Hear the Dance host and Principal Dancer Jared Angle dives into the unique challenges and special rewards of dancing George Balanchine’s Allegro Brillante with Principal Dancer Tiler Peck. Tiler shares memories of learning the work from the late legendary Repertory Director and former Soloist Susie Hendl and reveals why she feels as though this ballet, which she describes as one of the hardest to dance in the repertory, was made for her. (35:58) Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931)by Igor Stravinsky, Piano Concerto No. 3 in E-flat major, Op. 75 (1892) by Peter Ilyitch Tschaikovsky

A fresh season of City Ballet The Podcast kicks off with New Combinations host and Associate Artistic Director Wendy Whelan in conversation with Repertory Director Craig Hall, Company Pianist Craig Baldwin, and Principal Dancer Chun Wai Chan. Each is intimately involved in the development of Justin Peck’s Copland Dance Episodes, NYCB’s first non-narrative, evening-length work since Balanchine’s 1967 piece Jewels. As Baldwin, Chan, and Hall relate, the experience of taking part in this momentous creation is one rich with the beauty and distinctly American qualities of Copland’s music, and the sense of unfettered humanity and community in Peck’s choreographic process. (44:50) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co "Fanfare for the Common Man" (1942), "Rodeo" (1942), "Billy the Kid" (1938), "Appalachian Spring" (1944) by Aaron Copland Performed by Craig Baldwin

For the concluding conversation of this season of The Rosin Box, hosts Claire Kretzschmar and Aarón Sanz are joined by NYCB Principal Dancer Adrian Danchig-Waring, who also serves as the artistic director for the New York Choreographic Institute. The three share memories of their individual experiences with Institute sessions since its launch in 1999, reflecting on the importance of time and space to experiment both for the burgeoning choreographers involved (whose ranks include Justin Peck, Alexei Ratmansky, and Christopher Wheeldon, among many others) and for the dancers cast for each creatively-rewarding and educational two-week period. (57:26) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

This week’s conversation around The Rosin Box explores the way ballets are passed from generation to generation at New York City Ballet, and the artists who are responsible for carrying on that oral tradition: the Company’s repertory directors. Hosts Claire Kretzschmar and Aarón Sanz are joined by Kathleen Tracey, who danced with NYCB for 15 years before becoming a repertory director. Tracey talks about her process—from preparing for rehearsals, to whether she refers to notes, and the essential assessments she makes whenever entering the studio—and the joy she feels from learning something new about the repertory and the dancers every day. (49:35) Edited by Emilie Silvestri Music:  "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

This week, hosts Claire Kretzschmar and Aarón Sanz are joined by Shoe Room Supervisor Daniel Wong around The Rosin Box to talk all things footwear at NYCB. Daniel shares how his time as a dancer with Pacific Northwest Ballet and as a merchandiser informs his current position, a role that’s all about balancing the art and science of fitting, ordering, and managing over 400 pointe shoes a month—in addition to all the other shoes the Company members use, all of which are housed in the theater's “pointe shoe candy shop.” (37:41) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

This week we return to The Rosin Box, with co-hosts Aarón Sanz and Claire Kretzschmar in cozy conversation about retirement—a topic fresh on Claire’s mind, following her own farewell to performing with the Company this past fall. We join them behind the scenes of her final dress rehearsal and in the wings before she performed the Episodes pas de deux on an emotional yet triumphant night. As Claire shares, she closes the chapter of dancing on the NYCB stage with plenty of wonderful memories to cherish, and much to look forward to—including continuing her role on City Ballet The Podcast. (48:17) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records Der Rosenkavalier (arranged 1944) by Richard Strauss Music Tales from the Vienna Woods, Op. 325 (1868) by Johann Strauss II Five Pieces, op. 10 (1911-13) by Anton von Webern Ricercata in 6 Voices from Bach's Musical Offering (1935) Arranged by Anton von Webern

On the newest Hear the Dance episode, host Jared Angle leads us through the five fasntasy-filled movements of Balanchine’s crowd- and dancer-pleasing Vienna Waltzes. He and Repertory Director Rebecca Krohn share recollections of learning the principal roles in the first Tales from the Vienna Woods and fourth Merry Widow movements from former principal dancer Karin von Aroldingen, describing the strikingly different moods of these two sections and the challenges of their romantic ballgowns. Then, Jared is joined by Principal Dancer Sterling Hyltin, who describes rehearsing the second Voices of Spring and third Explosions Polka movements with former principal dancer Sara “Sally” Leland, and how she has begun to learn the principal role in the final movement following a dreamed premonition, and just in time for her retirement. (58:45) Written by Jared Angle Music:  Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Music Tales from the Vienna Woods, Op. 325 (1868), Voices of Spring, Op. 410 (1885) and Explosions Polka, Op. 43 (1848) by Johann Strauss II Gold and Silver Waltz (1905) by Franz Lehar First sequence of waltzes from Der Rosenkavalier (arranged 1944) by Richard Strauss All music performed by the New York City Ballet Orchestra

