Podcasts about balanchine

In this episode of What In East Dallas Is Going On?! we step into the elegant world of ballet with Nicolina Lawson, the Executive and Artistic Director of Ballet North Texas and founder of the North Texas Conservatory. Nicolina has dedicated her life to preserving the tradition of classical ballet while pushing its boundaries through innovation, education, and deep community involvement.She shares the rich history of ballet and how her own professional journey spanning performances across Europe, the United States, and stages both classical and contemporary inspired her to create something truly special here in Dallas. Since founding Ballet North Texas in 2017, she has not only built a thriving professional company but also created a pipeline of young talent through her conservatory. Her goal is to make ballet accessible, relevant, and meaningful to everyone in North Texas.Nicolina dives into her early training in styles like Vaganova and Balanchine, her time performing lead roles in some of ballet's most beloved works, and what it is like choreographing pieces that both honor the past and reimagine the future. She also opens up about her outreach work with underserved communities and how Ballet North Texas is building inclusive programs for all ages and abilities.This episode is more than just an interview. It is a celebration of art, education, perseverance, and the power of bringing beauty to a community.If you have ever wondered what goes into building a ballet company from the ground up or if you simply love hearing from people who are passionate about what they do, this one is for you.Contact Info for Ballet North Texas:Phone: (214) 871 5000Email: boxoffice@ticketdfw.comAddress:TicketDFW700 North Pearl Suite N1800Dallas Texas 75201Learn more at www.balletnorthtexas.orgHosted by Rich and CamilleOnly on What In East Dallas Is Going On?! the podcast celebrating the people, places, and passions that make East Dallas shine.Connect with us! Instagram - Facebook www.visiteastdallas.comPartner with us! connect@visiteastdallas.com

Ballet competitions are more common than ever—but do dancers really need them? In our latest episode of #NoThirds, Fran weighs in on the role competitions play in today's training landscape. He tackles key questions from parents and dancers alike: Are comps essential for landing trainee or second company spots? Do they actually help with long-term career goals? Why are so many schools and companies participating now? What's the real value compared to strong training and company performances? Fran brings his signature clarity and candor to a topic that's often confusing and feels high-stakes. This conversation is packed with insight regardless of whether you're all-in on the comp circuit or don't compete at all. Learn more about Fran and Veyette Virtual Ballet School More Links: Support Ballet Help Desk Summer Intensive Essentials Guide Buy Summer Corrections Journals Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Ballet Help Desk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Why open a ballet school in San Antonio? Former Pacific Northwest Ballet principals Lindsi Dec and Karel Cruz share what inspired them to found DeCruz Ballet, how their training model stands apart, and where they see their school fitting into the evolving ballet ecosystem. They discuss everything from attracting male students and navigating competition culture, to counseling dancers through audition season and offering guidance on college ballet paths and postgrad training. With honest insight and a dancer-first mindset, Dec and Cruz are shaping the next generation their way. Learn more about DeCruz Ballet School Read reviews of the school More Links: Support Ballet Help Desk Summer Intensive Essentials Guide Buy Summer Corrections Journals Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Ballet Help Desk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Silas Farley walked away from his performing career while he was arguably at the top of his game. In this thoughtful and deeply personal conversation, Farley—former New York City Ballet dancer and current choreographer, educator, and leader—reflects on his journey through the ballet world. He shares how his cultural background shaped his experience, the pressures of representation, and what ultimately led him to step away from the stage at a young age. Silas opens up about the emotional challenges of transition, the role of faith and mentorship, and why he's committed to building a more inclusive and emotionally intelligent future for ballet. We also explore how training can evolve without losing its rigor, and what he'd say to a young boy considering dance today. This is a must-listen for anyone questioning what it means to succeed in ballet—and how to define that for yourself. Learn more about Silas Farley and his curent role as Armstrong Artist in Residence, Meadows School of the Arts at Southern Methodist University. More Links: Support Ballet Help Desk Summer Intensive Essentials Guide Buy Summer Corrections Journals Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Ballet Help Desk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

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 Stravsinkyian—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

Allison DeBona took the road less traveled—college before company—and it led to a successful ballet career. In this episode, she breaks down why she chose Indiana University, what she gained from the experience, and how the college route stacks up against full-time conservatory training. We talk about career outcomes, adjustment challenges, and shifting industry perceptions around college ballet programs. She also answers whether or not she would choose the same path again. If you're weighing college offers against trainee spots, or wondering what kind of future the college path can offer, Allison brings clarity—and candor. If you're a college student, be sure to check out the artÉmotion Collegiate Ballet Summer Intensive that Allison and Rex Tilton run.  More Links: Support Ballet Help Desk Buy Corrections Journals Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Ballet Help Desk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

For the first time in its history, Fort Wayne Ballet is performing a work by the great choreographer George Balanchine. As we anticipate the upcoming part two of our Ballet Russe Reimagined series, Jim Sparrow and Karen Gibbons-Brown discuss the iconic ballet Serenade.Fort Wayne Ballet's second of a three-part series, Ballet Russe Reimagined, will be performed on April 11 and 12 at the Pearl Street Arts Center. This performance features Rite of Spring and Serenade.Purchase tickets at:   https://tickets.artstix.org/TheatreManager/6/login?event=0&search=P_SEQ%20in(4250,4251,4252)

One of the great American ballerinas of the 20th century, Suzanne Farrell set the standard for a generation of dancers. in this 1990 interview Farrell discusses her life and career.Get your copy of Holding On to The Air by Suzanne FarrellAs an Amazon Associate, Now I've Heard Everything earns from qualifying purchases.You may also enjoy my interviews with Ann-Margret and Ginger Rogers For more vintage interviews with celebrities, leaders, and influencers, subscribe to Now I've Heard Everything on Spotify, Apple Podcasts. and now on YouTubePhoto by Kroon, Ron / Anefo#ballet #dance #Balanchine #

