the leading dancer of the Bolshoi Theater. The ballerina rehearsed her leading roles under the guidance of the outstanding teacher Marina Viktorovna Kondratieva. And there were not so few of them... Medora, Kitri, Sylphide - these images were brilliantly embodied on stage by Natalya Osipova. Giselle in her performance was especially remembered by the audience. In one of her interviews, Natalya admitted that this is her favorite part, and she strives to reveal to the audience not just a beautiful fairy tale, but a real story with emotions and experiences. In 2009, the ballerina, at the invitation of the American Ballet Theater in New York, performed in the title roles in the ballets La Sylphide and Giselle on the stage of the Metropolitan Opera.

Since May 2010, she received the status of prima of the Bolshoi Theater. In the same year, on tour in America, she again performed on the stage of the Metropolitan Opera.

The creative life of ballerina Natalia Osipova after leaving the Bolshoi Theater

Natalya Osipova is a ballerina who is not like others. Her creative career is closely followed by numerous fans. It was a complete surprise for them that the great star couple, Ivan Vasiliev and Natalya Osipova, left the Bolshoi Theater. In her interviews, the ballerina explains her decision with the desire to move forward and develop.

Since December 2011, Natalya Osipova has become the prima of the St. Petersburg Mikhailovsky Theater. Here the ballerina is provided with excellent working conditions. In December 2012, she received an invitation to work at the London Royal Ballet. In the same year, Osipova takes part in a gala concert dedicated to the diamond jubilee of Elizabeth II.

Currently, Natalya Osipova is a prima ballerina of the famous American Ballet Theater. In 2013, she was offered a permanent contract with the famous London Royal Ballet.

Personal life and creative plans

Natalya Osipova, whose personal life is constantly in the spotlight, never ceases to amaze lovers of gossip columns. Her fans still remember the love triangle that developed at the Bolshoi Theater. The ballerina broke up with her fiancé Ivan Vasiliev after he fell in love with dancer Maria Vinogradova. Natalya then left for London. After her departure, Vasiliev and Vinogradova got married.

Today Natalya Osipova's companion is the famous ballet dancer Sergei Polunin. At one of the press conferences in London, the star couple officially confirmed that they were having an affair. Natalya Osipova also announced her retirement from classical ballet. She decided to try herself in modern dance.

The upcoming performance with the participation of Polunin and Osipova “A Streetcar Named Desire” aroused great interest. This is their first time working together on stage. They had never danced together before. The premiere will take place in the summer of 2016 in London at Sadler's Wells Theatre. Natalia will perform the role of Blanche in the play, and Sergei will dance Stanley.

Now Natalya is recovering from her injury. She also plans to return to the Royal Ballet soon.

The creative life of Natalia Osipova

Milan, New York, Berlin, Paris, American Ballet Theatre, La Scala, Grand Opera - in a short period of time Natalya Osipova conquered all the leading dance capitals of the world and performed with the best ballet companies.

Her numerous prizes and awards are all a natural continuation of her successful career. The L. Massine Prize, awarded in Positano, Italy, the Benois de la dance prize, the prestigious jury prize of the Golden Mask competition - this is not a complete list of awards won by the ballerina.

World ballet star Natalya Osipova became prima ballerina of the Perm Opera and Ballet Theater. Tchaikovsky.

She signed a contract to participate in four productions of the Perm Theater in the new season.

The contract with Natalya Osipova was signed for a year with the possibility of extension. Which projects she will take part in is not specified in the contract.

The decision on her participation in certain theater productions will be made taking into account the artistic goals of the theater, the wishes and employment of the famous ballerina.

The first performance with her participation will take place on September 5, 2017. Natalya Osipova will perform the title role in the ballet “Giselle”.

Alexey Miroshnichenko, chief choreographer of the Perm Opera and Ballet Theater:

“Natasha Osipova is a very creative person. Some conventions, stellar subordination are not very interesting to her; she is interested in creativity and artistic results. If she is interested, she comes and participates. For me it is always a great joy and a great responsibility to work with her, as well as with all the artists of the troupe that I lead.

The famous ballerina’s collaboration with the Perm Opera and Ballet Theater began last season, when she danced in the theater’s repertoire performance, “Romeo and Juliet,” in a duet with Nikita Chetverikov.

In the same season, at the closing of the Diaghilev Festival 2017, she performed the main role in the new production of “The Firebird” by the theater’s chief choreographer Alexei Miroshnichenko.

“I really like the wonderful atmosphere at the Perm Theater, the people who work here. I like that people here are engaged in real art - very often I do not see this in many other theaters. It is a great happiness for me to share the stage with these people, to spend time in the hall with these wonderful teachers and partners. I feel something very real here.

Natalya Osipova is a prima ballerina of the London Royal Ballet in Covent Garden, the brightest ballerina of our time, one of the top five leading ballerinas in the world, a dancer of “rare dramatic talent and virtuosity,” according to The Guardian.

Critics note Natalia's impeccable technique, temperamental performance and piercing lyricism.

Natalya Osipova was born in Moscow and began dancing at the age of five. In 2004, she graduated from the Moscow State Academy of Choreography (class of People's Artist of Russia Marina Leonova) and was accepted into the Bolshoi Theater ballet troupe, where she immediately attracted attention.

In 2008 she became a leading soloist, and two years later - a prima ballerina. In 2011, Natalya Osipova left the Bolshoi Theater and became prima ballerina of the Mikhailovsky Theater in St. Petersburg.

Since the 2013/2014 season - prima ballerina of the London Royal Ballet.

Collaborates with many of the world's leading ballet companies, including the American Ballet Theater, the Bavarian Ballet, and the La Scala Ballet Company. Winner of the National Theater Award "Golden Mask" and Benois de la Danse.

Press service of the Perm Theater

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)