Hear the Dance host and Principal Dancer Jared Angle explores George Balanchine’s bombastic and infinitely complex Symphony in Three Movements on this week’s episode. Jared speaks with two generations of the ballet's dancers: former NYCB dancer and current School of American Ballet faculty member Susan Pilarre, who originated one of the “five couple” roles in the ballet’s 1972 Stravinsky Festival premiere and who has staged the work for several companies; and current Soloist Ashley Laracey, who debuted the lead role in the pas de deux, or what she calls a pas de quatre, just a week after learning she was pregnant with twins. (1:02:26) Written by Jared Angle Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Symphony in Three Movements (1945) by Igor Stravinsky All music performed by the New York City Ballet Orchestra

For this week’s New Combinations episode, Host and Associate Artistic Director Wendy Whelan caught up with choreographer Gianna Reisen between rehearsals to talk about her third Fall Fashion Gala commission for the Company. This year’s world premiere follows 2017’s Composer’s Holiday, created when she was still a student at the School of American Ballet and in collaboration with the iconoclastic late designer Virgil Abloh; and 2018’s Judah, set to a “challenging” score by John Adams. This fall, she is working with Spanish designer Alejandro Gómez Palomo on Swarovski-studded costumes, and Solange Knowles who's composed a newly-commissioned score, on what she describes as a powerful “show-stopper.” (48:16) Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

City Ballet The Podcast returns for another season of deep dives and candid conversations, beginning with an episode of See the Music devoted to the score for Alexei Ratmansky’s 2008 ballet Concerto DSCH. Musical Director Andrew Litton takes us on a tour through the many in-jokes, historical references, and musical cryptograms in Dmitri Shostakovich’s “uncharacteristically cheerful” Piano Concerto No. 2. As he demonstrates in various excerpts, the piece is a powerful yet playful love letter between father and son. (21:46) Music: Symphony in Three Movements (1945) by Igor Stravinsky Concerto No. 2 in F Major, Op. 102 (1957) by Dmitri Shostakovich

In a special 21-22 Season wrap-up, Artistic Director Jonathan Stafford and Associate Artistic Director Wendy Whelan reflect candidly on the many challenges, surprises, and inspiring successes of the Company’s return to the stage. From making 126 new costumes for the older students in George Balanchine’s The Nutcracker®, to the countless debuts of a jam-packed Spring, Stafford and Whelan note the dancers’ remarkable resiliency—and what it promises for the Season to come, with repertory revivals, a roster rich with potential, and, among several world premieres, Resident Choreographer Justin Peck’s first full-length ballet for NYCB. (30:20) Edited by Emilie Silvestri Music: Serenade for Strings in C, Op. 48 (1880) by Peter Ilyitch Tschaikovsky

The fan-favorite Q&A episode of the Rosin Box is back. Hosts and Soloists Claire Kretzschmar and Aarón Sanz respond to listener questions covering costumes, composers, and more. Tune in to find out: Is Mendelssohn's A Midsummer Night's Dream score a bop? How do Claire and Aarón approach personal growth… and disappointment? And, most appropriately, what do you do if you don't have rosin? (43:57) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Hosts Claire Kretzschmar and Aarón Sanz are back for another cameo-filled conversation around The Rosin Box. On a typically drama-filled performance night of George Balanchine's A Midsummer Night's Dream, the wings are like a "zoo," filled with fairies, dogs, young dancers from the School of American Ballet, a donkey-headed danseur, plenty of sparkles, and costumes fit for the ballet's "cape-ography." (44:53) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records Overture and Incidental Music to A Midsummer Night's Dream, opp. 21 and 61 (1826, 1842); Overtures to Athalie, op. 74 (1845), The Fair Melusine op. 32 (1833), The First Walpurgis Night, op. 60; Symphony No. 9 for strings; Overture to Son and Stranger, op. 89 (1829) by Felix Mendelssohn

In this special episode of See the Music recorded live at our Lincoln Center theater, NYCB Music Director Andrew Litton dives into the history of the Felix Mendelssohn score for Balanchine's enchanted ballet A Midsummer Night's Dream. Litton shares excerpts from the music—written 173 years ago, when Mendelssohn was just 17 years old—that encapsulate the young composer's prodigious talent, even in the face of religious persecution in his native Germany where the score was banned for a time, despite its charming, enduringly romantic character. (12:43) Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky Overture and Incidental Music to A Midsummer Night's Dream, opp. 21 and 61 (1826, 1842) Overtures to Athalie, op. 74 (1845), The Fair Melusine op. 32 (1833), The First Walpurgis Night, op. 60; Symphony No. 9 for strings; Overture to Son and Stranger, op. 89 (1829) by Felix Mendelssohn All music performed by New York City Ballet Orchestra