Pacific Northwest Ballet School operates differently from many other company-affiliated programs. In this episode, Denise Bolstad, Managing Director of PNB School, breaks down what sets it apart. We explore the structure of the Professional Division, how dancers are selected, training expectations, performance opportunities, and the path from PD to the main company. Denise also shares insights on recruitment, summer intensive considerations, and how PNB supports dancers who don't get promoted. If you're interested in PNB's Professional Division, this episode is a must-listen! Learn more about Pacific Northwest Ballet School Read Summer Reviews of Pacific Northwest Ballet School Read Year-Round Reviews of Pacific Northwest Ballet School More Links: Support Ballet Help Desk Buy Corrections Journals Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Ballet Help Desk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Investigative journalist and head of narrative at Stak, Nicky Anderson has been a ballet nut since she was a kid. And the New York City Ballet under George Balanchine? For many, it's ballet at its pinnacle. But at what cost?  In her new seven-part podcast series, Dancing With Shadows, Nicky explores the history of the New York City Ballet and its influence, with a focus on the dark side of the company and the culture and legacy created and left by Balanchine.  Mick got her on the Zoom to talk about this deep dive into a sport-slash-art form renowned for demanding absolute sacrifice from its young, predominantly female, dancers and for being a very closed institution, how it shines a light on abuse sort of becoming par for the course, and the perils of genius. Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's episode of "Conversations On Dance", we are joined by editor at the George Balanchine Foundation, Shane Horan. Shane tells us about how the Balanchine Foundation impacted his life as a ballet student, how he was brought on board as an editor learning the craft and the work the foundation is doing to expand its scope in preserving the Balanchine legacy. Apply to view Balanchine Foundation videos: https://balanchine.org/video-archives/interpreters-archive-archive-of-lost-choreography/Balanchine Finder: https://balanchine.org/find-balanchine/THIS EPISODE'S SPONSORSNaturally relieve pain with Jelliebend- a supportive lower back hug.Jelliebend is a sleek wearable lower back support that applies the perfect amount of balanced compression to stabilize the spine and boost blood flow to your muscles. Founded by a contortionist with scoliosis, Jelliebend was born from Ellie's passion for spine health and injury prevention. Shop online now at https://jelliebend.com/. Use code ONDANCE all one word to receive 10% off your order.New Jersey Symphony 'Firebird': https://www.njsymphony.org/events/detail/the-firebird-with-xian-zhangLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

Ayesha Adamo is an academic, performing artist, and filmmaker currently working towards a PhD in Religion at Rice University under Jeffrey J. Kripal. Her dissertation project explores fluid cosmological ideas, both historically and in current quantum mechanics. She holds an MA in Religious Studies from Universiteit van Amsterdam's Centre for the History of Hermetic Philosophy & Related Currents and is a graduate of Barnard College, Columbia University, with a degree in music. Rumor has it she was once in an Asian pop band on EMI Records. Her most recent articles can be found in Anthropology of Consciousness and Religious Studies Review. She is also an ordained Hierophant and Grand Chief of Temple of Thelema.In this discussion, we first look at Georges Bataille and his interpretation of the Acéphale. Bataille (1897-1962) was a philosopher and intellectual, interested in surrealism, and anti- fascist, who, in 1937 founded two groups with the goal of exploring how combinations of power and ‘the sacred' were at play in society. The first group was called the College of Sociology that gave lectures (exoteric group); the second group was Acéphale, an esoteric ‘secret society.' Additionally, a public review by the same name, whose emblem was a headless man, was published in 1936. Ayesha talks a bit about this Acéphale emblem and what this represents, including remarks about the connections to Aleister Crowley's concept of The Abyss; the notion of receptivity, and the difference between the ‘magical' and ‘mystical' currents. Moving from Bataille to George Balanchine, the famous choreographer who co-founded the New York City Ballet Company in 1948; Balanchine is probably most known for his plotless ballets and minimalism, and has a famous quote, “Don't think Dear, just do!' Ayesha shares how are she is linking these two figures and the concept of the Acéphale. She is currently thinking about how the meditative state is the artist's state as well.Ayesha then expands on her 2023 article, “The League of Endarkenment: Hakim Bey and the Way of Disappearance into Nature” talking about “Endarkenment” and how this fits into this same area of headlessness, the mandrake, and disappearance.Lastly, taken from her paper abstract, Ayesha talks more about what she means by “the open fluidity of no-mind”  and “the performance of headless meditation.”*Note 1: I mistakenly say ‘Endarkment' instead of ‘Endarkenment' (my apologies!); plus, around the 29:00 minute mark, the name ‘D.T. Suzuki' is unfortunately cut off due to audio issues. Please find more information about Suzuki in the program notes below.*Note 2 (Not Ignoring the Elephant in the Room): Peter Lamborn Wilson, who wrote under the name ‘Hakim Bey,' was a controversial figure, and unfortunately, rumors have arisen surrounding some of his writings regarding NAMBLA. Accusations were made by a particular website (run by one person, a fellow anarchist) against Wilson, and due to the nature of the internet, damaging assumptions were made. This article A Tribute to Peter Lamborn Wilson - The Brooklyn Rail is a collection of testimonials, and discusses this matter in more detail, giving much needed context.PROGRAM NOTES:Ayesha Adamo | Student | The People of Rice | Rice UniversityAyesha Adamo | Rice University - Academia.eduInstagramAyesha Adamohttps://www.hds.harvard.edu/faculty-research/programs-and-centers/program-evolution-spirituality#:~:text=The%20Program%20for%20the%20Evolution%20of%20Spirituality%20%28PES%29,also%20prepares%20students%20for%20ministry%20in%20these%20mov (More information forthcoming regarding this program and how to join remotely!)It Takes a Lunatic | Officiële Netflix-websiteORGCHAOSMIK - GUSTAF BROMSD. T. Suzuki: A Biographical Summary - Association for Asian StudiesWhat are Superfluids and Why Are They Important?Is 'Perpetual Motion' Possible with Superfluids?Ayesha's article in The Fenris Wolf (#13) is forthcoming; I will post a link (on Patreon) when it becomes available.Music and Editing: Daniel P. SheaEnd Production: Stephanie Shea

