Natalya Osipova ballerina upcoming performances. Famous Russian ballerina, world celebrity Natalia Osipova

Ballerina Natalya Osipova - about romance and adrenaline.

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

"I don't twist 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 the intermission: “There are a lot of flaws. But you can't take your eyes off it."

NO: - Osipova is not quite a classical dancer according to the concepts of the Russian ballet school. Now there are such standards: ballerinas are tall, thin, with a perfect line of legs. If you look at me, everything is different. I am not tall, not the most beautiful legs, and the figure as a whole. But I think talented person can and should be allowed to create something new. There is such a thing as "romantic ballerina". Strict, aloof. The most romantic ballets are Giselle and La Sylphide. No one in my life represented me in these parties: I have always been bravura, temperamental, with energy overflowing. But she danced both of these ballets in a row in one season. Now these roles I have - one of the best.

"AiF": - theater world- It's also behind-the-scenes intrigue. Using the "secret passages", many pave their way ...

NO: - I won't speak for others. It is easier for me to work in the hall than to run around and organize intrigues. And in general ... I think talented people must be good in nature.

"AiF": - 5 years ago on the Moscow international competition ballet you were given third place. This angered the whole 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.О.: - I am convinced that I took third place because I did not prepare enough. But it 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 so happened. 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 - scene

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

NO: - I love thrash in everything. Black hair, dark nail polish, leather clothes, motorcycles. When I see them, adrenaline starts to play in my blood. I can't stand conservatism. Therefore, I will never be bored in my profession: I do not set limits and boundaries for myself in anything! My mother is worried: “Natasha, put on a dress, you will be like a girl, you are a ballerina. Why don't you grow your hair?" But I think you should look and act the way you feel comfortable. I love to jump, jump, have fun. Madly I love to dance in discos.

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

NO: - Nothing of the kind. Ballerinas have such a load ... Mom feeds me, buys cakes, and other tasty things. But when I'm on vacation, I recover from doing nothing. Then you come to the theater and say to yourself: “That's it! Let's start working."

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

Probably, she would have remained the eternal Kitri from Don Quixote, but together with her partner Ivan Vasiliev, the ballerina slammed the door and left for the troupe of the St. Mikhailovsky Theater and then to Covent Garden. Already in London Royal Ballet Natalia Osipova has become a world ballet star. "RG" found out how she got to Perm to act as Masha in "The Nutcracker", new production theater.

Natalya, how did you get carried from London to Perm?

Natalya Osipova: It was my initiative! I sat one evening and thought: something for a long time I did not dance "Romeo and Juliet" by Kenneth Macmillan - he is one of those performances from which I get great pleasure. Spontaneously called David Holberg, it's a shame that with such a wonderful partnership, we only danced "Romeo and Juliet" three times. They began to think: the performance did not go in London, it did not go in America, neither at La Scala, nor in Munich. And then she broke through the network - Macmillan goes to Perm! And I wrote Lesha (ex-soloist Mariinsky Theater, artistic director Perm Ballet Alexei 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 connected Teodor Currentzis and MusicAeterna, since the performance will be in Perm. At the last moment, Holberg had an injury, but it was too late for me to retreat. In addition, I rarely visit Russia, and my parents were delighted that I would drop by to visit them in Moscow on my way to Perm. As a result, she danced two performances, having received great pleasure from the choreography and from working with open kind people. So they began to discuss what else to do.

Then there was The Firebird at the Diaghilev Festival?

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

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

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

Natalya Osipova: No, I didn’t dream about Masha, and when they didn’t let me dance at the Bolshoi, I didn’t even get upset. Then she danced at the Paris Opera in Nureyev's edition, rehearsed with an excellent teacher Laurent Hilaire, now the head of the MAMT. When you look, and then sneaks, and even when you dance, even more so. I respond to Tchaikovsky.

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

Natalya Osipova: Peter Wright's version is playing in Covent Garden, albeit with a reference to the original choreography by Lev Ivanov from the end of the century before last. And Lesha Miroshnichenko spoke so contagiously about the drama in Tchaikovsky's music, which should be revealed. I got on fire. In Permskaya Masha, in fact, the meaning is 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 done. She guesses 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 recalled my first love, when any harsh word could be a disaster. So it is in the play - Masha just thought about whether she needs a prince, and immediately loses him. This fits very well with the music of the final adagio.