Hear the Dance returns with guest host Jared Angle in conversation with former NYCB Principal Dancer Kyra Nichols. Nichols shares how having a dancer mother (former Company Member Sally Streets) has influenced her career; what it was like enrolling at the School of American Ballet at age 11; and the ways in which what she learned as a performer shapes her current work as a Professor at Indiana University. Her words of wisdom for this spring's dancers in the lead Spring role she originated in Jerome Robbins' The Four Seasons? "Have fun." (45:22) Written by Jared Angle Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky I Vespri Siciliani (Les vêpres siciliennes) (1855) by Giuseppe Verdi I Lombardi alla Prima Crociata (1843) by Giuseppe Verdi Il Trovatore (1853) by Giuseppe Verdi Symphony No. 1 in C major (1855) by Georges Bizet Davidsbündlertänze, Op. 6 (1837) by Robert Schumann All music performed by the New York City Ballet Orchestra

Associate Music Director Andrews Sill voyages into the beguiling score of George Balanchine and Igor Stravinsky's Orpheus in the latest See the Music episode. As Stravinsky describes, in a 1949 radio interview, Orpheus is a "long, sustained, slow chant," that utilizes ancient modes and inspirations without directly imitating ancient music. With select excerpts and piano demonstrations, Sills describes Stravinsky's use of a "rare form of kleptomania" to create an undeniably modern yet timeless sound. (16:13) Edited by Emilie Silvestri Interview excerpt from "Stravinsky Visits WQXR with Orpheus" by WQXR Features (1949) Music: Orpheus (1947) by Igor Stravinsky Symphony in Three Movements (1945) by Igor Stravinsky All music performed by New York City Ballet Orchestra.

Host and Associate Artistic Director Wendy Whelan is back with another New Combinations episode of City Ballet The Podcast. This week she's joined by choreographer, former NYCB dancer, and current Dean of the Colburn School's Trudl Zipper Dance Institute Silas Farley and composer David K. Israel, who are creating a new work for this spring's 50th anniversary Stravinsky Festival. Farley and Israel describe the gift exchange between George Balanchine and Igor Stravinsky that provides the inspiration for their work and movingly encapsulates the depth and generative power of the two titans' artistic partnership—a model for their own collaboration today, aesthetically and spiritually. (38:22) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

In Part 2 of this week’s Hear the Dance conversation between host Silas Farley and Helgi Tomasson, the two discuss Tomasson’s career following his entrance into the Company as a Principal Dancer in 1970. As he shares, originating a role in 1971 in Jerome Robbins’ The Goldberg Variations marked a turning point in Tomasson's life; the following year, the original Stravinsky Festival led to two more seminal roles created on the dancer: Balanchine’s Symphony in Three and Divertimento from Le Baiser de la Fée. Tomassion describes how his years dancing with NYCB informed both his work as a choreographer and his tenure as the Artistic Director of San Francisco Ballet, on the eve of his retirement from that position. (38:16) Written by Silas Farley Edited by Emilie Silvestri MUSIC: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Symphony in Three Movements (1945) by Igor Stravinsky Le Baiser de la Fée (1928) by Igor Stravinsky Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach Symphony No. 1 in C major (1855) by Georges Bizet All music performed by the New York City Ballet Orchestra READING LIST: The Joffrey Ballet: Robert Joffrey and the Making of an An American Dance Company by Sasha Anawalt The Stravinsky Festival of The New York City Ballet Written and Edited by Nancy Goldner Thirty Years: Lincoln Kirstein’s The New York City Ballet by Lincoln Kirstein Somewhere: The Life of Jerome Robbins by Amanda Vaill San Francisco Ballet at Seventy-Five by Janice Ross; Preface by Brigitte LeFévre; Foreword by Allan Ulrich How Helgi Tomasson Reshaped S.F. Ballet to World-Class Renown by Rachel Howard

On this week’s Hear the Dance episode of City Ballet the Podcast, join host Silas Farley for an in-depth conversation with former NYCB Principal Dancer Helgi Tomasson. In Part 1, Tomasson shares his journey from childhood in his native Iceland to joining the Company at age 26. In between, Tomasson auditioned for Jerome Robbins’ Ballet USA, gaining a significant fan in the choreographer; discovered the States while on tour with the Joffrey Ballet; danced for six years with the Harkness Ballet; and won the silver medal following an adventure-filled performance at the First International Ballet Competition in Moscow in 1969. Tune in to Part 2 for more of Tomasson’s fascinating story. (45:15) Written by Silas Farley Edited by Emilie Silvestri MUSIC: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Symphony in Three Movements (1945) by Igor Stravinsky Le Baiser de la Fée (1928) by Igor Stravinsky Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach Symphony No. 1 in C major (1855) by Georges Bizet All music performed by the New York City Ballet Orchestra READING LIST: The Joffrey Ballet: Robert Joffrey and the Making of an An American Dance Company by Sasha Anawalt The Stravinsky Festival of The New York City Ballet Written and Edited by Nancy Goldner Thirty Years: Lincoln Kirstein’s The New York City Ballet by Lincoln Kirstein Somewhere: The Life of Jerome Robbins by Amanda Vaill San Francisco Ballet at Seventy-Five by Janice Ross; Preface by Brigitte LeFévre; Foreword by Allan Ulrich How Helgi Tomasson Reshaped S.F. Ballet to World-Class Renown by Rachel Howard

