DIANA VISHNEVA: ON THE EDGE
LES BALLET DE MONTE-CARLO
Kings of the Dance Tickets
POLINA SEMIONOVA & FRIENDS
SOLO FOR TWO: NATALIA OSIPOVA & IVAN VASILIEV
MIKHAILOVSKY BALLET
Eifman Ballet
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Reviews » Natalia Osipova, Dancer

Natalia Osipova, Dancer Natalia Osipova, Dancer Natalia Osipova, Dancer

 

Классика на грани трюка
Author: ТАТЬЯНА КУЗНЕЦОВА
Date: January 24, 2012
Publisher: Коммерсантъ

Наталья Осипова и Иван Васильев в "Лауренсии" Михайловского театра. [read more]

 

Пламя на площади Искусств
Author: Анна Гордеева
Date: January 24, 2012
Publisher: Московские новости

Испанистая, звучная, славная «Лауренсия» почти год не появлялась на афишах Михайловского театра — говорят, потому, что новый худрук труппы Начо Дуато не узнал родной страны в спектакле, основанном на сюжете Лопе де Вега. Но поздней осенью прошлого года из Москвы в Петербург перебралась громкая юная пара — Наталья Осипова и Иван Васильев; перебралась, как было сказано, в поисках нового репертуара (хотя патриоты Большого и говорили о том, что солистов просто перекупили, предложив гигантские гонорары). Новый репертуар артисты получили: в конце декабря станцевали «Спящую красавицу» Дуато, а теперь пришла очередь «Лауренсии», которая из-за этой пары вышла из немилости у худрука. [read more]

 

Осипова и Васильев взорвали «Лауренсию»
Author: Светлана Наборщикова
Date: January 22, 2012
Publisher: Известия

Osipova and Vasiliev

Московские артисты вернули Петербургу ленинградский балет. После годичного перерыва Mихайловский театр показал «Лауренсию». Спектакль подготовили в рекордно короткий срок — чтобы собрать балет Михаила Мессерера даже с новыми героями, дисциплинированной труппе понадобился всего один день. [read more]

 

Title: Bolshoi: Coppélia; Blue Boy: Over the Edge
Author: Luke Jennings
Date: August 1, 2010
Publisher: The Observer

Natalia Osipova is one of those dancers, like the Royal Ballet's Marianela Nuñez and New York City Ballet's Ashley Bouder, who makes you feel twice as alive the moment she comes on stage, and the Bolshoi's Coppélia is the perfect vehicle for her seemingly limitless talents. Square-cut, gamine and snub-nosed, Osipova is the flesh-and-blood village girl to whom her off-on boyfriend Franz (Ruslan Skvortsov) will never quite commit because of his fascination with a life-size doll whom he takes to be human. [read more]

Title: Bolshoi: Serenade and Giselle/Coppélia, Royal Opera House, London
Author: Zoë Anderson
Date: July 28, 2010
Publisher: The Independent

The Bolshoi Ballet's Giselle is a ropey production with an extraordinary heroine at its heart. Natalia Osipova's Giselle is danced ardently and acted with desperate vulnerability. Around her the performance varies, from very wooden courtiers to a stronger corps de ballet of vengeful ghosts. [read more]

Title: Serenade & Giselle, Bolshoi Ballet, Royal Opera House
Author: Ismene Brown
Date: July 27, 2010
Publisher: The Arts Desk

We're getting used to expecting the extraordinary from Natalia Osipova - and then getting some more. With her impish face and farouche capriciousness, with a spring like a high-jumper and shoulders like a swimmer, she is without doubt the most explosively delightful comedienne and virtuoso around at the Bolshoi, but could she be a Giselle? [read more]

Title: Bolshoi: Serenade/Giselle
Author: Judith Mackrell
Date: July 27, 2010
Publisher: The Guardian

Putting Serenade and Giselle together in a single programme makes for a very long evening. But time doesn't register when the dancing is as good as this – and the two ballets make a fascinating pair. [read more]

Title: Giselle, Royal Opera House, London
Author: Clement Crisp
Date: July 27, 2010
Publisher: The Financial Times

Rarely have I known a Giselle such as Natalia Osipova showed us on Monday night. I have been blessed in seeing the greatest Giselles of the past six decades – Markova, Ulanova, Chauviré, Makarova, Semenyaka; each miraculous. I know now that I must add Osipova to their number. [read more]