But after all, everyone saw a happy ending to this music, didn't they?

Natalya Osipova: Yes, it's unusual and against the 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 a relationship with Perm ballet Are there any plans to dance with other Russian theatres?

Natalya Osipova: Three weeks later I have "The Legend of Love" at the Mariinsky Theater, I dance the strong queen Mekhmene Banu. It seems that I missed the power of Russian performances.

So, soon after all to wait for you in the Bolshoi?

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 at the end of May in a concert in honor of the anniversary of Marius Petipa.

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

And the performance? Do you have long-term contacts with the head of the ballet troupe Makhar Vaziev?

Natalya Osipova: It is not working out yet, although we have a really warm relationship. You see, it’s nice for me to choose what to dance. In the Mariinsky I chose "Legend...", in Munich "The Taming of the Shrew". Ahead in Covent Garden "Manon Lescaut" with David Holberg and "Giselle", which we have not performed together for five years, and the premiere of "Swan Lake" by Liam Scarlett.

Waiting 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 America in August and then we will bring it to Russia. Scheduled for September contemporary choreographers, five authors, and I will finally be given a 15-minute duet by Alexei Ratmansky. At the end I will dance "The Dying Swan".

Natalya Osipova: I would not call it sarcasm, maybe everything will be quite serious. A tribute to what I love about dance is the ability to express myself.

There are too many "Emeralds" on "Gossip".) 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 Theatre. It was just gorgeous she danced there, with such drive and such incredible technique! Then she participated in the project of the First Channel "Balero" with Roman Kostomarov, and took second place there. I think she has a great future. And her husband, by the way, Ivan Vasiliev, is also a chic dancer.

Biography, photo and video.

Natalya Petrovna Osipova - genus. May 18, 1986, Moscow. From the age of five she has been gymnastics, but in 1993 she was injured, and sports had to be stopped. The coaches recommended that parents send their daughter to ballet. Studied at Moscow state academy choreography (class of Rector Marina Leonova). After graduating in 2004, she entered ballet troupe Bolshoi Theatre, debuting on September 24, 2004. Since October 18, 2008 - the leading soloist, since May 1, 2010 - the prima ballerina of the Bolshoi Theater. Rehearsed under the guidance People's Artist USSR Marina Kondratieva.

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 a British National Award in the field of dance, awarded by the Society of Critics ( Critics Circle National Dance Awards) for 2007 - as the best ballerina in the section " classical ballet».

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

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

In 2011 she performed the part of Katarina in The Taming of the Shrew to music by D. Scarlatti (choreography by G. 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 three Swan Lakes with Carlos Acosta in this capacity. In the same October, she - the only guest ballerina among the regular artists of the Royal Company - participated in the gala concert in honor of the Diamond Jubilee of Queen Elizabeth II.

She is currently the prima ballerina of the American ballet theater together.

In April 2013, Natalia Osipova signed a permanent contract with London's Royal Ballet.

With her husband, Ivan Vasiliev.

About how a career began, about romanticism and endurance, the Bolshoi and Mikhailovsky theaters, Ratmansky and much more - in exclusive interview recorded in the USA.

Natalia 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, was expected for a long time and with great trepidation. Desyatnikov's reputation, like that of Ratmansky, is the most obvious: if not them, then who in general? Therefore, the pre-premiere art preparation began long ago. Moreover, for the entire last season, both the composer and the choreographer were consistent newsmakers. And not always willingly.

After graduating from the Moscow Choreographic School, she joined the corps de ballet of the Bolshoi Theatre, but already in the first season she danced eight solo parts.

All of Moscow spoke about the brilliant jumps and flights of Osipova. Kitri, Giselle, Sylphide, Medora - the main parties followed one after another.

Her name became known to the ballet world in 2007, during the triumphal 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 them with a fight!"

New York, Paris, Milan, Berlin; The American Ballet Theatre, the Grand Opera, La Scala, the ballet of the Bavarian State Opera - in a few years Osipova conquered all the ballet capitals of the world and performed with all the best ballet troupes.

Her prizes and awards have become a natural continuation of a dizzying career. The Leonid Myasin Prize, the Golden Mask Jury Prize, the Benois de la dance prize, the Grand Prix of the Dance Open International Ballet Prize... Last fall, the whole world started talking about the ballerina again.

Osipova leaves the Bolshoi and from the first of December 2011 becomes the prima ballerina of the Mikhailovsky Theater.

