Natalia Osipova


  • Prize-winner at the Prix de Luxembourg international competition (2003),
  • Prize-winner at the X International Ballet Dancers and Choreographers’ Competition (Moscow, 2005),
  • Recipient of Ballet magazine’s Spirit of Dance award in the category “Rising Star” (2007), the title of “Dancer of the Year-2007” (Ballettanz magazine), the Benois de la danse prize from the International Choreography Association for her performances of the roles of the Sylph, Giselle, Medora in Le Corsaire and Jeanne in Flames of Paris (2009),
  • Recipient of the Golden Mask, Russia’s most prestigious theatre prize, for the role of the soloist in the ballet In the Upper Room by Twyla Tharp (2008), the Léonide Massine Prize for the “Art of Dance” (Positano, 2008), the UK National Dance Award as “Best Female Dancer” (Classical Ballet; 2008, 2011), the Golden Mask’s Special Jury Prize for “Best Duet” (together with Vyacheslav Lopatin) in the ballet La Sylphide (2009), the Dance Open international ballet prize in the category “Ms Virtuosa” (2010) and the Dance Open Grand Prix (2011).

Born in Moscow.
Graduated from the Moscow State Academy of Dance in 2004 (class of Dean Marina Leonova).
From 2004-2011 she was with the Bolshoi Theatre; in 2010 she was made a Principal Dancer.
In December 2011 she joined the Mikhailovsky Ballet.
Since 2013 she has been a Principal Dancer with the Royal Ballet in London.

Repertoire includes:
La Sylphide (Sylph); choreography by August Bournonville, revised version by Johan Kobborg, Giselle (Giselle),
La Bayadère (Nikia, Gamzatti),
The Sleeping Beauty(Aurora),
Le Corsaire (Medora),
“Paquita” Grand pas; choreography by Marius Petipa, production and new choreographic version by Yuri Burlaka,
La Esmeralda (Esmeralda); choreography by Marius Petipa, production and new choreography by Yuri Burlaka and Vasily Medvedev,
Coppélia (Swanilda); choreography by Marius Petipa and Enrico Cecchetti, production and new choreographic version by Sergei Vikharev,
La Fille du Pharaon (Ramzaya, Aspicia); production by Pierre Lacotte after Marius Petipa,
George Balanchine’s ballets Jewels (Rubies), Symphony in C (III. Allegro vivace) and Serenade,
Léonide Massine’s ballets Gaîté parisienne (Can-can Soloist) and Les Présages (Frivolity),
Passacaglia; choreography by Roland Petit,
In the Upper Room; choreography by Twyla Tharp,
Jeanne (Flames of Paris); production by Alexei Ratmansky after the choreography of Vasily Vainonen,
Class Concert; choreography by Asaf Messerer,
Laurencia (Laurencia); choreography by Vakhtang Chabukiani, revised version by Mikhail Messerer,
Herman Schmerman (Pas de deux); choreography by William Forsythe,
Alexei Ratmansky’s ballets Russian Seasons (Couple in Red), Bolero, Tumbling Old Women, Jeu de cartes, Middle Duet, The Limpid Brook (Classical Dancer), The Bolt (Manka Fart) and Lost
Illusions (Coralie)
and Nacho Duato’s ballets The Sleeping Beauty (Princess Aurora) and Romeo and Juliet (Juliet).

She has appeared as the Ballerina in Pétrouchka and Clara in The Nutcracker at the Opéra National de Paris, Kitri in Don Quixote at the Teatro alla Scala, Princess Aurora in The Sleeping Beauty, Juliet in Romeo and Juliet, the Sylph in La Sylphide, Giselle in Giselle, Kitri in Don Quixote, Swanilda in Coppélia and the Classical Dancer in The Limpid Brook at American Ballet Theatre, Katherina in The Taming of the Shrew with the Bayerische Staatsballett, Juliet in Romeo and Juliet with Denmark’s Peter Schaufuss Ballet, Kitri in Don Quixote, Giselle in Giselle and Carmen in Carmen-Suite with the Mariinsky Ballet and Juliet in Romeo and Juliet with English National Ballet. In 2011 she appeared as the soloist in a co-production by the Bolshoi Ballet and California’s Segerstrom Center for the Arts featuring the ballets Remanso (choreography by Nacho Duato), Cinque (choreography by Mauro Bigonzetti), the duet in Serenata (choreography by Mauro Bigonzetti) and Pas de Trois (choreography by George Balanchine).

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