On today's episode of "Conversations On Dance", we are joined by esteemed teacher and repetiteur Darla Hoover. Darla tells about how her early training at CPYB including teaching regularly, her time working with Balanchine at the School of American Ballet and later as a member of the New York City Ballet, her process to prepare for her stagings of Balanchine's work and how she tailor makes a syllabus for the needs of individual schools. Note: When Darla refers to Marcia, she is talking about Marcia Dale Weary who founded Central Pennsylvania Youth Ballet. LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

(01:23) De Harlequin bouquet-roman bestaat 50 jaar en dat wordt gevierd met een schrijfwedstrijd, waarin wordt opgeroepen om een verhaal te schrijven dat ‘zindert van de hartstocht'. Het lijkt alsof de ingrediënten van de bouquet-roman na vijftig jaar toch hetzelfde zijn gebleven, maar is het genre ondertussen dan toch veranderd? En waarom blijft de bouquet-roman zo populair? We hebben het erover met de Nederlandstalige bouquet-roman schrijver van het eerste uur.  (08:48) Volgende week wordt het bombardement op de Duitse stad Dresden herdacht. Hoeveel mensen het leven lieten is nog steeds onduidelijk. Hoe blikken de Duitsers hierop terug? Historicus en Duitsland-kenner Krijn Thijs licht toe waarom de herdenking van deze zwarte bladzijde altijd al beladen is maar dit jaar extra, vanwege de komende Bondsdagverkiezingen.  (20:14)  Bij Het Nationale Ballet het programma ‘Jewels' in première, met stukken van de Amerikaans-Russische choreograaf George Balanchine. Balanchine (1904-1983) staat bekend als de choreograaf die de fysieke grenzen van de danseres tot in extreme oprekte. Wat betekende dat voor de balletkunst en voor de positie van de ballerina, en met name voor het gebruik van de spitz? Laura Stek volgde het spoor van het martelschoentje in de audiodocumentaire ‘Martelwerktuig en heiligdom'.  Meer info: https://www.vpro.nl/programmas/ovt/luister/afleveringen/2025/09-02-2025.html    (https://www.vpro.nl/programmas/ovt/luister/afleveringen/2025/09-02-2025.html%20)

Vanaf 12 februari gaat bij Het Nationale Ballet het programma ‘Jewels' in premiere, met stukken van de Amerikaans-Russische choreograaf George Balanchine. Balanchine staat bekend als de choreograaf die de fysieke grenzen van de danseres tot in het extreme oprekte. Vooral door middel van de inzet van de spits: de balletschoen met harde neus die ballerina's tot feeërieke opperwezens maakte. Maar wanneer zag de spits het levenslicht? Wat betekende dat voor de balletkunst en voor de positie van de ballerina? Laura Stek volgde het spoor van het martelschoentje in ‘Martelwerktuig en heiligdom', eerder uitgezonden in 2019.

Vanaf 12 februari gaat bij Het Nationale Ballet het programma ‘Jewels' in premiere, met stukken van de Amerikaans-Russische choreograaf George Balanchine. Balanchine staat bekend als de choreograaf die de fysieke grenzen van de danseres tot in het extreme oprekte. Vooral door middel van de inzet van de spits: de balletschoen met harde neus die ballerina's tot feeërieke opperwezens maakte. Maar wanneer zag de spits het levenslicht? Wat betekende dat voor de balletkunst en voor de positie van de ballerina? Laura Stek volgde het spoor van het martelschoentje in ‘Martelwerktuig en heiligdom', eerder uitgezonden in 2019.

On today's episode of "Conversations On Dance" we are joined by New York City Ballet dance legend and trailblazer Debra Austin. Debbie, as she liked to be called, takes us through her time as a native New Yorker training locally before entering the New York City Ballet, her experiences working with Balanchine, charting new territory leading full lengths as a principal dancer at the Pennsylvania Ballet and the work she does now as a rehearsal director for Carolina Ballet for over 25 years. LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

Host and Associate Artistic Director Wendy Whelan is back with another intimate New Combinations conversation, joined this week by Artist in Residence Alexei Ratmansky. They discuss the origins—both within history and in Ratmansky's own career—of the Petipa ballet Paquita, excerpts of which provide the foundations for his newest ballet for the company. Ratmansky explains his use of Balanchine's Minkus Pas de Trois in revisiting this "feast of classical dancing," and the ways in which his work brings extensive research into conversation with the vocabulary of today's dancers. (30:45) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co.

