City Ballet The Podcast

The Rosin Box heats up this week with a lively conversation shared by hosts Claire Kretzschmar and Soloist Aarón Sanz and their guests, Principal Dancers Gilbert Bolden III and Sara Mearns. They talk about acting and emotions onstage, including their favorite roles, techniques and practices, and hilarious memories. Whether conveying the characters in a narrative ballet or achieving the appropriate expressiveness in an abstract work, the dancers describe the need for extensive preparation—and life experience—to achieve an instinctual, organic performance. As Sara relates, the "half a second" when she crosses the barrier from backstage and into the lights is the moment when the character or emotion manifests. (54:08) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Listen in on another intimate conversation around The Rosin Box with host Claire Kretzschmar, joined this week by Principal Dancer Taylor Stanley. The topic is all things props, which provide essential context and character development for many of the company's story ballets and "teach you how to remain calm in the moment," as Taylor shares. From training with a professional swordsman in preparation for Romeo and Juliet, to maneuvering the candle in La Sonnambula's haunted pas de deux, Taylor describes many of the playful, challenging, and transformative props used by dancers every season. (50:37) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Hosts Claire Kretzschmar and Soloist Aarón Sanz are back for another cozy conversation around The Rosin Box. This week, they're joined by Soloist Alexa Maxwell and Principal Dancer Gilbert Bolden III, who have plenty to share about inspiration and motivation, whether for their daily practice, during repetitive performance periods, amidst injuries and other challenges, and beyond. Alexa shares that it's all about the music—she's a "classical music girly"—and that she likes to bunhead out as she's learning a new role; for Gilbert, new audience members, quiet instances of beauty in his everyday life, and cherished passages in well-known ballets can help sustain his art. As all four dancers agree, "If you're open to it, you can be inspired all the time." (54:13) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Associate Artistic Director and host Wendy Whelan is back for another enlightening New Combinations conversation. This week, she's joined by choreographer Jamar Roberts, whose newest work for the company will premiere during the Fall Fashion Gala on October 8, timing he describes as "full-circle," considering his own forays into fashion design. His collaboration with designer Iris van Herpen has been uniquely fruitful, as well as his selection of music by Arca, with both informing this ballet that speaks to the times—"but dance," he adds, referring to the joy and beauty the work also inspires. (33:43)  Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

In the second part of this deep dive Hear the Dance discussion of Jerome Robbins' The Goldberg Variations, host Silas Farley is joined by former NYCB Dancers and current Repertory Directors Christine Redpath and Jean-Pierre Frohlich. Redpath, an original cast member of Goldberg, digs into Robbins' approach to the creation of this remarkably multi-faceted ballet, while Frohlich remembers the adjustments the choreographer made through the ensuing performances. Both talk about coaching Goldberg on today's company members and the ways in which the work has influenced the dancemakers of today. (42:29) Written by Silas Farley Edited by Emilie Silvestri MUSIC: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach All music performed by New York City Ballet Solo Pianist Susan Walters Quotations from the writings of Lincoln Kirstein are © 2019 by the New York Public Library (Astor, Lenox and Tilden Foundations) Reading List: Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Bach: Music in the Castle of Heaven by John Eliot Gardiner Bach's Musical Universe: The Composer and His Work by Christoph Wolff Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein

In a special two-part Hear the Dance Episode, host Silas Farley leads us on a wide-ranging discussion of Jerome Robbins' 1971 ballet The Goldberg Variations. In this first part, Farley is joined by former NYCB Dancer Bruce Wells, an original cast member, and current Principal Dancer Emilie Gerrity, one of the ballet's present-day interpreters. Wells shares the challenges Robbins faced after an injury forced him to choreograph from a wheelchair, as well as highlights from the year-long creative process. Gerrity describes the "class" section of this monumental ballet as "simple but beautiful," and recalls learning the work from original dancer Christine Redpath, among other memorable coaches. (1:12:53) Written by Silas Farley Edited by Emilie Silvestri MUSIC:  Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach All music performed by New York City Ballet Solo Pianist Susan Walters Quotations from the writings of Lincoln Kirstein are © 2019 by the New York Public Library (Astor, Lenox and Tilden Foundations) Reading List: Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Bach: Music in the Castle of Heaven by John Eliot Gardiner Bach's Musical Universe: The Composer and His Work by Christoph Wolff Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein

