#TBT: Darcey Bussell in "Sylvia" (2005)

The ballet Sylvia has undergone many reincarnations since its 1876 premier by the Paris Opéra Ballet. Some of the past two centuries' most notable choreographers—Sir Frederick Ashton, George Balanchine, Mark Morris and John Neumeier—have seemed inescapably drawn to creating their own versions of this ballet, as if it was an artistic scratch they simply had to itch. In this 2005 clip, Darcey Bussell dances the title role in Ashton's revived version for The Royal Ballet.


The English choreographer is a master at setting a scene: the stage appears painted with a palette of shadowy purple, moonlight sliver and inky teal. Sylvia's character is unusual in classical ballet repertoire, as she's neither a courtly princess nor an ethereal winged being. Sylvia is a huntress, and Ashton's choreography for her is appropriately grounded. Bussell's long, stem-like legs seem impossibly rooted on pointe while she sustains each balance, and she dances to the bell-like intonations of composer Léo Delibes's melody with impeccable control. Bussell's movement is confident but understated, technically thrilling but subtly performed, making Bussell and Ashton a perfect pairing. Happy #ThrowbackThursday!

Latest Posts


Left to right: Dance Theatre of Harlem's Daphne Lee, Amanda Smith, Lindsey Donnell and Alexandra Hutchinson in a scene from Dancing Through Harlem. Derek Brockington, Courtesy Dance Theatre of Harlem

Dancers Share Their Key Takeaways After a Year of Dancing on Film

Creating dances specifically for film has become one of the most effective ways that ballet companies have connected with audiences and kept dancers employed during the pandemic. Around the world, dance organizations are finding opportunities through digital seasons, whether conceiving cinematic, site-specific pieces or filming works within a traditional theater. And while there is a consistent sentiment that nothing will ever substitute the thrill of a live show, dancers are embracing this new way of performing.

Keep reading SHOW LESS

#TBT: Mikhail Baryshnikov in "Fancy Free" (1981)

In Jerome Robbins's 1944 ballet Fancy Free, three sailors on leave spend the day at a bar, attempting to woo two young women by out-dancing and out-charming one another. In this clip from 1981, Mikhail Baryshnikov, who was then both the artistic director of American Ballet Theatre and a leading performer with the company, pulls out all the stops to win the ladies' affections.

Keep reading SHOW LESS
Bethany Kirby, Courtesy Tulsa Ballet

An Infectious-Disease Physician on What Vaccines Mean for Ballet

As the coronavirus pandemic grinds into its second year, the toll on ballet companies—and dancers—has been steep. How long before dancers can rehearse and perform as they once did?

Like most things, the return to normal for ballet seems to hinge on vaccinations. Just over 22 percent of people in the U.S. are now vaccinated, a way from the estimated 70 to 85 percent experts believe can bring back something similar to pre-pandemic life.

But what would it mean for 100 percent of a ballet company to be vaccinated? Tulsa Ballet artistic director Marcello Angelini is about to find out—and hopes it brings the return of big ballets on the big stage.

"I don't think companies like ours can survive doing work for eight dancers in masks," Angelini says. "If we want to work, dance, and be in front of an audience consistently and with the large works that pay the bills, immunization is the only road that leads there."

Keep reading SHOW LESS

Editors' Picks