We've all heard it before, when do we separate the art from the artist? Should we be applying this to Balanchine? How dance gave us weird eating habits that seem to be similar across all the board. And our dreams, they're weird both bad and good...Patreon Link- https://www.patreon.com/posts/cults-eating-and-121214509?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link

City Ballet The Podcast returns with a new Hear the Dance episode exploring George Balanchine's Concerto Barocco. Host Silas Farley is joined by three former NYCB dancers whose engagement with this foundational ballet continues today: SAB Senior Faculty Chair Suki Schorer, Balanchine Repetiteur Victoria Simon, and SAB Faculty Member Meagan Mann. Together they trace the highlights and unique demands of Barocco's four distinct movements, describing how the apparent simplicity of the ballet demands plenty of hard work and helps build community amongst the dancers. (1:00:28) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto in D minor for Two Violins, B.W.V. 1043 by Johann Sebastian Bach Performed by the New York City Ballet Orchestra Kurt Nikkanen and Arturo Delmoni, Violin Soloists Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach Performed by Susan Walters, Pianist Reading List:  1. Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein 2. Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein 3. Balanchine and Kirstein's American Enterprise by James Steichen 4. Suki Schorer on Balanchine Technique by Suki Schorer and Russell Lee 5. Balanchine Pointework by Suki Schorer 6. Balanchine Then and Now Edited by Ann Hogan 7. Balanchine's Ballerinas: Conversations with the Muses by Robert Tracy with Sharon DeLano 8. Balanchine the Teacher: Fundamentals That Shaped the First Generation of New York City Ballet Dancers by Barbara Walczak and Una Kai 9. Balanchine Variations by Nancy Goldner 10. Bach: Music in the Castle of Heaven by John Eliot Gardiner

Today, we sit down for our annual "Best of" episode! We saw great dance this year and talked with amazing guests. Cheers to another year with all of you. Thank you for coming on this ride with us! Please take 5 mins to take our listener survey. We want to hear from you.Episodes referenced:Maria Calegari - Part 1 Part 2Jennifer Lin - (382) The story of George Lee, the original Tea in Balanchine's 'Nutcracker', with Jennifer LinGeorge Lee & Jennifer Lin - (396) Jennifer Lin and George Lee, the original Tea in Balanchine's 'Nutcracker'Michael Vernon - (391) Michael Vernon, Professor of Music (Ballet) at Indiana University Jacobs School of MusicKatlyn Addison - (383) Katlyn Addison, Principal Dancer with Ballet WestLimon at VDF - (405) Dante Puleio and Joey Columbus on the legacy of José Limón, LIVE from the Vail Dance FestivalGolden State Ballet's Nutcracker: https://www.goldenstateballet.org/LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

We're re-releasing one of our most popular episodes! Ballet Help Desk sat down with Francis Veyette, former principal dancer with Pennsylvania (now Philadelphia) Ballet, Co-Founder of the Veyette Virtual Ballet School and newly appointed Rehearsal Director & Outreach Manager for Indianapolis Ballet. In this episode, Fran breaks down loaded terms like potential, facility, and body type, offering a practical understanding of what they mean. He also shares insights into the qualities dancers need to thrive in the ballet world. For anyone who has ever scratched their head when they heard people refer to potential or facility, this interview is a must-listen! You can learn more about Fran on his website. Links: Ballet Help Desk Holiday Gift Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

On today's episode of "Conversations On Dance", we bring to you the second installment of our conversation with Balanchine ballerina Maria Calegari. Maria tells about her own process and experience as a teacher and repetiteur, having staged dozens of ballets for companies all over the world. If you enjoyed hearing the stories of Maria's illustrious career as much as we did, be sure to subscribe to the podcast on whatever platform you stream.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

On today's episode of "Conversations On Dance", we are thrilled to be joined by legendary New York City Ballet ballerina Maria Calegari. In the first installment of our interview, Maria details her early training, initial interactions with Balanchine and how therapy became a driving force in the success of her career. Maria offers a view into one of the most storied eras of American ballet history, and a very personal insight into her own meteoric success. To ensure that you catch the second episode, subscribe to the podcast wherever you listen.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Send us a textMeg mourns the suicide of New York Ballet City principal dancer Joseph Duell. Jessica returns to the election of 1980 to try to understand how we got here.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

In this episode, Philip Neal, former Principal Dancer with New York City Ballet and current Artistic Director of Next Generation Ballet, shares insights on shaping up and coming dancers, while championing the art of ballet. Neal discusses his transition from performing to directing, the importance of mentorship, and how he helps his dancers find placements in trainee and second company positions. He also highlights the balance between fostering excellence and keeping the passion for the art form alive. Learn more about Next Generation Ballet on their website. Links: Ballet Help Desk Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

In this episode, we chat with Cecilia Iliesiu, Principal Dancer at Pacific Northwest Ballet and a ballet career coach. As we're headed into audition season, Cecilia discusses the importance of networking in the industry and offers practical tips for aspiring artists on building meaningful connections, setting career goals, and making informed decisions. Her expertise provides essential guidance as dancers start to gather and send out their audition packages. Tune in for valuable advice that can benefit every dancer. Learn more about Cecilia's career coaching services on her website. Links: Ballet Help Desk Buy Corrections Journals Discounts On Your Favorite Ballet Brands! Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Sometimes you just need to talk to other ballet parents! In this episode, we chat with three moderators of large Facebook groups for parents and caregivers of dancers as they spill the tea on what really goes on behind the scenes (hint: it's sometimes a delicate dance). In our wide-ranging conversation, they share their experiences navigating the challenges and rewards of moderating large communities of dance parents, along with some unexpected situations that left them saying, "Did that really just happen?" Join us for a candid conversation about how these moderators are keeping the support and engagement flowing among ballet parents—because sometimes, a little community goes a long way! Links: Ballet Help Desk Buy Corrections Journals Discounts On Your Favorite Ballet Brands! Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Today we go inside George Balanchine's Serenade with Repetiteur for the George Balanchine Trust, Eve Lawson and Nashville Ballet Rehearsal Director, Kate Linsley. We talk about the brilliance of Balanchine's choreographic ability to get to the essence of what it needs to be. Making Serenade the iconic ballet that it is. 

