City Ballet The Podcast

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