New Combinations is back with a conversation between host and Associate Artistic Director Wendy Whelan and choreographer Pam Tanowitz. Wendy catches up with Pam between rehearsals for two works making their debuts on the NYCB stage this spring: a world premiere, and the reprisal of her Gustave le Gray No. 1, to be performed by two guest dancers from Dance Theatre of Harlem as well as dancers from the Company. As Pam tells Wendy, her works are intended to activate and engage the viewer, an effect achieved in part through what she describes as an equal collaboration with the originating dancers, and in part through a constant commitment to challenging herself—as she says it, “I’m very comfortable making myself fail." (36:34) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

What goes on behind the big gold curtain at New York City Ballet? Hosts Claire Kretzschmar and Aarón Sanz take us on a backstage tour for the latest episode of The Rosin Box, catching up with dancers as they primp and prep over two nights of the winter performance period. The behind-the-scenes encounters include Principal Dancer Daniel Ulbricht sharing his journey through the character of the Prodigal Son, and the dancers of Jamar Roberts’ world premiere work Emanon – In Two Movements reacting in time to a round-the-block line of ticket buyers. (53:32) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini, Courtesy of Pink Martini & Heinz Records "Pegasus" and "Prometheus Unbound" by Wayne Shorter "Le Fils Prodigue Op. 46" (1928-29) by Sergei Prokofiev "On Your Toes" (1936) by Richard Rodgers, orchestrated by Hershy Kay "Jeux d'Enfants, Opp. 22-26, nos. 6, 3, 11, 12" (1871) by Georges Bizet "String Quartet No. 5" (1934) by Béla Bartόk Performed by New York City Ballet Orchestra

This week’s episode of The Rosin Box finds hosts Claire Kretzschmar and Aarón Sanz in candid conversation with NYCB Solo Pianist Alan Moverman, who shares how he went from childhood piano lessons in Syracuse, NY, to studying jazz piano with the legendary late NPR host Marian McParland, to joining the Company as a rehearsal pianist in 1995. They dig into the three aspects of Moverman’s role—providing music for daily class, accompanying rehearsals, and performing—and the “intimate gift” exchanged between musician and dancers in the studio. (58:19) Edited by Emilie Silvestri Music:  "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Join us for another cozy conversation around The Rosin Box with hosts Claire Kretzschmar and Aaron Sanz, joined by recently-promoted Soloist Ashley Hod. This week’s episode revolves around the challenges and excitement that come with creating a role in a new ballet, and how revisiting repertory roles over the years with greater experience and knowledge keeps each performance fresh. Hod and Kretzschmar relate some of the unique hurdles—particularly around footwear and the Nutcracker performance schedule—of originating featured roles in Justin Peck’s winter premiere, Partita, and being “guardians of the language.” (51:13) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Join hosts Claire Kretzschmar and Aarón Sanz for another banter-filled backstage chat around The Rosin Box, opening a fresh season of City Ballet The Podcast. In this episode, they walk us through their personal stage makeup routines and introduce Company Makeup Stylist Neil Scibelli. Neil shares how he came to join the team just in time for The Nutcracker and a little insider info on creating the looks for George Balanchine’s Prodigal Son. (49:37) Edited by Emilie Silvestri Music: Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Host Silas Farley is back with another Hear the Dance episode, devoted to the creation of George Balanchine’s tale of toy romance, The Steadfast Tin Soldier. Farley is joined by former Principal Dancers Patricia McBride and Peter Schaufuss, on whom the ballet was created. The Steadfast Tin Soldier was the first ballet Balanchine made on Schaufuss, who danced with the Company for just three short but very formative years; this marked the second ballet for which Mr. B cast McBride as a doll, following 1974’s Coppélia, and she highlights here the differences in performing the two roles. Reunited for the first time after more than 40 years, the pair's recollections of the ballet's 1975 premiere in Saratoga Springs are as fresh as if it were yesterday. (1:06:28) Originally released October 19, 2020 Reading List: My Theatre Life by August Bournonville and Patricia McAndrew Letters on Dance and Choreography by August Bournonville and Knud Arne Jurgensen My Dearly Beloved Wife!—Letters from France and Italy, 1841 by August Bournonville, Knud Arne Jurgensen, et al The Fairy Tale of My Life: An Autobiography by Hans Christian Andersen Fairy Tales (Penguin Classics Edition) by Hans Christian Andersen Hans Christian Andersen: The Life of a Storyteller by Jackie Wullschlager Dance in Saratoga Springs by Denise Warner Limoli Balanchine’s Ballerinas: Conversations with the Muses by Robert Tracy Dancing Across the Atlantic: USA-Denmark, 1900-2014 by Erik Aschengreen Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Jeux d'Enfants, Opp. 22-26, nos. 6, 3, 11, 12 (1871) by Georges Bizet Overture and Incidental Music to A Midsummer Night's Dream, opp. 61 (1842) by Felix Mendelssohn

