Other roles, choreographed by Pino Mlakar, Milko Šparemblek, Ugo Dell’ara, Vera Kostić and Anica Prelić, include a string of first-class performances[1] like Swanhilde (Coppélia by Léo Delibes), Ela (The Devil in the village by Fran Lhotka), La reine des iles by Maurice Thiriet and Les Sylphides by Chopin.

Mandarin was choreographed by Parlić in 1957, while Giselle was revived in Belgrade by Lavrovsky and marked a turning point in Sifnios' career.

Vienna, Wiesbaden, Florence, Rome, Zürich, Berlin and Paris, with Giselle becoming a great success in Bolshoy Theatre in Moscow.

[5] After her, the role was later performed by Maya Plisetskaya, Sylvie Guillem, Grazia Galante, Angèle Albrecht and, in the male version, by Jorge Donn.

As a principal dancer of the company, she toured Europe (France, Germany, Poland, Italy, Spain, Great Britain, Belgium), Africa (Tunisia), Asia (Israel, Lebanon) and Latin America (Mexico, Argentina, Cuba), performing the roles in Les quatre fils Aymon by Fernand Schirren (1961), Matiére by Alban Berg (1962), The Wedding (1962) and The Firebird (1964) by Stravinsky, Symphony No.

9 by Beethoven (1964), L’art de la barre by Johann Sebastian Bach (1965), Cantates by Anton Webern (1966) and Abraxas by Werner Egk.

[12] Already at the beginning of her career she presented exceptional talent,[5] expressing a superb command over classical ballet technique, sweetness and ease with which she performed even the most complicated choreographies.