I found Natasha in New York at the height of the rehearsals of Stravinsky's The Firebird. The world premiere of the ballet will take place at the end of March in California.

And before that, Natalia Osipova will perform in Chicago for the first time as part of the American Ballet Theater troupe. March 24 she dances Giselle.

- Do you like to dance this party?
- This is one of my favorite parties, if not the most favorite. Each of the great ballerinas of the past - Ulanova, Bessmertnova, Fracci, you can't list them all - had their own Giselle.

Giselle is not the kind of ballet in which you can impress the audience with technical tricks. I perceive it as a dramatic performance. The main thing in it is to be sincere, to find your Giselle, to present yourself in this image.

- Do you think you found this image or are you still searching?
- Live and learn. I will always keep looking for my Giselle. I just found a thread to this image. I have my own idea of ​​what she is - Giselle. How well I reveal this image is not for me to judge. But in every performance I strive to discover something new.

When you first started rehearsing Giselle, in ballet world they said: "This game is not for Osipova." Have you heard such talk about yourself?
- Of course I heard. Except for my first part - Kitri in Don Quixote - every next one (Sylphide, Gamzatti, Aurora) caused bewilderment among those around.

“How will she dance this performance when it’s not her at all ?!” It was exactly the same with Giselle. No one believed in me, and I myself, I can honestly say, approached this role with caution. Alex gave it to me

I understand that my image probably lacks romance. Therefore, I pay more attention to realism.

I want the audience to see a story with real emotions and experiences, and not just a beautiful fairy tale.

- How do you work with the troupe of the American Ballet Theater?
- I have been working with her for four years. At first, of course, it was difficult. ABT was the first foreign troupe I performed with. But then I got used to it, got used to it.

I like to dance in ABT, I love this troupe. Our legendary teacher Irina Aleksandrovna Kolpakova works here. I have prepared all my American parts with her. Here I have wonderful partners!

After a performance in Bolshoi Theater your partner David Hallberg has become especially popular among Russian-speaking ballet lovers.
- David was my partner in the debut performance in ABT. It was just Giselle. The performance went well, 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 he met me in my life and we danced with him for more than one performance. Together with him we dance in Chicago.

It's great that we'll see you just with him! Natasha, is it true that we should thank Nina Ananiashvili for suggesting that Kevin McKenzie, head of ABT, take you to the theatre?
- I know that it was Nina's idea, for which I am incredibly grateful to her. She spoke to Kevin about my coming to the theater.

"Natalya Osipova and Ivan Vasilyev leave the Bolshoi for the Mikhailovsky Theatre." "Star couple Osipova-Vasiliev leave the Bolshoi Theater." "Natalya Osipova and Ivan Vasiliev outgrew 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 of the Moscow stage, the pride of the Bolshoi - and suddenly leaving the theater.

Of course, in a conversation with Natalia Osipova, I could not pass by 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. I can't say anything negative about the theater or partners. We just wanted to change something in life. 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 it, and it was very hard for us ourselves ...

Of course, we were offended. 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 Kondratyeva 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 want to break off relations with the Bolshoi Theatre. Of course, I would like to appear in the theater as guest artists.

- You have been working at the Bolshoi Theater since 2004. What were those seven years like for you?
- Very bright! Every year was busy, there was a lot of work, and I did 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 if this decision is the right one. I have no regrets so far.

Your departure from the Bolshoi Theater coincided with the opening of historical scene 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 during the period when the schedule for the next season was drawn up.

In all European and American theaters, this is done at the beginning of the season. If we left in the winter, we would not be able to build the next season the way we wanted. So it happened.

- Why did you move from the Bolshoi Theater to the Mikhailovsky?
- We really did not want to leave Russia. Vladimir Abramovich Kekhman ( CEO Mikhailovsky Theatre. - Approx. author.) has been approaching him for a long time with a proposal to go to the theater with him.

At first, we somehow didn’t take it seriously, but this season, when we decided to leave the Bolshoi, we thought about it. The St. Petersburg Mikhailovsky Theater is a progressive theater.

The 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 received at the theatre?
- We have created excellent conditions. Performances with our participation are staged at a convenient time for us, depending on our schedule. They promised that they would stage performances for us.

The troupe in Mikhailovsky is wonderful, and the theater is wonderful: cute, cozy, homely. We just wanted intimacy after the Bolshoi Theater and a huge number of people.