In this episode of See the Music, NYCB Music Director Andrew Litton dives into the history and particular genius of Tchaikovsky’s treasured Swan Lake score. Joined by NYCB Concertmaster Kurt Nikkanen on the violin, Litton demonstrates the use of specific instruments and musical motifs to portray the characters of Odette and her dark opposite, Odile, and reveals what he considers to be the seven greatest measures Tchaikovsky ever composed. (17:17) Originally released February 3, 2020 Music Swan Lake (1875-76) by Peter Ilyitch Tschaikovsky

Our 2-part Hear the Dance exploration of Jerome Robbins’ Moves concludes with three conversations that trace the work’s living legacy. Host Jared Angle speaks with former Soloist Diana White, one of Robbins’ frequent performers who originated a role in Moves; Repertory Director Jean-Pierre Frohlich, who is responsible for coaching Robbins’ works, including Moves, to today's dancers; and Soloist Sebastian Villarini-Velez, who currently dances in Moves with the Company. (1:10:52) Edited by Emilie Silvestri Music Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky

In a special two-part Hear the Dance episode, Principal Dancer Jared Angle dives deep into the history, context, development, and performance of Jerome Robbins’ masterwork Moves. Part one features a wide-ranging interview with dance historian and Robbins biographer Amanda Vaill, who traces the artistic and personal developments in the choreographer’s life that informed the creation of Moves, and his oeuvre in general. (56:08) Edited by Emilie Silvestri Music Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky

In the lead up to the premiere of his first ballet commissioned for the NYCB stage, choreographer Jamar Roberts joins host Wendy Whelan for the latest New Combinations conversation. From dancing to Mariah Carey after school in Jacksonville, Florida, to moving to NYC and joining Ailey II at 18 years old, to retiring as Resident Choreographer of the Alvin Ailey American Dance Theater last December, Jamar traces the route that brought him to working with the Company. As he tells Wendy, this ballet is intended to spark joy—in a spirit informed by its Wayne Shorter score, the openness of the dancers, and the needs of the current moment. (38:48) Edited by Emilie Silvestri Music "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

Host Silas Farley opens the latest season of City Ballet The Podcast with a Hear the Dance episode devoted to George Balanchine’s Mozartiana. Choreographed for the 1981 Tschaikovsky Festival, the ballet was a moving representation of Balanchine's admiration not only for the composer, but also for the dancers of the corps de ballet and students of the School of American Ballet. Silas is joined by fellow NYCB alums Jerri Kumery, one of the original four “tall" dancers in the Minuet movement, and Amy Kobberger, one of the child dancers in the opening “Preghiera” or prayer section in the work’s premiere, to share their memories of Mozartiana’s creation. (1:24:26) Written by Silas Farley Edited by Emilie Silvestri Reading List: Balanchine’s Mozartiana: The Making of a Masterpiece by Robert Maiorano and Valerie Brooks Holding On to the Air: An Autobiography by Suzanne Farrell with Toni Bentley Balanchine’s Tchaikovsky: Interviews with George Balanchine by Solomon Volkov Music:  Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Suite No. 4, Mozartiana, Op. 61 (1887) by Peter Ilyitch Tschaikovsky Apollon Musagète (1928) by Igor Stravinsky All music performed by the New York City Ballet Orchestra

Hosts Claire Kretzschmar and Aarón Sanz are back with a very special holiday edition of The Rosin Box. In an intimate tour of the bustling backstage spaces before, during, and after a performance of George Balanchine’s The Nutcracker®, Claire and Aarón reveal what it takes to make this magical production come to life. From the necessary comforts of a dressing room “moon pod,” to the challenges of make-up and updo changes for dancers performing multiple roles, to the meditations and incantations that (quietly) echo in the wings, the joy of revisiting this holiday tradition and sharing it with audiences new and old is shared by all. (51:29) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records “The Nutcracker” (1892) by Peter Ilyitch Tschaikovsky

