#TBT: Natalia Makarova and Valery Panov in "The Sleeping Beauty" (1964)

The Soviet Union redefined standards in classical ballet in the 1960s, producing opulent story ballets and dancers with refined, yet daring technique. Dancers like Natalia Makarova and Valery Panov, who were among the leading performers with the Kirov Ballet (now the Mariinsky) at that time, were at the pinnacle of the art form. In this 1964 film of the Kirov's The Sleeping Beauty, Makarova and Panov dance together as Princess Florine and the Bluebird. Despite the nostalgic trappings of the soundstage dance film, their strength and intention in this pas de deux make for a timeless performance.


With her gentle epaulement and frothy blue tutu, Makarova is a vision of the jewelry-box ballerina. Yet she has the power to whiz through her pirouettes and burst into full-split saut de chats. Panov, likewise, soars with force in his jumps, but his bluebird wings are romantic and luscious. The dancers fly in their assemblés, and they flutter like song-birds in brisk, partnered pirouettes. Makarova hops into the final lift as if she were born to fit perched on Panov's shoulder. Our only qualm: at only two minutes, this duet leaves us longing for more. 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