Hear the Dance host Silas Farley returns for a deep-dive discussion with former Principal Dancer Merrill Ashley and Repertory Director Glenn Keenan on George Balanchine's Ballade, a ballet returning to the NYCB stage after a hiatus of more than 20 years. Keenan shares that when she was a student at the School of American Ballet, Ashley's "humongous care and attention" as a teacher helped shape her approach to her current role, and that watching Ashley in the studio today has been both helpful and inspiring. Ashley recalls the surprise of learning that Balanchine had chosen to make this first work post-heart surgery on her; as he told her then, Ballade is "like skating," though she describes it as one of the most challenging ballets she ever performed. (1:02:43) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Ballade for piano and orchestra, Op. 19 (1881) by Gabriel Fauré Music performed by New York City Ballet Orchestra with NYCB Solo Pianist Elaine Chelton, conducted by Hugo Fiorato Reading List:  Dancing For Balanchine by Merrill Ashley Mr B: George Balanchine's 20th Century by Jennifer Homans Gabriel Fauré: A Musical Life by Jean-Michel Nectoux, Translated by Roger Nichols Dancing Across the Atlantic: USA – Denmark, 1900-2014 by Erik Aschengreen and Grete Hvam

A brand-new season of City Ballet The Podcast launches today with a fresh New Combinations conversation between Associate Artistic Director Wendy Whelan and Resident Choreographer Justin Peck. Commissioned by Miami City Ballet a decade ago, Peck is in the midst of rehearsing his Heatscape for its NYCB stage debut, with the help of original dancers and coaches Michael Sean Breeden, Patricia Delgado, and Jeannette Delgado. He shares what drew him to Bohuslav Martinů's Piano Concerto No. 1, a piece that both references earlier works and prefigures musical changes to come—an interesting parallel to Peck's Miami-inspired choreography and collaboration with artist Shepard Fairey on the ballet's scintillating backdrop. (37:09) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

As we shift gears to prepare for the upcoming season, Artistic Director Jonathan Stafford and Associate Artistic Director Wendy Whelan take a moment to reflect on our just-concluded 76th year, from two strikingly unique and unforgettable world premieres—from Resident Choreographer Justin Peck and Artist in Residence Alexei Ratmansky—to the return of cherished repertory works, the invaluable presence of coaches Suzanne Farrell and Merrill Ashley in the rehearsal studios, and much, much more. They celebrate the freedom and boldness the company displayed in notable debuts, well-earned promotions, and bittersweet retirements, and look forward to the new works and multi-faceted performances on the horizon. (39:52) Edited by Emilie Silvestri Music: Capriccio for Piano and Orchestra (1929) by by Igor Stravinsky Symphony No. 3 in D major, Op. 29 (1875) by Peter Ilyitch Tschaikovsky

Join us around the Rosin Box for our annual listener-contributed "Ask the Dancers" episode. Our intrepid hosts Claire and Aarón and special guest Corps de Ballet Member Lars Nelson answer your questions about rehearsal wear, dancing with Artist in Residence Alexei Ratmansky, remembering steps, and more—including, "Explain dogs at New York City Ballet." (39:06) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Hosts Claire and Aarón are back at the Rosin Box, joined this week by Principal Dancers Tiler Peck and Roman Mejia to talk about the relationship between choreographer and dancer in the creation of new works—especially in the case of Tiler's Concerto for Two Pianos from 2024, which featured Roman. As they share, the process is like a conversation between artists on both sides of the studio and relies heavily on trust. Tiler highlights the necessary balance between celebrating individual dancers' strengths with making a timeless work, while Roman describes feeling deeply invested in the success of her ballet's premiere. (34:11)  Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

The Rosin Box is back with hosts Claire Kretzschmar and Soloist Aarón Sanz delivering insiders' insights into the lives and times of today's NYCB dancers. This week they're joined by Principal Dancer Megan Fairchild, who will be retiring next spring, and Corps de Ballet Member Dominika Afanasenkov, who joined the company just over two years ago. They share what it's like to take center stage, from the nerves and coaching that accompanied their earliest lead roles to taking on a "diva" persona—and the one word that marked a turning point for Megan. (37:47) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Associate Artistic Director Wendy Whelan is back for another exciting New Combinations conversation. This week, she's joined by choreographer Kyle Abraham, whose When We Fell makes its onstage debut this spring after premiering as a dance film in 2021. Abraham shares how this fourth work for NYCB represents both the culmination of relationships he's built with company artists over the years, as well as a departure, in that the score is four minimal, "poetic" piano pieces that encourage a "focused eye." As he shares, part of what makes working with NYCB so special is the opportunity to take risks. (33:37) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

Music Director Andrew Litton invites us to See the Music in this enlightening introduction to the score for George Balanchine's 1972 ballet, Divertimento from 'Le Baiser de la Fée.' With superlative accompaniment from Solo Pianist Elaine Chelton, Litton demonstrates the many ways in which Igor Stravinsky's "homage to Tschaikovsky" took inspiration from 16 different piano pieces by the legendary composer to weave an undeniably Stravinskian—and danceable, in Balanchine's word—orchestral suite. (11:42):  Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky Le Baiser de la Fée (1928) by Igor Stravinsky Le Baiser de la Fée performed by Elaine Chelton

