Sometimes superlatives prop up in so many contexts where they do not truly belong. But one artist that has thrilled and touched me like no other is Sylvie Guillem. When people talk about unimaginable magic they are not being stupidly twee, she has always found a way to give me goosebumps on stage whether she was dancing A Month in the Country, Manon or Eonnagata. An artist of such quality and consummate intelligence is very rare. Of course there are a lot of amazing dancers out there but Guillem has a beguiling quality that I find particularly enchanting. In essence this is my blogged love letter to one of the most singular personalities of the world of ballet and dance.
I will never forget seeing her perform from Forsythe’s In the Middle Somewhat Elevated at the Nureyev gala in Covent Garden, her pas des deux with Laurent Hilaire. It was beyond definitions of greatness, a suitable tribute to her mentor and the breathtaking central axis of the evening. From that night on I was in love.
Her upcoming world premieres at Sadler’s Wells which I have anticipated for the last six months will be an early highlight of my July. The stakes are high and she’s collaborating with Mats Ek and William Forsythe, great things are to be expected. I’ll surely write a breathless blog about the experience…while I’ll be booking for the encore performances in September!
For any newbies to Sylvie have a look at the following:
Interview to Judith Mackrell on the occasion of the Nureyev gala at the Royal Opera House in 2003. Which was my initiation to her art.
Interview to Another Magazine on the occasion of 6000 miles away at Sadler’s Wells
George's musings... 
I could not agree more with regards to the incomparable Sylvie Guillem. True, there are a lot of amazing dancers around (I have seen among others Diana Vishneva, Aurélie Dupond, Isabelle Guérin, Marie Claude Pietragalla, Tamara Rojo, Alina Cojocaru etc) but none has had such an effect on me as Sylvie. The first time I saw her was back in 1995 in Paris at the Théâtre des Champs Elysées performing Bejart creations like Boléro or La Luna and it was a magical shock and I was entirely under her spell ever since. I have had the good fortune to see her several times since in “Manon”, “Romeo and Juliet”, “Giselle”, “Sleeping Beauty”, “Marguerite et Armand”, “Broken Fall”, “Carmen, “Eonnagata” etc. Just recently, in January I saw her again as Manon at La Scala in Milan. Beauty and grance incarnated. Probably the most extraordinary theatrical experience of my life. And i will be in London to see Sylvie at her première at the Sadler’s.
Let’s hope it will be as fabulous as we would want it to be 😉
Oh I think it will be fabulous. I trust Sylvie’s artistic flair and her courage to explore new horizons as well.
Even “Eonnagata” got somenegative reviews and I personally found it amazing and most original.
Yes Eonnagata was a pretty flawed conception but it was captivating viewing. And Alexander McQueen’s costumes were tremendous. Saw it once more on it’s return to Sadler’s Wells and surely all three gave their all despite of any negativity by the critics.
Fingers crossed!