Love how they filled out the corps de ballet with young students. Absolutely beautiful performance by Osipova and her partner. Also magnificent playing by solo instruments.
Agreed! I would say in terms of showing emotion she's up there with Fonteyn/Nureyev's level of emotional portrayal. Marianela Nuñez is also amazing but Natalia has something so special about her acting.
Modern day athletic body, yet steeped in supple vulnerability - what a beautiful white swan, what a package all in Osipova herself. The sync with music is superb.
Belloooooooooo. Natalia stupendaaaaaa bravissima estremamente espressivaaaaaa....anche attraverso un semplicissimo cellulare manda sensazioni dolcissime struggenti!!!! Grazie per aver inserito questo meraviglioso brano
Me too! The first time I saw a real ballet as a child, I hyperventilated and when my Mom tried to take me outside, I blacked out from standing up too fast. I was a very sensitive kid LOL. I was in ballet then, too, and it was all just too much...
As I said in another comment. It really looks like her arms were wings fluttering by the air. ♥️ She’s the only one I’ve seen, capable of doing that. She has something in her. It’s beautiful, like a real swan.♥️
Впервые кроме восхищения танцем испытала другие эмоции . Одетта и Принц не просто танцуют, страдание, отчаяние, грусть, надежда - все эмоции выражены в танце. Брависсимо, высшая школа💐💐💐
Когда я смотрю как танцует Наталья Осипова, понимаю выражение "лучшее-враг хорошего",- никто так больше не танцует. Каждое движение кисти , стопы ...,настолько все отточенно, пластично, тонко, изящно и прочувствованно. Она танцует как в невесомости, где нет законов гравитации.
Unearthly lovely and sublime. It's miraculous how Natalia transforms herself into a different being, as much swan as human, with the lightness of an avian creature. The whole company, too, is masterfully united in this performance.
Unbelievable ballerina , her lines are amazing , the backbend and her ability to hold this open splits are unreal . I don’t know the technical terminology but compared to other pas de deux this stands out as the Best
Grandiosa la Osioova. Nel Lago dei cigni, Giselle e Don Chiotte l'ho vista dal vivo. Veramente straordinaria. E l'ho vista dal vivo tutte le volte che ha danzato con Vasiliev.
Beautifully choreographed that fits Natalia’s dancing talents perfectly. The first one I’ve seen that has this much speed yet not losing the swan-like movements. Natalia dances a more dramatic swan than her predecessors. Another breathtaking performance by the flying ballerina. I surprisingly enjoyed this 10 times more than her Nikiya which I didn’t really like.
@@cgm530 poor techniques-couldn’t hold those difficult positions and wavering back and forth (I’ve recently discovered that Osipova doesn’t actually have good in-place balance), total disregard of musicality (there was even one point she confused the orchestra/conductor, they couldn’t follow her), way over the top dramatic and athletic (Nikya ought to be mostly a graceful tragic role with exoticism, the music isn’t even as dark as swan lake) As much as I love Osipova I don’t like how she often neglects things such as musicality in favor of more powerful movements. People like to say Svetlana Zakharova is a “gymnast” just because she has high extensions and a stiffer upper body. But what Osipova often does-spontaneous power disregarding some important artistic nuances and musicality, is actually what a gymnast does. It’s no surprise that she started out as a gymnast and wanted to be an Olympic gymnast. A fantastic recent Nikya that I’ve seen is Alina Somova. Doesn’t rush through musicality, Takes her time to contemplate the character. great attention to nuances. Movements are solid and graceful. Diana Vishneva is often the golden standard Nikya for me. Svetlana Zakharova’s la scala Nikya, before she turned so boney, was also very good, very classy take on the role.
@@luceafarul579 Thank you so much for detailing your thoughts here. Yes, while I admit that I do in general prefer the artistic choices enacted by Marianela Nunez, I prefer hers precisely for the same reasons that I find somewhat lacking in my view of this one performance from Osipova, "how she often neglects things such as musicality in favor of more powerful movements." From Marianela, for example in this role and in the very different role of Aurora (third act wedding variation found here on RU-vid), I so so so deeply appreciate her sense of restraint. For my eye, in this role of Swan Queen, Marianela takes what could easily become a performance of flapping that is dripping with sobbing and tragedy, and she "tidies it up" with clean, deliberate, precisely set movements and positions that do not render her physically or artistically stiff. In this PDD, Marianela seems to "curate" her movements closely within the context of not just the music but the written score itself, whereas Natalia throws herself headfirst into the score, knocking some notes and ripping away from rests here and there. While the latter is indeed very thrilling to watch, especially for some people and their preferences, I personally refer the more refined that I see enacted by Marianela. I prefer it because through this approach I connect to the sense of order and geometry of not only classical ballet as a technique, but also the same geometry that governs the rules of Cosmic Order in the grandest scheme. For me, I seek this in ballet, and find it time and time again in Marianela's conscientious adherence to music and form. As a result, for me, Marianela becomes a vessel through which the laws and timing of the Universe can be rendered visible through human dance. To the contrary, when I watch Natalia rushing through her movements here with the same hurried look on her face, I cannot feel or perceive little else. I wonder what others think about these thoughts here...
@@sixpoemsFor some reason I don’t seem to care for Marianela’s dancing. She’s beautiful and talented of course but I feel like she makes every move look hard. You can tell she’s trying her hardest not to fall, you can see it in her facial expression as well. She’s just stiff in my opinion. Zhakarova makes everything look perfect and easy and Natalia makes things look so easy with her speed. It looks like she’s just hopping and skipping around while nailing everything and never making mistakes. Again with Marianela, she looks like she’s trying too hard.