Silas Farley returns with another Hear the Dance conversation, focusing this week on the George Balanchine pas de deux Sonatine, choreographed in 1975 as the opening ballet for the company's Ravel Festival. Repertory Director Christine Redpath shares memories of performing in that festival and of watching Sonatine's original dancers Violette Verdy and the late Jean-Pierre Bonnefoux, commemorated in this episode by former Principal Dancer Peter Boal, while Principal Dancer Megan Fairchild describes the ways in which this ballet taught her that a single piece can have "many textures." (56:31) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Sonatine for Piano (1905) by Maurice Ravel All music performed by the New York City Ballet Orchestra, All Sonatine excerpts played by NYCB Solo Pianist Elaine Chelton Reading List:  Thirty Years: The New York City Ballet by Lincoln Kirstein Repertory in Review: Forty Years of The New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein Balanchine Then and Now Edited by Anne Hogan Mr. B: George Balanchine's 20th Century by Jennifer Homans Ravel by Roger Nichols Maurice Ravel: A Life by Benjamin Ivry The Cambridge Companion to Ravel by Deborah Mawer Ballerina: A Biography of Violette Verdy by Victoria Huckenpahler Violette Verdy by Dominique Delouche and Florence Poudrou

In this second part of our Hear the Dance journey into Jerome Robbins' A Suite of Dances, Cellist Hannah Holman joins host Silas Farley to provide a deep-dive introduction to the Bach Cello Suites that provide the ballet's exquisite score. As Holman explains, the music is a seminal work for every cellist, with complex challenges and varied delights throughout—all of which are complicated and enriched when performed onstage with the work's solo dancer. (42:48) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky 6 Suites for Solo Cello: Prelude & Gigue from Suite 1 in G major, BMV 1007 Sarabande from Suite V in C minor, BMV 1011 Prelude from VI in D major, BMV 1012 by Johann Sebastian Bach Symphony No.4 in E Minor, op.98 (I. Allegro non troppo, II.Andante moderato, III. Allegro giocoso, IV. Allegro energico e passionato) by Johann Sebastian Bach All music performed by the New York City Ballet Orchestra, Yo-Yo Ma and Herbert von Karajan Reading List:  Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, By Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Misha: The Mikhail Baryshnikov Story by Barbara Aria Illusions of Camelot: A Memoir by Peter Boal Bach: Music in the Castle of Heaven by John Eliot Gardiner

This week, Hear the Dance host Silas Farley leads us on a wide-ranging exploration of Jerome Robbins' 1994 ballet A Suite of Dances. First, he's joined by Repertory Director Jean-Pierre Frohlich, who coaches the work; Principal Dancer Daniel Ulbricht, who initially learned the tour-de-force role in 2019; and former Principal Dancer Peter Boal, who worked with Robbins on the development of the ballet. They walk through the creation and performance of the four movements, highlighting the ways in which A Suite of Dances teaches the performer about themselves—particularly as they grow with and age alongside the piece. (1:05:11) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky 6 Suites for Solo Cello: Prelude & Gigue from Suite 1 in G major, BMV 1007 Sarabande from Suite V in C minor, BMV 1011 Prelude from VI in D major, BMV 1012 by Johann Sebastian Bach All music performed by the New York City Ballet Orchestra Reading List:  Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, By Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Misha: The Mikhail Baryshnikov Story by Barbara Aria Illusions of Camelot: A Memoir by Peter Boal Bach: Music in the Castle of Heaven by John Eliot Gardiner

This week around the Rosin Box, hosts Claire Kretzschmar and Soloist Aarón Sanz are talking about students on stage, with the help of two dancers at either end of that journey: 12-year-old (soon to be 13!) Theo Rochios, a current student at the School of American Ballet, and Soloist Harrison Coll, who is a substitute teacher at SAB. They share some of the challenges, thrills, and lessons dancers take on while at the School, and trade stories about the ultimate students-on-stage ballet: George Balanchine's The Nutcracker®. (1:05:11) Edited by Gus Reed Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

The chat around the Rosin Box this week is all about dance in pop culture, with hosts Claire Kretzschmar and Soloist Aarón Sanz joined by Corps de Ballet Members Naomi Corti and Grace Scheffel. From Center Stage and web series like city.ballet and Strictly Ballet—featuring, among others, NYCB's own Mimi Staker and Alec Knight—to memoirs by legends like Margot Fonteyn, the dancers share the media that inspired their earliest interest in the art form, as well as all the pop moments they've enjoyed (and critiqued) since joining the company, like the "ballet core" fashion trend and the thing the movies most often get wrong (hint: it's all about the bun). (48:11)  Edited by Gus Reed Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

We're back at the Rosin Box for another candid conversation with hosts Claire Kretzschmar and Soloist Aarón Sanz. This week, they're joined by Corps de Ballet Member and budding choreographer Laine Habony to talk about NYCB's First Steps program. This singular initiative gives current company dancers the opportunity to create new works on their peers, providing a professional cast and environment for first-time or early-career dancemakers. As Laine shares, this eye-opening experience provided both an education in what it takes to move to the front of the room and the validation that accompanies seeing the steps she'd envisioned come to life. (43:04)  Edited by Gus Reed Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records