Dance Talk” ® with Joanne Carey and special guest, Artistic Director & CEO, Christine Cox, Ballet X In this episode of “Dance Talk” ® with Joanne Carey, join host Joanne Carey as she chats with Special Guest, Christine Cox,  Artistic and Executive Director of Ballet X. Together they discuss Christine's journey in the dance world, the founding of Ballet X, and its mission. Christine also shares about her love of music and how it plays an integral role in her artistry. The conversation also touches on the outreach and education programs Ballet X is known for within the community and the dance world. Together they also discuss the life skills that dance instills in individuals. Christine emphasizes the importance of supporting artists and the community and its the value of dance in society.  Check out this episode, it wont disappoint and neither will the company's upcoming season! Christine Cox Cox was a full-time company member with Pennsylvania Ballet from 1993 until her retirement from the stage in 2006. She trained in classical ballet at the Pennsylvania Ballet School and continued at the Performing Arts School of Philadelphia, spending summer sessions at the Joffrey and San Francisco Ballet schools. Some of her featured roles included Rum and Coca Cola in Paul Taylor's Company B, Eve in Margo Sappington's Rodin, Mis En Vie the Cowgirl in Agnes DeMille's Rodeo, and principal female roles in Jerome Robbins' Fancy Free and The Concert. During this time, Cox served for ten years as the rehearsal assistant of the children's corp for Pennsylvania Ballet's annual production of Balanchine's The Nutcracker. Prior to joining the Pennsylvania Ballet, she danced with BalletMet (Columbus, OH), as a guest artist with Ballet Hispanico (New York, NY), and with the American Repertory Ballet (Princeton, NJ). Cox is the proud mother of two young boys, Warren and Wesley. For Information on Ballet X https://www.balletx.org/about-us/staff/christine-cox/ YOUTUBE ⁠https://youtu.be/ABCFzZ83Voc And follow “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  https://dancetalkwithjoannecarey.com/ Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

This week's episode of City Ballet The Podcast is a previously recorded See the Music presentation hosted by NYCB Music Director Andrew Litton. Accompanied by the Orchestra and Solo Pianist Susan Walters, Maestro Litton describes why Tschaikovsky's Piano Concerto No. 2—the score for the Balanchine ballet of the same name—is less frequently performed than his first, despite being beloved by soloists and rich with beautifully romantic flourishes. Balanchine considered Tschaikovsky a "soulmate," a feeling borne out by his ability to make the composer's slightly less-genius works great with his choreography. (15:57) Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky Piano Concerto No. 2 in G, Op. 44 (1879-80) by Peter Ilyitch Tschaikovsky

Dans cet épisode des Fabuleux Destins nous allons vous parler d'un danseur devenu une véritable icône politique aux États-Unis. La couleur de sa peau lui a attiré la colère de la foule pendant une large partie de sa carrière, mais il n'a jamais cessé de se battre pour les droits des personnes noires. Jusqu'à, finalement, révolutionner le monde du ballet classique. Son nom : Arthur Mitchell. Du quartier de Harlem jusqu'à la Maison Blanche, découvrez son incroyable destin. 1er décembre 1957. Les New-yorkais se pressent dans les rues glacées de Manhattan. Une foule s'est rassemblée autour d'un célèbre centre culturel. À l'intérieur, les coupes de champagne brillent sous les grands lustres du hall d'entrée. Pourtant, ce luxe peine à masquer la terrible réalité politique des États-Unis. Depuis la fin de l'esclavage, une frontière cruelle divise le pays entre les Blancs et les Noirs. Ce soir, deux brillants artistes ont uni leurs talents pour composer un ballet au parfum de révolution : George Balanchine, chorégraphe, et Igor Stravinsky, compositeur. En coulisse, Balanchine pose la main sur l'épaule de son danseur vedette. Malgré la pression, le jeune artiste est détendu. Il sourit à Balanchine, et hoche la tête. Petit à petit, le public remplit la salle et le rideau se lève... Pour découvrir d'autres récits passionnants, cliquez ci-dessous : L'énigmatique Grigori Raspoutine : les premières visions (1/4) L'énigmatique Grigori Raspoutine : la fin de la dynastie Romanov (2/4) L'énigmatique Grigori Raspoutine : de dangereuses rumeurs (3/4) L'énigmatique Grigori Raspoutine : le début de la légende (4/4) Un podcast Bababam Originals Voix : Andréa Brusque Ecriture : Lucie Kervern Production : Bababam (montage Gilles Bawulak, Antoine Berry Roger) Première diffusion le 17 août 2023. Learn more about your ad choices. Visit megaphone.fm/adchoices

City Ballet The Podcast returns just in time for the upcoming 24-25 Season. Hear the Dance host Silas Farley is joined by legendary former Principal Dancer and current School of American Ballet faculty member Kay Mazzo and Principal Dancer Anthony Huxley to discuss George Balanchine's Duo Concertant, one of the new works to premiere during the 1972 Stravinsky Festival. Mazzo shares her memories of the speed with which Balanchine choreographed each of the four movements, and commiserates with Huxley on the many unique challenges the ballet presents, including interacting with the piano and violin that share the stage—a "commentary on the festival itself," in Farley's words, as it honored Stravinsky's music and his importance to the Company. (48:57)  Written by Silas Farley Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky All music performed by the New York City Ballet Orchestra Reading List: Stravinsky and Balanchine: A Journey of Invention by Charles M. Joseph Mr. B: George Balanchine's 20th Century by Jennifer Homans Stravinsky's Ballets by Charles M. Joseph Stravinsky Inside Out by Charles M. Joseph An Autobiography by Igor Stravinsky Stravinsky: A Creative Spring: Russia and France, 1882-1934 by Stephen Walsh Stravinsky: The Second Exile: France and America, 1934-1971 by Stephen Walsh Stravinsky: Chronicle of a Friendship by Robert Craft Stravinsky: Discoveries and Memories by Robert Craft The Stravinsky Festival of The New York City Ballet by Nancy Goldner Balanchine's Ballerinas: Conversations with the Muses by Robert Tracy Balanchine Variations by Nancy Goldner

