INTERVIEW – On Saturday, 29 March 2025, following her second performance as Kitri in Nikolaj Hübbe’s production of Don Quixote, Amy Watson promoted Silvia Selvini to principal dancer.

As the company’s new ballet director, Watson had already cast Selvini in three major roles within three months, including one of Selvini’s dream roles – the Ballerina in Harald Lander’s Études – and the historical benchmark ballerina role, Aurora, in Christopher Wheeldon’s version of The Sleeping Beauty.

Selvini began her journey to Copenhagen with training at the Teatro alla Scala Ballet School in Milan. After a brief stint with the Ballet du Capitole in Toulouse, she joined the Royal Danish Ballet in 2015, drawn by its unique Bournonville heritage and her fascination with Études.

Trained in the Cecchetti method, Selvini says in this interview that she finds intuitive resonance in the stylistic demands of Bournonville’s choreography—its buoyancy, musicality, and narrative clarity.

In the decade she has spent with the Royal Danish Ballet, she was promoted to soloist in 2018. Her repertoire includes pas de deux from Kermesse in Bruges, the pas de six and the role of Teresina in Napoli, the pas de sept in A Folk Tale, as well as Dewdrop and the Sugar Plum Fairy in George Balanchine’s The Nutcracker, among others.

In 2024, she created the role of the White Guardian in Eliabe D’Abadia’s The Pearl, set to music by J.P.E. Hartmann from August Bournonville’s lost ballet The Valkyrie.

In the following interview, Silvia Selvini speaks about the roles that shaped her, the process behind her performances, and the dreams that continue to drive her.

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Q: Silvia, could you tell us a little about where you’re from and your path to the Royal Danish Ballet?

I was born on January 11, 1994, in Sondalo, a small town in northern Italy, and trained as a dancer at the ballet school at Teatro alla Scala in Milan.

As a professional dancer I spent my first season with the Ballet du Capitole in Toulouse, but I didn’t quite feel at home in France and wanted to try something new. So I auditioned for the Royal Danish Ballet. It was actually quite late in the season, and I didn’t expect any contracts to be available, but I was very lucky—they had a spot for me. I already knew the Royal Danish Ballet for its Bournonville repertoire and Harald Lander’s Études.

I had always dreamed of performing this repertoire, from Napoli to La Sylphide and Études.

I was trained in the Cecchetti method, and since Cecchetti was inspired by Bournonville, it felt like a natural next step. As soon as I arrived in Copenhagen, I fell in love with the city and the culture—it felt just perfect.

Q: How would you describe yourself as a dancer?

I’m very self-critical, which drives me to constantly seek perfection in my performance. I’m a true ballet nerd—deeply curious about execution—and I spend a lot of time refining the details of my technique. I always want more from myself. That mindset can be beneficial, but sometimes it works against me.

I watch many different dancers, studying how they execute steps to find inspiration. Now in my 30s, I also crave artistic freedom and depth when portraying a character. I devote time to researching who I’m portraying and refining movements by stepping into the character’s “shoes.”

Q: What’s your process like when you’re preparing for a new role?

I’m a planner at heart. When preparing for a new role, I like to set clear goals throughout the process. I usually begin by focusing on the execution of the steps and choreography, spending many hours in the studio and in class working on my technique. Then I move on to the style of the choreography—adjusting the port de bras, épaulement, and head positions according to the specific style of the piece. Once the technical foundation is set, I focus on the artistic side: finding the character, researching their story, analyzing them deeply, and connecting them to my own life experiences.

This process helps me feel fully prepared—physically and psychologically—to perform at my best. I must also mention the invaluable support of our instructors, the artistic director, and the physio team at the ballet. They play a huge role in helping me and the other dancers perform at our best, and I’m truly grateful for their help.

Q: What kind of roles are you most drawn to?

I’m drawn to technically demanding roles—I love the challenge, and the feeling of exhaustion and accomplishment they bring. But lately, in the second half of my career, I’ve been especially attracted to dramatic, lyrical roles with slow, controlled movements—roles that strike a perfect balance between technique and artistry.

Q: Do any particular performances stand out for you?

One of my favorite roles has been Teresina in Napoli. It’s such an iconic Bournonville role, with many challenges—both technical and artistic. But above all, it’s been fun to let my Italian heritage shine through on stage and simply enjoy being myself.

This past year has been incredibly rewarding, full of highlights—from Don Quixote to Sleeping Beauty. But my all-time favorite is Études, a role I had dreamed of performing since my very first day in Denmark. It’s extremely demanding and represents the epitome of pure technique. The role’s duality—from the romanticism of the sylph section to the sharp, difficult variations and high jumps at the end—is intense. To take on that challenge is exciting, inspiring, and honestly, a bit terrifying. There’s an immense feeling of accomplishment when you finish the performance, even if there were mistakes along the way.

Q: Have there been any breakthrough moments in your career?

Some of these roles have definitely been breakthrough moments and have shaped me into the dancer I am today. But I try to treat every role as an opportunity for growth.

Two particular experiences stand out: In 2022, I was not cast as Kitri in Don Quixote but was learning the role as an understudy. Due to illness, I had to step in—with only two days to prepare. I was shocked, excited, but mostly scared and sleepless. There wasn’t much time, but thanks to everyone’s help and support, I made it. Since that moment, I no longer suffer from performance anxiety—it was such a crazy experience, but it helped me overcome stage fright.

Another pivotal moment was working with Sorella Englund on Gregory Dean’s Cinderella. Her wise and thoughtful approach to artistry helped me grow immensely. She taught me how to draw on real-life experiences and emotions to become a character, to reach into my own feelings and bring truth to the stage. She’s a remarkable figure in the ballet world, and I feel so fortunate and grateful to have worked with her.

Q: Have any works been created specifically for you?

As far as I remember, The Pearl by Eliabe D’Abadia is the only major role created specifically for me, but I’ve also taken part in several group creations: Liam Scarlett’s Spar Dame, Lorenzo di Loreto’s Don’t Be Scared, Natalia Horecna’s The Death That Best Preserves, and Gregory Dean’s Cinderella and Blixen.

Q: What have you learned from working in the Royal Danish Ballet?

Being part of the Royal Danish Ballet has deepened my appreciation for storytelling and artistry in a way no other place has. The Bournonville tradition places strong emphasis on these elements, and it’s been wonderful to learn from this repertoire. Another essential lesson I’ve learned from Bournonville’s work is the sheer joy of dancing and being on stage—his ballets are a true joy to perform.

Q: What are your dream roles?

My biggest dream role is Giselle. It’s been my favorite ballet since my school days, especially after watching the great Carla Fracci perform it. I love its dramatic arc and the evolution of the character—from a young, naive girl in love, to heartbreak and madness, and ultimately forgiveness and redemption. The emotional range is immense, and I hope to take on that challenge one day.

A few other dream roles include Romeo and Juliet, La Sylphide, Manon, and Swan Lake.

Q: Do you see yourself staying in the ballet world after you retire from the stage?

I’d love to stay in the industry after I retire. I have a strong passion for costume design, and I work on it whenever I have free time. I had the opportunity to design the costumes for The Pearl by Eliabe D’Abadia, and I absolutely loved bringing my ideas to life—developing characters in a completely different way.