In the latest installment of The Rosin Box, hosts and Soloists Claire Kretzschmar and Aarón Sanz are joined by Judy Elliott-Pugh, NYCB’s Senior Director of Human Resources, Diversity, and Inclusion, for a conversation about her newly-created position. From day-to-day operations to ongoing and broadly-reaching projects and goals, they discuss the ways in which NYCB is an organization of people from a wide variety of backgrounds, in just as wide an array of roles, all working together to make the Company thrive. (48:02) Edited by: Emilie Silvestri Music:  "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

This week on the Rosin Box, hosts Claire Kretzschmar and Aarón Sanz explore the unique experiences of Company dancers originally trained in other countries. They’re joined by retiring Principal Dancer Gonzalo Garcia and still new-to-NYCB Soloist Chun Wai Chan for a wide-ranging conversation that covers everything from moving to the states, first introductions to Balanchine, adjusting to the Company culture, learning to drive, and the ways in which ballet is a universal language. (1:01:16) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Step behind the curtain and into the rehearsal studio with hosts and Soloists Claire Kretzschmar and Aaron Sanz on another episode of The Rosin Box. School of American Ballet faculty members Suki Schorer and Anthony Huxley join to talk about the School’s curriculum, the challenges of teaching and performing at the same time, and the joys of watching students join the Company and perform the roles they’d taught them. Suki and Anthony share their similar journeys to the Company—the first as a Principal Dancer and protege under Mr. B, and the other her student and a current Principal Dancer with the Company. (58:08) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

The Rosin Box is back for a fresh season of vital conversation and first-person perspective on the backstage lives and day-to-day work of NYCB’s dancers. Hosts Claire Kretzschmar and Aarón Sanz mark their triumphant return—and the Company’s return to the Theater—by sharing their experiences throughout the long months away, from Claire’s “garage Nutcracker” to Aarón’s meditation practice, and all the hurdles they had to overcome as they made their way back to the stage. (36:05) Edited by Emilie Silvestri Music: ""Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

In this new See the Music episode, host and NYCB Orchestra Music Director Andrew Litton leads us through the history and multi-faceted movements of the music for George Balanchine's La Valse. Choreographed in 1951, the score combines two of Maurice Ravel's compositions: Valses Nobles et Sentimentales and La Valse—a "genius" merging of two interrelated works by Balanchine. Litton is joined by Solo Pianist Alan Moverman, whose piano renditions of excerpts from the score capture its by turns beguiling, bittersweet, and bombastic approaches to the waltz. (26:40) Edited by Emilie Silvestri Music: Valses Nobles et Sentimentales (1911, orchestrated 1912) and La Valse (1920) by Maurice Ravel Symphony in Three Movements (1945) by Igor Stravinsky

Host Silas Farley is back with another Hear the Dance episode of City Ballet The Podcast exploring Balanchine’s Chaconne. Farley is joined by legendary former Principal Dancer Suzanne Farrell, who originated the lead role in the 1976 premiere, and current Principal Dancer Maria Kowroski, who inherited many of Farrell’s signature roles during her more than 25 years with the Company—ending this fall, when she retires from performing with NYCB. Farrell describes the fast-paced creation of Chaconne and working with Balanchine, and the two dancers share memories from their iconic careers and treasured moments in both Chaconne and the repertory. (1:13:54) Written by Silas Farley Edited by Emilie Silvestri Reading List: Balanchine: A Biography by Bernard Taper Balanchine and Kirstein's American Enterprise by James Steichen Balanchine Ballerinas: Conversations with the Muses by Robert Tracy Following Balanchine by Robert Garis Balanchine's Mozartiana: The Making of a Masterpiece by Robert Mairoano and Valerie Brooks Holding On to the Air: An Autobiography by Suzanne Farrell with Toni Bentley Gluck and the Birth of Modern Opera by Patricia Howard Christoph Willibald Gluck: A Guide to Research by Patricia Howard "Motherhood Reshaped Ballet Dancer Maria Kowroski's Career in a Touching Way," Elle Decor Article by Parker Bowie Larson and Vanessa Lawrence "Like a Prayer" The New York Times #SpeakinginDance Piece by Gia Kourlas Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Ballet music from the opera Orfeo ed Euridice (Vienna, 1762 and Paris, 1774) by Christoph Willibald von Gluck All music performed by the New York City Ballet Orchestra.