If you're listening to this show, you're no doubt a keen learner and explorer. We bet you'll love Fabulous Destinies, another Bababam podcast, which takes you on a journey through real-life stories which are incredible but true. Starting from tomorrow and exclusively on Do You Really Know, we'll be sharing our listeners' four favourite Fabulous Destinies episodes! Some are tragic, some mysterious, but all of them are fabulous. Take a moment to let yourself get engrossed in these captivating stories! The first black man to become a ballet star December 1, 1957. New Yorkers hustle through the icy streets of Manhattan. A crowd gathers around a renowned cultural center. Inside, champagne glasses sparkle beneath the grand chandeliers of the entrance hall. However, this luxury struggles to conceal the harsh political reality of the United States. Since the end of slavery, a cruel divide separates the nation between whites and blacks. Tonight, two brilliant artists have joined forces to create a ballet with a scent of revolution: George Balanchine, choreographer, and Igor Stravinsky, composer. Backstage, Balanchine places his hand on the shoulder of his star dancer. Despite the pressure, the young artist remains at ease. He smiles at Balanchine and nods. Slowly, the audience fills the hall, and the curtain rises... Production : Bababam Voice : Fabrice Muracciole Translation of the French script of Lucie Kervern Learn more about your ad choices. Visit megaphone.fm/adchoices

  In this episode, we sit down with Dawn Smith-Theodore, a licensed therapist and author of the book Tutu Thin: A Guide To Dancing Without An Eating Disorder.  In our conversation about ballet wellness programs, Dawn talks about the crucial role that teachers play in ensuring the success of these programs in ballet schools. During our conversation we explore the importance of trust and open communication in fostering a healthy environment where ballet students can truly thrive. Dawn also sheds light on the differing impacts of eating disorders on girls versus boys and discusses the pervasive role of shame in these struggles. Join us for a compelling conversation on how schools can continue working toward creating supportive and nurturing spaces within the world of ballet. Learn more about Dawn: Website Books Instagram: @Dawn.Smith.Theodore Links: Ballet Help Desk Refresh Your Dance Bag With Exclusive Discounts Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk   Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

We're joined this week by Chloe Angyal, author of the widely regarded ballet book, Turning Pointe. Chloe addresses such issues as the "ballet brain" and how if affects dancers' willingness to accept problematic practices in the ballet world. We also discuss why she thinks ballet is in crisis, including how we tend to gloss over the authoritarian parts of the art, why claiming traditionalism is actually antithetical to the history of ballet and why she's cautiously optimistic about ballet's future.   Learn more about Chloe: Website Books Instagram: @Chloe.Angyal.writes Links: Ballet Help Desk Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Meg goes behind the curtain of Jill Krementz' iconic book A Very Young Dancer and tells the real story of Stephanie Shelby. Jessica eavesdrops on New Yorkers with cartoonist Stan Mack, creator of the Village Voice's “Real Life Funnies."Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Today we are so pleased to bring you our interview with George Lee, the original 'Tea' dancer in George Balanchine's 'The Nutcracker.' Also joining us for the second time, is documentary filmmaker Jennifer Lin. Jennifer's latest film 'Ten Times Better' explores the life and legacy of George. Jennifer talked to us about this film in episode 382, before it's premiere. Today, George tells us about his story and the pair talk about how they came to connect and what filming the documentary was like. We hear about the response to the film and what it has meant to George to know so many people are touched by his story.For information about upcoming screenings or to get in touch with Jennifer, visit tentimesbetterfilm.com.Episode 382 with Jennifer Lin: Listen here.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Today on the Conversations on Dance podcast, we are joined by Alastair Macaulay, critic and historian of the performing arts, and former Chief Dance Critic of the New York Times. While Alastair is no stranger to the podcast, today we get to delve into the history of numerous rare Balanchine ballets. Ahead of Alastair's program at the New York Public Library on the topic, he gives a preview of what audiences can expect, what films will be shown, and gives us the backstory of some of these works that were only seen a few times. Plus, he tells us about some of the works that aren't able to be shown and why. If you are in the New York area, don't miss 'Alastair Macaulay on Balanchine Rarities' on May 6th at 6pm at the New York Public Library for the Performing Arts. Reserve your spot here: https://www.nypl.org/events/programs/2024/05/06/alastair-macaulay-balanchine-rarities.Visit Alastair's website for more of his writings on dance: alastairmacaulay.com.THIS EPISODE'S SPONSORS:Unlock your potential with the Graduate Certificate in Arts Entrepreneurship from the Weitzenhoffer Family College of Fine Arts at the University of Oklahoma. In partnership with the prestigious Price College of Business, this innovative program is expertly designed for the aspiring arts entrepreneur, blending your creative and artistic talents with the business knowledge, skills, and strategies needed to successfully launch and manage arts-related enterprises. Affordable and fast-track, you can achieve this transformative education remotely in less than 12 months. To learn more and apply, visit ou.edu/finearts.artÉmotion's popular adult summer intensive program returns this May 27 - June 1. This program includes Advanced, Intermediate Advanced, Intermediate, and Beginner classes, with no prior dance experience needed for the beginner level. Let artÉmotion be the bridge between audience and the studio. Come dance this summer. For more information visit https://artemotionballetschool.com/.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

