Dancers: Natalia Osipova and Jason Kittelberger Music: Deefly, Moonlight Sonata by Ludwig van Beethoven, Reflections of my life by Marmalade. ‘I am never around this much. Natalia Osipova and Jason Kittelberger in Roy Assaf’s “Six Years Later” Photo by Johan Persson What saves the dance is the superb job that Osipova and Kittelberger do in investing their characters with a touch of humanity despite the contrived silliness of what they’re doing. Kittelberger is currently working alongside Sidi Larbi Cherkaoui as assistant choreographer, rehearsal director and dancer in productions like Shell Shock, Fractus V, Pluto, Firebird with Stuttgart Ballet, m¡longa, Puz/zle, Icon, Harbor Me with L.A. Dance Project, Satyagraha, Pelléas et Mélisande, and Qutb, where he partners with Natalia Osipova and James O’Hara. That’s the gift I have.”. ‘It was like a real person, really touching me’ … Natalia Osipova and Jason Kittelberger in Six Years Later. ... Osipova and Jason Kittelberger in "Six Years Later" Johan Persson, Courtesy Royal Opera House. I was always like, “can you make the interval, five, ten minutes longer?” You need to speak with yourself and say, “now I’m ready”. In terms of a ‘lockdown routine’, she tells me: ‘I do what I do every morning, there are two to three hours in the morning when I am stretching and doing physicality work.’ She also does barre but has to be careful with pointe shoes, because, ‘I do have a nice floor’ (and wooden floors can be very slippery). ‘Now, it’s okay,’ she tells me in English inflected with a deep Russian accent, ‘I’m taking it step-by-step, week-by-week. It’s really interesting’. “It’s the most natural part for me,” she says. ‘Yes, it’s so bad, we set a date originally for January but then a performance was scheduled for the very same day, so we rearranged for a date in April but with the pandemic we’ve had to post again – so we’ve cancelled it twice.’. You need to believe every second, it’s really intense.’. Tune in to watch The Royal Ballet’s Anastasia at 7pm on 15 May here, Anastasia will be available to view for 14 days on the Royal Opera House YouTube channel; audiences can go back and watch many of the relays released since 27 March, The Director of The Royal Ballet talks to Tatler ahead of a special live streamed performance on Friday, By They met in 2018 performing Roy Assaf’s Six Years Later, a portrait of a tired and tetchy relationship, where Kittelberger was credited as being an ‘equal’ to the bewitching Osipova on stage. Francesca Carington, Needless to say, Osipova’s four dogs are loving having her around at the moment, her two crinkled shar peis, a chow chow called Kai and a Russian dog who resembles a snowy white wolf called Yevi. “Traditionally in ballet,” she says, “you are expressing love for a man and there are very few exceptions. Tag - Jason Kittelberger. “I’m strong on interpretation. ‘I hate it. “The woman said, ‘She could have danced another classical ballet. Composer: Jean Sibelius. “She was talking about the show,” says Osipova, who had just finished performing The Mother, a contemporary dance drama. ‘When I dance it, I absolutely believe that I am Anastasia. It’s a private Instagram account that publishes crowdsourced nuggets of celebrity gossip to its 600k followers, By Some of her fans might not be ready to accompany the Russian ballerina on her odyssey into experimental dance, but Osipova is an artist who trusts her instincts: from her 2001 decision to walk out of one of the world’s most prestigious ballet companies, the Bolshoi, in favour of a second-tier institution, the Mikhailovsky Theatre, to launching a parallel career in contemporary dance while still one of the top classical ballerinas. “The title comes from me personally, when I’m irritated or angry – saying ‘I’m fine!’ when it’s clear I’m not.” Kittelberger created the steps (“That’s not my strong point”) and Osipova was dramaturg. Ordinarily she wouldn’t choose to watch herself back. He really showed me a different way of experiencing dance.”, Gerry Fox, who filmed the couple dancing in the studio, talks about their “sensual tension, two people giving their all through their bodies and being so free with each other”. Dancing with Kittelberger was a revelation for Osipova. “The first time I came I was surprised there was no intrigue or conflict, and people were nice to each other,” she says. Set to piano studies by Jean Sibelius, the duet sees them in a ‘physical conversation devoid of language miscommunication’. Sergei Polunin and Natalia Osipova in Run Mary Run by Arthur Pita for Natalia Osipova at Sadler's Wells, London. In my career, I can only think of Kenneth MacMillan’s Anastasia.” (Premiered in 1967, Anastasia is about a woman who claimed to be the daughter of tsar Nicholas II.) “I can think of two situations when [Royal Ballet director] Kevin O’Hare said, ‘This is not happening’, otherwise something unpleasant might have started.”, The pressure, the egos, the intensity of a dancer’s life have certainly been blamed for more than one artistic outburst. ‘I believe in what I’m doing on the stage. It’s like acting and drama and dance, combining all those things, to play such a demanding role.’, NATALIA WITH HER FIANCÉ, THE CONTEMPORARY DANCER JASON KITTELBERGER. Osipova is joined by renowned contemporary dancer Jason Kittelberger in Six Years Later, by Roy Assaf Osipova was still in excellent company, taking to the stage with her Royal Ballet guest principal partner David Hallberg, Jonathan Goddard (with whom she performed the wonderful The Mother) and her real-life partner Jason Kittelberger. I’m very aware of my own power. But there are times when you want to totally give it away and be helpless, and he’s somebody who can allow me to do that.”, As well as exploring her adventures in contemporary dance, Fox’s documentary discusses one of Osipova’s most feted classical roles: Giselle, the beautiful young peasant girl who falls for a deceitful nobleman. 