Title: Bolshoi Ballet: Serenade; Giselle; Coppélia, Royal Opera House, review
Author: Mark Monahan
Date: July 27, 2010
Publisher: Telegraph

Watching the Bolshoi dance Serenade is like hearing someone read out words in a language they neither understand, nor want to. In the right hands - the Royal Ballet's, New York City Ballet's - Balanchine's plotless short work from 1934 can be one of the most luminous, enigmatic, subtly romantic works in existence. Here, it is about as mysterious as Tesco's. [read more]

Title: Coppélia, Covent Garden, London
Author: Clement Crisp
Date: July 25, 2010
Publisher: The Financial Times

The production of Coppélia which the Bolshoi Ballet showed us at the week's end is a charmer (impossible, really, for it to be otherwise) and the happiest of rescues from ballet's dusty vaults. Sergei Vikharev has consulted the priceless Sergeyev notations which recorded the Imperial Ballet stagings in Petersburg as the 20th century dawned, and understood them, and, in designs that are inspired by productions of that era, has brought to life this dear and glorious old ballet as it was produced in St Petersburg in 1894. [read more]

Title: Coppelia
Author: Sarah Wilkinson
Date: July 23, 2010
Publisher: The Stage

Coppelia is not a ballet filled with gasp-inducing pyrotechnics, yet Natalia Osipova, as Swanhilda, manages to draw gasps with the pure ease of her approach - every jeté, brise and fouette coming to her as organically as breathing, despite the preternatural quality she bestows upon them. [read more]

Title: Coppélia, Bolshoi Ballet, Royal Opera House
Author: Ismene Brown
Date: July 23, 2010
Publisher: The Arts Desk

Coppélia is the name of the doll in the ballet-comedy - not that of the heroine, who is a bad pixie named Swanilda, a girl of youthful capriciousness but a heart of gold. What you hope for when you go to see this usually rather quaint 19th-century ballet is a ballerina of such intoxicating personality that she can serve you a ridiculous plot and make you lap it up. [read more]

Title: Bolshoi: Coppélia
Author:  Judith Mackrell
Date: July 23, 2010
Publisher: Guardian

The Bolshoi's new production of Coppélia could have been staged entirely for the benefit of Natalia Osipova. Dancing Swanilda, the ballet's flirty, feisty heroine, she gets to show off her unique and astonishing range – from snub-nosed ingenue to grand ballerina, with all shades of spinning virtuosity and cute mischief in between. [read more]

Title: Fatal Amour With Fever of Youth
Author: GIA KOURLAS
Date: July 11, 2010
Publisher: The New York Times

In an interview a few years ago the young Russian ballerina Natalia Osipova spoke a few prophetic words: "I would love to suffer onstage." [read more]

Title: A Determined Ballerina, Propelled to the Top
Author: ROSLYN SULCAS
Date: June 17, 2010
Publisher: The New York Times

Natalia Osipova laying on the couch

Photo: Andrea Mohin / The New York Times

THE Bolshoi ballerina Natalia Osipova smiled brightly, theatrically, projecting outward as she danced the solo that Princess Aurora performs moments after arriving on stage in Act I of "The Sleeping Beauty." [read more]

Title: The Good, the Bad, and a New Ballet Superstar
Author: Robert Gottlieb
Date: June 8, 2010
Publisher: The New York Observer

"Ballerinas are often divided into three categories: jumpers,
turners and balancers. Osipova is all three."
[read more]

Sending an Old Dreamer Airborne
Author: ALASTAIR MACAULAY
Date: June 4, 2010
Publisher: The New York Times

Natalia Osipova

Photo by Gene Schiavone
Natalia Osipova in "Don Quixote" at the Metropolitan Opera House

Dancing as Kitri in "Don Quixote" on Tuesday night at the Metropolitan Opera House, Natalia Osipova proved herself the most sensational ballerina now before the public. Kitri was the first major role for which Ms. Osipova — a Russian star of the Bolshoi Ballet, now in her second spring season as guest artist with American Ballet Theater — earned international acclaim. It's clear why. She has a gamine quality; you can imagine this Kitri as the most riveting of street urchins. And she's a theater animal. The turn of her head, the flash of her smile, the immediacy of her response to the music, the intensity of her attention to her colleagues: these and other signs show she is never more alive than onstage. [read more]