On today's episode of 'Conversations On Dance' we are joined by documentary filmmaker Jennifer Lin. Jennifer's latest film 'Ten Times Better' explores the life and legacy of dancer George Lee, who originated the role of tea in 'George Balanchine's The Nutcracker'. She tells us the inspiring story of George's experience as an immigrant, performing as a child in nightclubs and shuffling across countries before ultimately landing in New York City, and his experience working with theater luminaries like Balanchine and Gene Kelly. If you are in the New York City area, check out the Works and Process event on Wednesday, February 7th at the NYPL for the Performing Arts featuring a discussion about the film with both Jennifer Lin and George Lee. (More info) And be sure to catch the premiere of 'Ten Times Better' on February 10th at the Dance On Camera Festival at Lincoln Center. (Tickets)More information on the film: https://www.tentimesbetterfilm.comLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Silas Farley is back with another deep dive into the Company's repertory in this week's Hear the Dance episode, devoted to George Balanchine's Liebeslieder Walzer. Farley is joined by former Principal Dancers Bart Cook and Maria Calegari, who share their memories of watching the ballet's iconic interpreters in its initial incarnations; learning individual parts within the challenging but "sublime" work; and coaching Liebeslieder in its entirety. As they describe, the ballet was like a "gift from Europe," for which many dancers have needed to learn the waltz anew—in the countless three-quarter versions Balanchine devised. (57:03) Written by Silas Farley Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Liebeslieder, Op. 52 (1869) by Johannes Brahms Neue Liebeslieder, Op. 65 (1874) by Johannes Brahms Waltzes for piano duet and vocal quartet, all set to poems by Friedrich Daumer, except last, by Goethe All music performed by the New York City Ballet Orchestra Reading List: Balanchine Then and Now Edited by Anne Hogan Mr. B: George Balanchine's 20th Century by Jennifer Homans Balanchine: A Biography by Bernard Taper George Balanchine: Ballet Master by Richard Buckle in Collaboration with John Taras Following Balanchine by Robert Garis More Balanchine Variations by Nancy Goldner Johannes Brahms: A Biography by Jan Swafford Brahms and His Poets: A Handbook by Natasha Loges Ballerina: A Biography of Violette Verdy by Victoria Huckenpahler Balanchine's Ballerinas: Conversations with the Muses by Robert Tracy and Sharon DeLano Goethe: Life as a Work of Art by Rüdiger Safranski, Translated by David Dollenmayer Costumes by Karinska by Toni Bentley

SynopsisLate in 1941, Russian composer Igor Stravinsky was living in Hollywood — at 1260 N. Wetherly Drive, to be precise.Notoriously unflappable, and eminently practical when it came to commissions, Stravinsky apparently did not even bat an eye when he received a phone call from choreographer Georges Balanchine with an offer from Barnum's Circus to write a short musical work for a ballet involving elephants. Again, to be precise, for Barnum's star elephant ballerina, Modoc, who would be accompanied by 50 other elephants and dancers, all in tutus.“For what?” Stravinsky said.“For elephants,” Balanchine said.“How many?” Stravinsky countered.“A lot,” Balanchine replied.“How old?” Stravinsky asked.“Young,” Balanchine assured.”Well, if they're young, I accept,” Stravinsky concluded.Stravinsky's work, Circus Polka, had its debut at Madison Square Garden in New York by the Barnum Circus and was performed by what Stravinsky once called Barnum's “respectable quadrupeds” some 400 times. Stravinsky then arranged his Circus Polka for symphony orchestra and conducted the premiere of that version (minus the elephants) with the Boston Symphony in Cambridge, Massachusetts, on today's date in 1944.Music Played in Today's ProgramIgor Stravinsky (1882-1971) Circus Polka; London Symphony; Michael Tilson Thomas, cond. RCA 68865

On today's episode of 'Conversations On Dance', we are joined by Alastair Macaulay, esteemed critic and historian for the performing arts. Alastair previously joined us for a deep dive into the history of Balanchine's classic 'Serenade'; today he returns for critical analysis of one of the oldest and most beloved full lengths in ballet history, 'Giselle'. Alastair will be presenting a seminar on the same subject at the New York Public Library Bruno Walter Auditorium on Friday, December 1st. Tickets are sold out, but a standby line will form 45 minutes before with available seats distributed on a first come first served basis. Explore Alastair's dance musings on his website, alastairmacaulay.com.Try Audible Plus free for 30 daysGive the gift of Audible PlusLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Episode Summary: Host Menina Fortunato talks with Alex Wong about his evolution from tap to ballet to a standout on "So You Think You Can Dance." Alex recounts his reluctant start in ballet, his win at the Prix de Lausanne competition, and his tenure with prestigious ballet companies. The discussion also covers his successful pivot to TikTok during the pandemic, contrasting his traditional dance roles with the more profitable social media sphere. The episode concludes by exploring the broadening avenues for dancers in the digital era, with Alex's story providing both inspiration and actionable insights. Show Notes: 00:01:42 - Introduction to Alex Wong 00:02:40 - Alex's Early Dance Journey 00:07:47 - Social Media Connections 00:13:54 - Social Media and Dance Agencies 00:16:10 - Advice for Dancers 00:20:53 - Building Relationships in the Dance Industry 00:22:35 - Training and Work Balance Biography: Alex Wong began his dance journey at the tender age of 7, with his training encompassing various styles, including tap and jazz. By the age of 10, he was honing his ballet skills at the renowned Goh Ballet Academy in Vancouver, Canada. His prowess in ballet was further recognized when he became the first Canadian to win the prestigious Prix de Lausanne competition in Switzerland in 2004. Alex briefly danced with the American Ballet Theatre before joining the Miami City Ballet. By 2007, he had been promoted to the rank of soloist at MCB. His repertoire is vast, having performed leading roles in renowned productions such as Balanchine's Symphony In Three Movements, Twyla Tharp's Push Comes to Shove, and many more. In 2009, Alex's journey took an exciting turn when he auditioned for the FOX dance series, "So You Think You Can Dance." Although he made it to the final Top 20, contractual obligations with the Miami City Ballet forced him to withdraw. However, his impressive audition led to a promotion to the rank of principal soloist at MCB. In 2010, he took another shot at SYTYCD and made it to the Top 10 contestants for season seven. Unfortunately, an injury during a rehearsal forced him out of the competition. He has appeared on shows like "Glee," "Smash," "The Voice," and "Dancing with the Stars." He even made it to the semi-final Hollywood rounds of "American Idol." Alex's versatility is further highlighted by his dance single "Crave" and his role as Sniper in the Original Broadway Cast of "Newsies." Connect on Social Media: https://www.instagram.com/alexdwong https://www.facebook.com/alexdwong  Official Website https://www.thealexwong.com