- I am very pleased that you joined the troupe of the Mikhailovsky Theatre. He has always been in the shadow of the Mariinsky...
- This different theaters. Life has always been seething in Mikhailovsky, there were innovators, new and interesting ballets. Now the theater has very good prospects, and it is becoming interesting to the general public.

But you can't get away from competition in the ballet world! How did the ballerinas Ekaterina Borchenko, Oksana Shestakova, other prima Mikhailovsky meet you? They danced the main parts, and then you come, and all the best is already for you, and they go into the shadows ...
- I didn't notice that. On the contrary, we entered new performance and everyone sincerely tried to help us.

We are absolutely not stellar people. We don't have such pretensions. In addition, we dance one or two performances a month. I don't think we take much from others.

We are all quite different. I have my performances, they have theirs. Therefore, we do not take anything from anyone. We came with respect to the troupe.

- Have you moved to St. Petersburg?
- No, my house and my parents remained in Moscow. We do not have our own housing in St. Petersburg. We come there for the time while we dance.

We also spend time in America. Unfortunately, I now understand that this year we will practically not be in Moscow. Four or five days a year, no more.

Do you feel the difference in the training of ballet dancers - graduates of the Vaganovsk and Moscow choreographic schools?
- We all represent the same Russian ballet school, but only we are different, just like 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 gymnastics. I came to ballet by chance, after a back injury. Coaches advised parents to try ballet.

Natasha, if not for the injury, would you continue to do gymnastics or would you still have thoughts about ballet?
- As a child, there were no thoughts about ballet, so I probably do not exclude that if everything went well for me, I would continue to do gymnastics. My transition to ballet was really an accident.

And if now you were told to rewind the “tape of life” fifteen years ago, would you go back to the ballet path?
- Yes, of course, and I would have worked even harder. 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 pleasant to realize that you have a profession, and at eighteen you are a ready-made professional and you know what you are working for.

At the age of forty, we end our careers, and we have half a lifetime left to realize ourselves in something else.

- You still have everything ahead 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 a glory test?
- I don't know yet. You can't even imagine what a colossal work was done before the moment when I went on stage in London.

I was very young, and Alexey Ratmansky believed in me, gave me to dance Kitri in Don Quixote. I worked day and night preparing this performance.

I was so tired that on stage I didn't care anymore. It was very difficult to withstand such tension, but in the end I got incredible pleasure from the performance.

There was a great 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 go to the main parts?
- From the first month at the Bolshoi Theater they began to give me variations, and in the corps de ballet I danced practically nothing. Immediately began to dance the leading parties.

- They write about you that you are physically very hardy. How do you withstand such loads?
- Sports hardening since childhood, plus my "physics". I was born like this. 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 is your favorite ballet part?
- They are all loved, but in different time I like different parts better. Today - Juliet in Prokofiev's Romeo and Juliet. With such trepidation, I am not preparing for a single game now. For me Prokofiev's music is space.

- This party is very romantic...
Juliet is a very strong character. I can't say that it is lyrical, it is rather lyric-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 have not yet danced, but which you dream of?
- I dream of many parties. 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 still have to dance " Swan Lake, which I have been refusing for so long.

Why? This is the pinnacle that no ballerina can do without! Not dancing the Swan... is the same as a musician never performing Bach and Mozart.
- It's hard to say why. I didn’t feel, I didn’t understand this part, I didn’t believe in myself, I didn’t know what I want to say in this ballet.

Everyone is used to seeing swans as beautiful and tall. I am different. I'm not tall, I don't have stunningly beautiful lines.

One "physics" will not take. Therefore, you need something incredibly interesting to tell the viewer in this performance. 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. If it’s not mine and I don’t succeed, I will understand myself and will not do it again. But you should definitely try!

Please tell us about your work with Alexei Ratmansky. What makes him different from many other contemporary choreographers?
- In my opinion, he is either one of the best, or best choreographer contemporary ballet. He is incredible musical man 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 is universal.

Ratmansky's choreography, his style cannot be confused with any other. He incredibly attracts artists when he shows, explains...

Each meeting with him is an interesting labyrinth with an unknown ending. I danced in many of his performances, and they are all different.

The Flames of Paris, the avant-garde Playing Cards, The Russian Seasons, The Middle Duet - it is impossible to imagine that all these ballets were staged by one person! He is very versatile.

