84 Times Natalia Osipova Made Me Say Wow / Наталья Осипова

Born in Moscow, Natalia Osipova / Наталья Осипова began formal ballet training at the age of nine. From 1996 to 2004, she studied at the Moscow State Academy of Choreography (The Bolshoi Ballet Academy). From 1995 to 2004 she trained at the Moscow State Academy of Choreography and on graduating entered the corps of the Bolshoi Ballet, where she was promoted to principal in 2010. In 2011 she left the Bolshoi to join the Mikhailovsky Ballet as a principal.

Osipova has appeared as a guest artist with companies around the world. In March 2012 she became a principal of American Ballet Theatre, where she created the title role in Alexei Ratmansky’s The Firebird. Her awards include Golden Masks for her performances in In the Upper Room (2008) and La Sylphide (2009), Critics’ Circle National Dance Awards (Best Female Dancer, 2007, 2010 and 2014), Positano Dance Awards (Best Female Dancer, 2008 and 2011) and a Benois de la Danse Award (Best Female Dancer, 2008).

Extreme Natalia Osipova/Наталья Осипова, from day1 the passion, work ethic, & flexibility shone!

Pam Boehme Simon

A dancer of extremes, her work ethic, talent, passion, even flexibility (a 180 degree split is nothing to her… she does 270) are beyond the norm. Following Natalia Osipova from her very first ballet classes to adulthood, this video shows how strong these qualities were in her from the very start.

Even today she has not slacked off. Where others may settle for good, or aim for simple greatness, Natalia has other plans. She is driven to be the best ballet dancer she can possibly be. She is one of the most self-disciplined, hardest working, laser beam focused, minutia-calculating, “do it twelve more times” dancers in the world today. And, the result is mind blowing…

Music: “So Many Secrets,” “Dramatic Orchestrations,” and “Triumphant” by Gavin Luke

Born in Moscow, Osipova began formal ballet training at the age of nine. From 1996 to 2004, she studied at the Moscow State Academy of Choreography (The Bolshoi Ballet Academy). From 1995 to 2004 she trained at the Moscow State Academy of Choreography and on graduating entered the corps of the Bolshoi Ballet, where she was promoted to principal in 2010. In 2011 she left the Bolshoi to join the Mikhailovsky Ballet as a principal. She is currently a principal dancer with the Royal Ballet in London.

Osipova has appeared as a guest artist with companies around the world. In March 2012 she became a principal of American Ballet Theatre, where she created the title role in Alexei Ratmansky’s The Firebird. Her awards include Golden Masks for her performances in In the Upper Room (2008) and La Sylphide (2009), Critics’ Circle National Dance Awards (Best Female Dancer, 2007, 2010 and 2014), Positano Dance Awards (Best Female Dancer, 2008 and 2011) and a Benois de la Danse Award (Best Female Dancer, 2008).

Natalia Osipova

Decidida a seguir carreira como ginasta, quando ela era criança, Osipova apenas virou-se para balé por causa de um problema nas costas. De 1996 até 2004, ela estudou na Academia Coreográfica de Moscou com Marina e Kotova Leonova Marina. Embora sendo uma aluna na Academia, em abril de 2003, ela ganhou o “Grand Prix” no Concurso Internacional de Balé, no Luxemburgo, dançando variações de “La Bayadère”, “Don Quixote”, “Esmeralda” e “Tchaikovsky Pas de Deux”, bem como a peça contemporânea exclusivamente criada para ela, “Liturgia” por Yegor Druzhinin.

https://pt.wikipedia.org/wiki/Natalia_Osipova

Sergei Rachmaninoff | ‘Left behind’, Natalia Osipova & Jason Kittelberger | Choreography of Jason Kittelberger … and CARMEN of Georges Bizet by Natalia Osipova, in Edinburgh International Conference Centre

In December UK audiences will be treated to the unique opportunity of seeing the thrilling Russian ballerina, Natalia Osipova, Principal of the Royal Ballet, in a brand new, contemporary dance production of ‘CARMEN’ (Georges Bizet). The show will perform at the Edinburgh International Conference Centre on the 17th and the 18th December | photo by Rick Guest

Natalia Osipova “In Her Hands” « Dans ses Mains » (2019)

Dans ce mini ballet, le rôle de Camilla est joué par Natalia Osipova. Plus précisément, la ballerine a ici deux rôles: Camilla dans la vie et Camilla dans son monde spirituel. Dans la vraie vie, elle sculpte un portrait de son ami (également sculpteur et élève de Rodin) Jesse Limbscombe (ce rôle ultra-court est joué par Léa Jackson) et après son départ, elle parle de son passé (la voix de Camille a été donnée à Agnes Letestu , et la voix de Rodin a été exprimée par un autre acteur). La conversation est vaste, nerveuse, tragique. Et un épisode aussi dramatique dans l’atelier de Camilla est entrecoupé d’une danse de deux sculptures – Camilla elle-même (Rodin l’a sculptée, et ici Osipova représente étonnamment) et la sculpture qu’elle a créée (ou surgit dans son imagination) interprétée par Matthew Ball. sur la musique de Gabriel Fauré: Élégie en ut mineur op 24.

Música | Élégie in C minor, Op. 24 – Molto adagio | Artista | Daria Hovora & Aleth Lamasse

Álbum | Gabriel Fauré, Élégie In C Minor, Op. 24 | Licenciado ao YouTube por

The Orchard Music (em nome de Classical.com Music)

Alex Taylor | a short piece of Music called ‘Natalia’

I have composed a short piece of Music called ‘Natalia.’ I watched my first ballet in Dec 2018 and have been hooked since. I saw Natalia in ‘Pure Dance’ at Sadlers Wells last October and wrote this with her grace, elegance and beauty in mind. If Natalia sees this and wants to choreograph a dance to it? (day dreaming again) !!

Hope you like it.

Natalia Osipova in Giselle | Leonid Sarafanov as Count Albrecht

No primeiro ato, a aldeã Giselle está apaixonada por Albrecht, um nobre disfarçado de camponês. Quando Giselle descobre a fraude, ela fica inconsolável e morre.

No segundo ato, o amor eterno de Giselle por Albrecht, que vem a noite visitar seu túmulo, o salva de ter seu espírito vital tomado pelas willis espectrai, os fantasmas de garotas noivas que morreram antes do dia do seu casamento, e sua rainha. Sempre que um homem se aproxima, elas obrigam-no a dançar até a morte. Giselle dança no lugar de Albrecht e, dessa forma, impede que ele chegue à exaustão, quebrando o encanto das Willis. No final, ela o perdoa.