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Dancers don’t often come quite like Natalia Osipova, varyingly described as ‘the face of 21st century ballet’ as well as a ‘force of nature’ for her explosively powerful dance and titular roles in everything from Giselle and Medusa to Anastasia. “I felt quite vulnerable. The season then continued with her appearances in various solo performances, including under Ludwig … The controversial dancer had this to say about male dancers: “Females now trying to take on the man role because you don’t f––– them and because you are an embarrassment.” He also wrote: “Let’s slap fat people.”, Osipova has gone on record saying Polunin is a good guy who should be judged only on his dancing. “From my deep connection to the part – and my peaceful certainty that this is how it should be.”, When Osipova began her career at the Bolshoi, the director was Alexei Ratmansky, “who gave quite a lot of freedom”. The staged descent into madness is quite a transformation to undergo in a single interval and something that Ospiova finds challenging. Osipova, as a Russian, feels a certain connection to the story. It depicts the true story of Anna Anderson, a woman who believed herself to be Anastasia, the youngest daughter of Tsar Nicholas II and the only survivor from the assassination of the Romanovs in 1918. "I really like to try new things," she told the Financial Times last year. Force of Nature Natalia is out now and will be broadcast on Sky Arts on 18 June. Osipova, Kittelberger and James O’Hara in Sidi Larbi Cherkaoui’s trio. Osipova alone embodies the bravura for which she is known in Ave Maria by Yuka Oishi, while Hallberg’s soulful virtuosity shines in In Absentia, a solo by Kim Brandstrup. ‘The ballet is about the Romanov family, it’s a really big story in Russia. As Tatiana in Onegin at the Royal Opera House in 2015. “I’m more sensitive to the story,” she says. The ballet, choreographed by Kenneth Macmillan, a Royal Ballet legend who Osipova says contributed to her decision to want to dance in the UK, is a rip-roaring piece. atalia Osipova was standing in a queue at Moscow airport recently, waiting for her flight back to London, when she overheard a woman mention her name. Watch the trailer for Force of Nature Natalia on Vimeo, his recent macho and fat-shaming tirades online. He’s used to seeing me in more beautiful characters like Swan Lake, he’s never seen me in such a dramatic, dark ballet as this.’. “Giselle,” Osipova tells the camera at one point, “it’s me.” What did she mean? “I need more comfort, and if I don’t get it I become resentful. You can opt out at any time or find out more by reading our cookie policy. The 33-year-old Principal Dancer at the Royal Ballet naturally, as a Russian, cut her teeth at the Bolshoi before moving on to dance in America and finally settling in London six years ago. This site uses cookies to improve your experience and deliver personalised advertising. You have to forget everything you did thirty minutes ago, you need to be really full. ‘I know that every time I do this dance I’m sick; I really cry, I really feel pain. The most entrancing moments saw Osipova and Kittelberger, dressed in everyday jeans and t-shirts, shoulder wrestling. I need a lot of attention, especially from men – maybe because my father had such a comforting, amazing energy. Someone who is used to a flat out schedule of back-to-back performances. Valse Triste by Alexei Ratmansky. It’s a really good time for me now.”. They met in 2018 performing Roy Assaf’s Six Years Later, a portrait of a tired and tetchy relationship, where Kittelberger was credited as being an ‘equal’ to the bewitching Osipova on stage. “The second act is so close to me, as if I have it somewhere in my DNA.”, Osipova is not the ghostly spirit of a wronged woman, as Giselle becomes in act two, but her entire physicality alters as she embodies the role – a more vivid, chilling and unhuman Giselle than any I’ve seen. “It was like a real person, really touching me, and it was like, ‘Mmmm!’” Her bright eyes widen with mischief at the memory. Yes, but only because Kittelberger hasn’t seen it before. How’s she getting on? Since then, she has performed it around the world. It sounds like Osipova has found her lockdown rhythm, no doubt helped along by her American fiancé Jason Kittelberger (a contemporary dancer). ‘It doesn’t matter if it’s a happy or tragic story, if I go on stage I always want to tell the story to the audience.’ For her roles, she’ll study the character thoroughly. “It all depends on who is leading, and what they encourage and what they cut off,” says Osipova. Natalia Osipova and Jason Kittelberger barely touch until they reach the opposite end of the stage and then began to seamlessly fold into each other. ‘It’ll be really interesting for him because he’s never seen me in a role like that before. “So different,” she says. Osipova, 33, is very straightforward, not starry or effusive – unlike when she gets on stage, when she’ll propel herself towards dramatic extremes. But Osipova is as interested in showing the realities of relationships as well as the fairytale ideals. Natalia Osipova and Jason Kittelberger in Qutb by Sidi Larbi Cherkaoui. As Anna Anderson in the third act of Anastasia, 2016, Anna Anderson’s divisive story has believers and sceptics, with some who trust her to be the Grand Duchess and others who consider her just a troublesome fantasist. I ask how important the story is? ... Osipova and Jason Kittelberger in "Six Years Later" Johan Persson, Courtesy Royal Opera House. Osipova considers herself first and foremost a dramatical dancer who needs a story to interpret and tell. I feel good, I have my four dogs, my fiancé, we’ve bought a new house. But Russian-born superstar ballerina Natalia Osipova, a principal dancer with The Royal Ballet since 2013, is now getting ready to return to the stage after a seven-month hiatus. You need that creation inside yourself to understand and feel. 'Mmmm, it was electrifying!’ Natalia Osipova on finding a perfect partner. Physically and emotionally, I’m a really strong person, in art and in life. Natalia Osipova and Jason Kittelberger in Six Years Later. “No one but him can answer your question,” she says. “He’s clearly gifted, and I really wish that he nurtures it rather than undermines it.”, Osipova seems able to harness all the drama and drive for her dancing and thinks she has another five years of performing at her peak. She’s just got engaged to the dancer/choreographer Jason Kittelberger, whom she’s been dating for about a year. Not only has the show matured and grown but Osipova’s ownership of all the work she performs has … This new duet will be danced by Jason Kittelberger and one of the world’s greatest ballerinas and Royal Ballet principal, Natalia Osipova to Jean Sibelius’s 13 Pieces for Piano, Op.76: No.2 – Etude arranged for cello and classical guitar. The Mother, a two-hander based on the bleak tale of a woman desperately trying to save her dying baby, often leaves Osipova bloodied and bruised from its physical floorwork and emotionally tested trying to reach the heart of the character. Rebecca Cope, My heart flutters at the mention of a fiancé, is Osipova, one of the greatest ballerinas of our time, another ‘covid bride’? ‘For Anastasia, I read a lot of information. Of course, for me, it was strange to be home without work – but now, I’m much better. You start thinking, “oh my god, why do I dance like that, oh my god, I’m so stupid.” You always want to stop and correct yourself. Dancer: Natalia Osipova. Osipova beautifully escapes restraint in the contemporary duet, Left Behind, performed with choreographer Jason Kittelberger to Rachmaninov Elegie Op3 No1. Facebook Twitter Pinterest. In recent years, Royal Ballet principal and international touring artist Natalia Osipova has curated her own evenings of new works, collaborating with a slew of contemporary choreographers. My teachers would be telling me off, but I had such an inner certainty that it was impossible to knock it out of me.” Where does that confidence come from? So far they have released a diverse selection from opera blockbuster La Traviata to Arthur Pita’s The Metamorphosis, and this Friday 15 May at 7pm Anastasia will be premiered with Osipova as the eponymous lead character. She’s content now at the Royal Ballet, a company with a healthier culture than most she has experienced. “She was talking about the show,” says Osipova, who had just finished performing The Mother, a contemporary dance drama. Photograph: Tristram Kenton/The Guardian “He does see a bit of the child in me, in a good … She’s a crazy, fragile woman. Filin was the victim of an acid attack orchestrated by a disgruntled dancer, and New York City Ballet has been rocked by accusations of harassment and abuse. Natalia Osipova in Onegin. Sometimes people say I just don’t get enough of the language to know!” She laughs. I can’t work like that.”, Does something about the nature of ballet companies engender a dysfunctional atmosphere? “He does see a bit of the child in me, in a good way. Of course, two people, two bodies connecting, is something dance can express well. “Contemporary dance is making my body feel and move differently. Photo by Tristram Kenton, courtesy Royal Opera House Rested and Restless, Natalia Osipova Is Ready to Get Back Onstage Oksana Khadarina. We meet at her flat in Little Venice, London – smart modern decor and the feel of someone who’s not home much – where we are joined by an interpreter and two over-excited dogs. It’s so difficult. Hope Coke. Reviews English National Ballet – Laid in Earth by Sidi Larbi Cherkaoui & Thomas James – streamed film. In 2011, Osipova performed in Roy Assaf's Six Years Later, partnering with Jason Kittelberger and the same year danced in Valse Triste by Alexei Ratmansky. Why am I not understood?”. Likewise, we couldn’t gather information about his birth … Pure Dance is a curated evening of seven pieces, designed to showcase Natalia Osipova’s talent and versatility. Osipova and Kittelberger exchange best practice, she teaches him barre and he teaches her yoga and some contemporary dance (what Osipova describes as like ‘a different language’ in dance terms). “I’m not a mother myself yet,” she says, “so I was anxious that it wouldn’t be a realistic portrayal because I don’t know what it’s like.” It’s similar to how you feel about your dogs, I tell her, but times a hundred. 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