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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