New Combinations is back with host Associate Artistic Director Wendy Whelan in a wide-ranging conversation with choreographer Andrea Miller, whose first onstage work for NYCB premieres this Thursday at the annual Fall Gala. They discuss Miller’s journey from modern dance training in Utah, to studying at Juilliard, to learning the “gaga” movement language of the Batsheva Dance Company, and how these all inform her current approach to choreography. Miller shares the decision-making that informed the creation of her work with the Company, which she describes as a story about “a seed that fell in love with a cloud”—inspired by composer Lido Pimienta’s conception of the score. (45:18) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

Host Silas Farley delves deep into the creation of Jerome Robbins’ Glass Pieces in part two of this new Hear the Dance episode. Former NYCB Principal Dancers and husband and wife duo Maria Calegari and Bart Cook share intimate details about the second movement pas de deux, the development of which marked the beginning of their relationship; Corps de Ballet Member Gretchen Smith remarks on the shared legacy of performing these roles and knowing that “Everything we’re taught now is learned through those that were in the room”; and former Principal Dancer Helene Alexopoulos reflects on the importance of Glass Pieces as a celebration of the Company through its focus on the corps de ballet—and an important statement from Robbins, as the work premiered just two weeks after George Balanchine’s death. (30:07) Written by Silas Farley Edited by Emilie Silvestri Reading List: Somewhere: The Life of Jerome Robbins by Amanda Vaill Words Without Music by Philip Glass Jerome Robbins: By Himself by Amanda Vaill Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Rubric and Façades from Glassworks, excerpts from the opera Akhnaten by Philip Glass All music performed by the New York City Ballet Orchestra.

Just like the Company itself, City Ballet The Podcast is back, with a brand new Hear the Dance episode on Jerome Robbins’ Glass Pieces. Returning host Silas Farley is joined by former Principal Dancers and original cast members Helene Alexopoulos, Maria Calegari, and Bart Cook, and current Corps de Ballet Member Gretchen Smith, for a conversation about this galvanizing masterwork. The originating dancers provide rare behind-the-scenes insights into Robbins’ process, from his use of “guinea pigs” to the multiple iterations that reflected the choreographer’s shifting mood and sense of the work in progress, and commiserate with Smith about the challenges the various corps roles in Glass Pieces present. (44:37) Written by Silas Farley Edited by Emilie Silvestri Reading List: Somewhere: The Life of Jerome Robbins by Amanda Vaill Words Without Music by Philip Glass Jerome Robbins: By Himself by Amanda Vaill Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Rubric and Façades from Glassworks, excerpts from the opera Akhnaten by Philip Glass All music performed by the New York City Ballet Orchestra.

For this season’s final episode, Artistic Director Jonathon Stafford and Associate Artistic Director Wendy Whelan sat down to reflect on the concluding Digital Season, and to look forward to our return to the stage this fall. From the technical challenges of curating footage to the emotional heights of revisiting these performances, this unprecedented time in the Company’s history has inspired the Artistic team’s ambitious approach to the coming season’s programming, with special repertory revivals, our most diverse cast of choreographers, and the 50th anniversary Stravinsky Festival in the spring to look forward to—and, bridging the two seasons, a final stream of Balanchine’s Vienna Waltzes, a work with special memories for both. (39:40) Music: Serenade for Strings in C, Op. 48 (1880) by Peter Ilyitch Tschaikovsky

With just days to go before the world premiere of his newest work for the Company, Resident Choreographer Justin Peck joins host and Associate Artistic Director Wendy Whelan for the latest episode of New Combinations. Beginning with his early years as a tap dancer and his invitation to enroll at the School of American Ballet by lasting mentor Peter Boal, Peck discusses his unique—and uniquely American—approach to choreography. Between reflecting on his work as the choreographer for the Stephen Spielberg-helmed West Side Story and collaborating with director Sofia Coppola on NYCB’s Spring Gala film, Peck shares what he values most about the Company and the cross-pollination inherent to the art of ballet. (40:37) Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

This season of City Ballet The Podcast continues with a fresh edition of New Combinations. Host and Associate Artistic Director Wendy Whelan is joined by choreographer Kyle Abraham in the lead up to the premiere of his latest work for NYCB, When We Fell, a dance film choreographed on eight NYCB dancers during a COVID-compliant residency. Abraham describes the benefits of this unique situation, from the increased focus and productivity afforded by quarantining with the dancers, to the invaluable support from Repertory Director Rebecca Krohn, to the ways limitations can ultimately be helpful. Reflecting on the challenges of the past year, Abraham shares how last June’s Ces noms que nous portons, created on Principal Dancer Taylor Stanley, was the impetus to his return to the studio. (29:23) Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

Host Silas Farley and guest Jean-Pierre Bonnefoux’s discussion of the 1972 Stravinsky Festival continues in this second part of a special Hear the Dance episode dedicated to Balanchine’s Stravinsky Violin Concerto. Bonnefoux recalls the excitement of performing in the premiere of this seminal neoclassical work in the same week as a revival of Balanchine’s Orpheus, and the sense of historical tradition and musical pulse at the heart of every Balanchine/Stravinsky ballet. They then talk about Bonnefoux’s extensive work as a coach and mentor, and the legacy of kindness and generosity he’s taken on from Pushkin, Balanchine, and all of his own teachers; as he says, “It’s more about what you need—what are you worried about?” (45:49) Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Theme with Four Variations [According to the Four Temperaments], for string orchestra and piano (1940) by Igor Stravinsky Sonatine (1906) by Maurice Ravel Final movement of Suite No. 3 for Orchestra in G major (1884) by Peter Ilyitch Tschaikovsky Written by Silas Farley Edited by Laura Snow