Ahead - your debut in Chicago. You don't know the Chicago ballet public yet, but you already know the New York ballet public quite well. Is it different from Russian?
- Each audience in each 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 harder to always dance at home.

- But what about the expression “houses and walls help”?
- They seem to help, but also require a lot.

Questions were asked by Sergey Elkin (Chicago)

First, a few different pictures of my beloved Polunin

Little is known about Sergei's personal life. Sergey dedicated the tattoo "I'm sorry, tiger cub" to one of his beloved, because she left him, and he hoped to return her in this way;)

For two years he dated a British ballerina Helen Crawford(who is 9 years older than him), she was his first serious passion, but after Helen expressed her desire to have children, Sergey decided that it would be easier and more honest if they parted.

A year ago, some time, Polunin appeared in society with a novice ballerina Julia Stolyarchuk.

And this summer, Seryoga made another tattoo: "NATASHA" on the back of his hand.

The tattoo is dedicated new girl Polunina - Natalia Osipova.

I don’t know when they met, but they got together in early 2015 when they were rehearsing Giselle at La Scala.

From an interview with Natalia:

culture: Your duet with Polunin is from the category of sensations. The favorites of the Moscow public united. How did you meet?
Osipova: At La Scala, when they danced Giselle. The performance was planned with David Hallberg - one of my favorite partners. But he has a serious injury, he is being treated for the second season and could not perform. I had to urgently look for a partner. Of course, I saw Serezha many times on stage, I always admired him, and it was interesting to try to dance with him. Our duo has not yet formed, we are just starting to work together.

culture: You refuse to answer questions about your personal life, but Serezha has a new tattoo with your name ...
Osipova: He made it after we met. At first it shocked me. I didn't expect that. But of course it's nice to know that you're important to the one you love.

culture: Relationships in life help on stage?
Osipova: They help me - I absolutely trust Serezha, I give him the palm. He is a man, he leads ... We have been together for about six months, and it is a great pleasure for us to be around.

culture: With your temperament, it's hard to imagine you being led...
Osipova: For me, this is also a big and pleasant surprise. But in the current situation, nothing bothers my ego, on the contrary, I submit to Serezha with great pleasure - both at rehearsals and on stage. In work, we always consult, talk a lot and decide everything together.

culture: Sergei Polunin told our readers that he dreams of combining ballet and cinema. Now Project Polunin is starting. Are you taking part in it?
Osipova: No, the project is not related to me. I have my own work, Serezha has his own. But there is a desire to work together as often as possible. Serezha has a lot of great ideas, and I hope everything will work out. If he needs my help, I'm always there.

For the first time, fans spotted them in June, when after the play "Giselle", where Sergei danced in tandem with Svetlana Zakharova, Natalya Osipova was waiting for him.

Since then, they have been appearing together on social events and give joint interviews.

In November, the couple at a press conference announced their relationship:

"Royal Ballet prima ballerina and 'bad ballet boy' put an end to relationship rumors when they announced their participation in the program modern dance at Sanders Wells the following year.
Two ballet superstars Natalia Osipova and Sergei Polunin will be dancing together in a contemporary dance program in London, sparking additional excitement after they admit they are also a couple in real life.

The couple's relationship has been the subject of numerous rumors in the ballet world. On Thursday, they put an end to those rumors: yes, they are a couple and passionate about dancing together as often as possible.

Polunin said: IN currently it's pretty hard for some reason big theaters trying to divide us. They do their best to keep us from dancing together. We are fighting against it. It is very important for artists to experience real feelings for each other on stage.", - he said and added that when he dances with another partner, he always imagines Osipova. " At the moment it is very difficult, but I hope that in the future we will dance together much more often.».

Earlier this year, Osipova and Polunin already danced Giselle together at La Scala, in Milan, but since they became a couple, they have not danced it again, and this is obviously very upsetting for Polunin.
« It's not just us, it's always a problem and I don't understand why when people want to dance together the directors go out of their way to separate them. I think it's just easier to control people that way..»

And as you know, Sergey is a fighter with any restrictions, and no one will be able to control him)))

Here are some pictures from social media:

Sergey's birthdaySummer vacation on the Hudson With fans:

With Sergey's mom:

And a photo with Vadim Vernik, who filmed this program:

In the upcoming 2016, Osipova and Polunin are planning to dance the main roles in London in a new ballet based on T. Williams' play A Streetcar Named Desire.