@@fahriyedemir5495 I’m new to ballet and I would like to ask: I didn’t know she was supposed to be in pain, I thought Odette (in this scene) was supposed to be falling in love with the Siegfried. But when I look at the whole ballet, she never seems anything other than sad, she is never hopeful or happy, only sad or in anguish, so I haven’t really seen anything that would differentiate her feelings from the first to final act. Is she always in pain no matter what happens? Does her character develop emotionally? If so, how?
@@giasharie274 In this scene she's basically begging him to save her from being a swan forever, conveying her love for him as well as her desperation to be free, which Natalia shows so well. She's a princess who has been turned into a swan by an evil wizard who wants to steal the crown so naturally she isn't happy throughout the whole ballet, especially when she sees Siegfried dance with Odile.
A couple of details about this production. It was created in the 90's and apparently the budget was quite tight and they decided to change the corps tutus for this romantic tutus because they're not that expensive. The new production of the Royal Ballet has brought back the traditional tutus. Also, this particular production is set in the 19th century and it's why the prince is in military uniform, as it was very traditional at that time that men in Royal Families would wear military uniforms as formal attire.
@@martha4624 possibly, but I always thought it had more to do with technical ability, or to have a greater contrast between them and the corps dancers.
That’s the best I’ve seen ever at Swan Lake, even In Moscow at the moment no dramatic artists who’s able to play this way during the spectacle and able to carry a different kind of passion through all spectacular experience on this story which ballerina has to show in different languages of beauty. She made a serious progress on her lyric ability to introduce yourself as a role needed. That’s incredibly amazing playing in artistic style and technical experience, Makarova has brought Osipova’s talent on the new level of experience in her carrier. The best connection with a partner and amazing support Mathew Golding and the Natalia Makarova as a teachers. All stars in one line. That’s will be a history.
È sempre eccezionale qualunque parte sia chiamata ad interpretare....meravigliosa Natalia Osipova...le parole non esprimono le emozioni che questa grande artista provoca in noi...
It's just incredible how so much toil and hard work from everyone culminates in this moment of trancendental life affirming joy.....I can only say thank you
Que hermosa versión, ademas de la perfección de Natalia Osipova, es bellisima la coreografia del cuerpo de baile y la inclusión de niñas entre los cisnes. Maravilloso .
Ottimo questo balletto e la fluente levità fatta tensione motile sorprendente nella ballerina fino alla lene e defibrata caduta nella figuralita' della morte del cigno da ricordare per spettacolarità e leggerezza. Superlativa.Bighin Giulio Renzo. 😊😊😊😊😊😊😊😊😊😊
Бесподобная балерина! В ней - все традиции русского балета! Техника настолько высока, что не мешает исполнению роли, и каждое движение несёт в себе мысль!!!
Actually, this is the old, wretched Anthony Dowell production, with the ferociously ugly, steampunk Yolanda Sonnabend sets and costumes. After the new Liam Scarlett production premiered a few years ago, these long tutus were thrown in a pile and burned, along with the pattern that was used to make them. At least, that's what I hope happened to them.
@@avesraggiana I hope you know all about the scandal with Liam Scarlett being a sexual predator. I'd rather have a unique production that has a strong visual look than a generic and slavish re-creation of every Swan Lake in history.
@@mortifera123 No, I didn't know about Scarlett being a sexual predator. I don't see how one has anything to do the with the other. I'd rather not, not this visual look anyway. This Sonnabend production never even featured a lake in any of the lake scenes. Instead there was giant mirror-type thing backstage, whose design reminded me of a vulva.
Это просто ВОЛШЕБСТВО! Браво! Наталья действительно последовательница Галины Улановой! Как можно было танцем выразить такую гамму чувств...ни одного лишнего, или пустого движения, всё наполнено смыслом. Страдание и радость, Любовь, прощающая предательство, горечь и...снова Любовь. У меня нет слов...Спасибо!
@Vlas А что же там произошло? Или принц не предложил на глазах у всех руку и сердце Одилии? По крайней мере для Одетты поступок принца-предательство: он нарушил клятву. Или что-то не так?
So beautiful! Often times I forget to look at the corps de ballet because the principal dancers are so captivating! But I noticed that some of the corps must have been students, the ones wearing soft shoes looked very young. Just something I've never really noticed :)
Absolutely astonishing that a "top" ballet company would agree to have some of the corps swans in soft shoes. Boggles the mind, and says a whole lot about the Royal Ballet.
It's true! I saw baby swans on demi pointe at around 4.50... However, I don't see it as a particular problem. In fact if you think about it, it adds a surprising new element to the story. On a practical level, it's a way of involving the RB School which the RB is known for.
I believe those are students from the royal ballet school as baby swans, and I think they really show Odette as a mother figure to her flock since she has small ones to look after.
Ottimo questo balletto che contempla quello che con un mio neologismo mi piace chiamare convolo aereo ed elanista della ballerina ottimamente indotto e tenuto dal partner con bilico di difficoltà massima ed eseguito con una non chalance esecutiva d'acchito sorprendente.Ottimo il senso del continuum dato alla pièce danzante dai protagonisti. Superlativi.Bighin Giulio Renzo 😊😊😊😊😊😊😊😊😊😊