Hear the Dance host and former NYCB dancer Silas Farley is back for the newest two-part episode of City Ballet The Podcast. Farley is joined by former Principal Dancer Jean-Pierre Bonnefoux for a lively discussion of Balanchine’s neoclassical masterpiece, Stravinsky Violin Concerto. In this first half of their conversation, Bonnefoux describes joining the Paris Opera Ballet at the age of 14, achieving the rank of principal dancer at 21, and relinquishing his position there just a year short of earning his pension to move to the US and work with Balanchine. The episode includes a short excerpt from legendary Russian teacher Alexander Pushkin’s class as well as Bonnefoux’s retelling of his last-minute lifesaving intercession on behalf of fellow Pushkin student, Rudolf Nureyev. (47:13) Music Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Concerto in D minor for Two Violins, B.W.V. 1043 by Johan Sebastian Bach Orpheus (1947) by Igor Stravinsky Reading List: Dance is a Contact Sport by Joseph H. Mazo Striking a Balance: Dancers Talk About Dancing by Barbara Newman The Stravinsky Festival of The New York City Ballet by Nancy Goldner Igor Stravinsky: An Autobiography by Igor Stravinsky The Dance Element in Stravinsky's Music by George Balanchine Balanchine's Fourth Dimension by Lincoln Kirstein Alexander Pushkin: Master Teacher of Dance by Gennady Albert Vera Volkova: A Biography by Alexander Meinertz Classes in Classical Ballet: A Book for Teachers and Dancers by Asaf Messerer Rudolph Nureyev: The Life by Julie Kavanaugh Alonzo King Lines Ballet by Alonzo King and RJ Muna Balanchine & the Lost Muse: Revolution & the Making of a Choreographer by Elizabeth Kendall Written by Silas Farley Edited by Laura Snow

NYCB Music Director Andrew Litton hosts a new See the Music edition of City Ballet The Podcast, exploring the score to Balanchine’s ode to classical dance, Theme and Variations. Set to the final, eponymous movement of Tschaikovsky’s Orchestral Suite No. 3, the ballet, as Litton describes, corresponds to the many shifts in tone, pace, and featured instrumentation in the piece’s twelve variations. Highlighted by piano demonstrations and anecdotes from Tschaikovsky’s letters to his benefactress, Litton provides a tour through this musical—and dance—tour de force. (15:34) Music: Orchestral Suite No. 3 in G, Op. 55 (1884) by Pyotr Ilyich Tschaikovsky

The second part of our Hear the Dance exploration of Balanchine’s Prodigal Son continues, with host Silas Farley and former NYCB Principal Dancer Edward Villella looking back on Villella’s legendary career. They discuss Balanchine’s recreation of Apollo on the young dancer; the Company’s momentous tour of the Soviet Union; and the importance of School of American Ballet teacher Stanley Williams’ mentorship to Villella’s development as a dancer and as a leader in the field. Villella would go on to found Miami City Ballet with the idea, as he explains, to “provide people with the closest to the best of themselves that they could achieve,” with his NYCB history providing the motivation and education that inspired this vision. (35:15) This is a continuation of Part One of this episode. Music: Apollon Musagète (1928) by Igor Stravinsky Capriccio for Piano and Orchestra (1929) by Igor Stravinsky Agon (1953-56) by Igor Stravinsky

The latest season of City Ballet The Podcast begins with this special two-part Hear the Dance celebration of George Balanchine’s Prodigal Son. Host Silas Farley is joined by former NYCB Principal Dancer and founding Artistic Director of Miami City Ballet Edward Villella, on whom Balanchine revived the role of the Prodigal Son in 1960. Villella describes his early ballet training as a child in Queens, NY before entering the School of American Ballet, often the only male dancer in his class; after receiving his degree from the New York State Maritime College, Villella defied his father’s wishes and joined the Company, quickly rising to the rank of soloist. In retelling the story of the Son, Villella revisits how his own rebellious youth and desire to become a dancer were an inspiration. (52:10) Continue listening to Part Two of this episode. Reading list: Prodigal Son: Dancing for Balanchine in a World of Pain and Magic by Edward Villella with Larry Kaplan Balanchine's Ballerinas: Conversations with the Muses by Robert Tracy with Sharon DeLano Sergei Prokofiev: A Biography by Harlow Robinson Stravinsky: An Autobiography by Igor Stravinsky Ma Vie: From Kiev to Kiev; An Autobiography by Serge Lifar Music: Prélude à l'Après-midi d'un Faune (1892-1894) by Claude Debussy Le Fils Prodigue Op. 46 (1928-29) by Sergei Prokofiev