Title: Dance review: The Bolshoi returns to
the Orange County Performing Arts Center

Author: Laura Bleiberg
Date: February 25, 2010
Publisher: The Los Angeles Times

Los Angeles Times

And to think, Natalia Osipova and Ivan Vasiliev, the fiery, young soloists of the Bolshoi Ballet who brought down the house at the Orange County Performing Arts Center Wednesday night, weren't even supposed to be there. [read more]

Bolshoi stars dazzle in O.C., sets don't
Author: PAUL HODGINS
Date: February 25, 2010
Publisher: THE ORANGE COUNTY REGISTER

Watching a Bolshoi Ballet performance is a bit like taking a trip to Russia.
You put up with a few bumps and rough spots and are rewarded with spellbinding sights. [read more]

Title: Наталья Осипова взяла Opera Bastille
Author: Мария Сидельникова
Date: January 13, 2010
Publisher: Коммерсантъ

На сцене парижской Opera Bastille закончилась традиционная зимняя сессия "Щелкунчика" в хореографии Рудольфа Нуреева, в этом году растянувшаяся почти на месяц. Два последних вечера главную роль Клары исполняла ведущая солистка Большого театра Наталья Осипова. За ажиотажем на площади Бастилии наблюдала МАРИЯ СИДЕЛЬНИКОВА. [read more]

Title: Meet New ABT Phenom, Natalia Osipova
Author: Robert Gottlieb
Date: July 10, 2009
Publisher: The New Yorker Observer

If ever we needed proof that the gods giveth even as they taketh away, it was to be found at ABT this season, when on successive evenings the company presented in the role of Giselle first Nina Ananiashvili, the greatly admired ballerina on the verge of retirement, then the very young and much heralded Bolshoi ballerina Natalia Osipova. [read more]

Title: An AP Arts Review: Fleet-footed guest from Moscow proves a high-flying 'Giselle' in ABT debut
Author: Jocelyn Noveck
Date: June 15, 2009
Publisher: The New York Times

NEW YORK — "She's going to be a big star someday," a ballet-goer remarked to his companion as they moved up the aisle during intermission at American Ballet Theatre's "Giselle."[read more]

Title: When an Earthbound Lad Meets His Winged Sylph
Author: Alastair Macaulay
Date: June 16, 2009
Publisher: The New York Times

It is standard to call "La Sylphide" the prototype of Romantic ballet, but no other surviving example ends with such amazing bleakness: James, the hero of this Scottish story, sees his fiancée, Effie, walking through a glen in a bridal procession with his rival, Gurn. Then he sees the Sylphide (or sylph), for whom he recklessly deserted Effie and whose death he has just unwittingly caused, floating up to sylph heaven. He falls unconscious, and some interpreters of the role imply that he dies. Certainly he has nothing left to live for.[read more]

Title: Natural Liftoff and Intense Inner Life for a Daughter of the Air
Author: Alastair Macaulay
Date: June 14, 2009
Publisher: The New York Times

During the intermission of Saturday evening's "Giselle" at the Metropolitan Opera House, a woman approached me while I was talking with a friend over coffee. "I just have to ask," she said, "is it always this wonderful?" I asked if she had seen "Giselle" before. As if to explain that the answer was no, she said, "I'm from Nova Scotia."[read more]

Title: A Momentous Debut
Author: Leigh Witchel
Date: June 13, 2009
Publisher: danceviewtimes.com

Natalia Osipova's debut with American Ballet Theatre Saturday night in "Giselle" not only delivered all her promise as a ballerina but inspired the rest of the company to follow and match her. Osipova, the rising star of the Bolshoi, isn't an orthodox Giselle. It would be unnatural; she's too powerful, so she recast the role slightly. A few steps were tweaked within limits – on her first circling entry, she massaged the traditional balloné into a jump sur le cou-de-pied so she could get more hang time. If a change was made, it was usually to emphasize her ballon, but she wasn't just pushing for athletic feats. She opted not to do an arabesque penchée at her final farewell, going for the pathos of the moment rather than the extension.[read more]