Star Power: The stellar impact of Sylvie Guillem CBE

When David Hallberg joined The Australian Ballet – a world-renowned and international artist in his own right – he conveyed his aspirations to take the dancers and audiences on a global voyage of artistic exploration and expansion. This ambition centred on taking the company farther afield and – crucially – bringing world-class coaches and teachers to our shores, to empower the dancers to realise even greater technical and artistic horizons. Emerging from the shadows of the global pandemic that once limited international travel so significantly, welcoming Sylvie Guillem to The Australian Ballet has been a symbolic moment; a visit signifying a new act for the company and a renewed momentum behind David’s artistic vision.

Initially engaged to coach the dancers performing Principal roles in Don Quixote and Swan Lake, the impact of Sylvie’s presence, insight and wisdom has rippled across every rank of the dancing company. Sylvie’s technical ability and artistic individuality which once defined her performances on stage, today created a unique, incomparable way of expressing her art form which she generously shared with the dancers of The Australian Ballet.

For Principal Artist Jill Ogai, working with Sylvie was a dream come true. “For me, it was all about Darcey Bussell and Sylvie Guillem when I was growing up. They were everything I wanted to be. So, to meet Sylvie in person and to have the opportunity to work with her in the studio was an incredible moment. And terrifying! I was so nervous at first. My nerves soon subsided though, as I knew I was ready to learn from her. From that point on, I didn’t allow myself to be too intimidated and focused on being present, asking questions and really engaging with her to absorb as much of her knowledge as I could.”

As Jill explains, Sylvie’s manner created a sanctuary for the dancers to get to know the characters they were playing, understand their place in the ballets and discover their own individual interpretations of the roles. “Sylvie made you feel very comfortable to be risky; to try new things and to play around with the craft. She wasn’t caught up on the technical side of things too much. Instead, she asked thought-provoking questions, such as, ‘What is the texture of this step?’, ‘What is the musicality here?’ or, ‘Why don’t you have style in that moment?’ Each comment opened the door for you to make you think on a different level, to listen to your own intuition, to clearly communicate your intent, and to dance with renewed confidence.”

Sylvie’s visits demonstrated her humility as an artist. Her encouraging force and generosity of spirit was felt widely and had echoes of Nureyev’s hands-on approach when he was filming the Don Quixote movie in 1973. Speaking of her broader influence, Jill expands, “I feel like she affected the whole company. Her presence and attitude to working, her love of ballet, and the conviction she had for nuance were so vibrant. Having a ballerina of Sylvie’s calibre – someone who’s been that successful and is that glorious – come and show us how important nuances are, changes the way you think about dance. It can’t but transform your performance.”

The results spoke for themselves. As first-hand accounts from audiences and media have shown, Sylvie’s individualised coaching technique has brought out the best of every dancer. And by encouraging the dancers to make intelligent choices that suited their personal performance style, she has gifted them skills that will last a lifetime. Generously supported by The Bowness Family Foundation Fund for Artistic Development, Sylvie’s presence has undoubtedly empowered David Hallberg and the dancers of The Australian Ballet to achieve elevated standards and greater heights in this landmark year.