Join us for another round of cozy conversations at The Rosin Box, beginning with Associate Music Director Andrews Sill. Hosts Claire Kretzschmar and Soloist Aarón Sanz chat with Sill about how he came to this role with NYCB, why he prefers conducting for the ballet over symphonic performances, and which Balanchine work made him fall in love with the art form. With preparations for the return of George Balanchine's The Nutcracker® under way, Sill shares how he keeps familiar music fresh—and that despite 14 years wielding the baton for the Company, he's still moved by many productions. (50:57) Edited by Emilie Silvestri Music: "Je ne t'aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

This week, the two-part conversation between Hear the Dance host Silas Farley and dance historian Jennifer Homans continues. They discuss Lincoln Kirstein's essential role as a collaborator with Balanchine, the creation of Serenade, and some of the key personal and artistic moments in the ongoing history of the New York City Ballet. Homans traces the development of the Company's ethos through the individual dancers' devotion to Balanchine's vision and to the art form; Balanchine's presence, she describes, was an irresistible force. (1:31:11) Written by Silas Farley Edited by Gus Reed Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Serenade for Strings in C, Op. 48 (1880) by Peter Ilyitch Tschaikovsky Firebird Suite for Orchestra (1945), from Firebird (1910) by Igor Stravinsky Symphony No. 1 in C major (1855) by Georges Bizet Orpheus (1947) by Igor Stravinsky Accompaniment to a Film-Scene, Op.34 (1930) by Arnold Schoenberg Agon (1953-56) by Igor Stravinsky Concerto in D minor for Two Violins, B.W.V. 1043 (1731) by Johann Sebastian Bach Two Part Invention In A minor, B.W.V. 784 (1723) by Johann Sebastian Bach Symphony No. 6 in B minor, Op. 74 (1893) by Peter Ilyitch Tschaikovsky Reading List: Balanchine: A Biography by Bernard Taper George Balanchine: Ballet Master by Richard Buckle in Collaboration with John Taras Balanchine and the Lost Muse: Revolution and the Making of a Choreographer by Elizabeth Kendall George Balanchine: The Ballet Maker by Robert Gottlieb Balletmaster: A Dancer's Vision of George Balanchine by Moira Shearer By With To & From: A Lincoln Kirstein Reader by Lincoln Kirstein, Edited by Nicholas Jenkins Apollo's Angels: A History of Ballet by Jennifer Homans The Worlds of Lincoln Kirstein by Martin Duberman Split Seconds: A Remembrance by Tamara Geva Zorina by Vera Zorina Choura: The Memoirs of Alexandra Danilova by Alezandra Danilova Maria Tallchief: America's Prima Ballerina by Maria Tallchief with Larry Kaplan Dancing Past the Light: The Biography of Tanaquil Le Clercq by Orel Protopopescu Stravinsky and Balanchine: A Journey of Invention by Charles M. Joseph Balanchine and Kirstein's American Enterprise by James Steichen

In this first part of a special Hear the Dance episode, host and former NYCB Dancer Silas Farley is joined by dance scholar Jennifer Homans to discuss her recently published biography, "Mr. B: George Balanchine's 20th Century.” Homans describes how her own background as a dancer—including as a student at the School of American Ballet in the 1970s—and a return to Balanchine's works while facing personal loss inspired her lasting interest in the Company's founding choreographer. Farley and Homans dig into Balanchine's Georgian upbringing, the way the hardship and uncertainty of his years in Russia and France shaped his vocabulary, and the spirituality that infuses both his approach to the creative process and to the ballets he choreographed themselves. (1:03:58) Written by Silas Farley Edited by Gus Reed 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 New York City Ballet Orchestra Reading List:  Balanchine: A Biography by Bernard Taper George Balanchine: Ballet Master by Richard Buckle in Collaboration with John Taras Balanchine and the Lost Muse: Revolution and the Making of a Choreographer by Elizabeth Kendall George Balanchine: The Ballet Maker by Robert Gottlieb Balletmaster: A Dancer's Vision of George Balanchine by Moira Shearer By With To & From: A Lincoln Kirstein Reader by Lincoln Kirstein, Edited by Nicholas Jenkins Apollo's Angels: A History of Ballet by Jennifer Homans

In this week's See the Music episode, Associate Music Director Andrews Sill provides a taste of history and context for Tschaikovsky's Serenade for Strings, the score of the first ballet George Balanchine choreographed in the United States. Sill discusses the way the composition's symmetries represent an homage to Mozart, and how Tschaikovsky marries "classical forms, folk tunes, and extroverted romantic expression” in the piece, which, combined with Balanchine's choreography, resulted in the iconic ballet beloved by audiences, dancers, and musicians today. (13:14) Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky. Serenade for Strings in C, Op. 48 (1880) by Peter Ilyitch Tschaikovsky All music performed by New York City Ballet Orchestra

This week's episode is a special Hear the Dance reunion: former NYCB Dancer Silas Farley hosts a wide-ranging conversation between legendary former Principal Dancer Merrill Ashley and current Principal Dancer Tiler Peck on George Balanchine's Tschaikovsky Piano Concerto No. 2. As Peck shares, her first exposure to this daunting lead role was in a coaching session with Ashley, long before it became a mainstay in her repertory. Ashley describes the thrilling challenge of taking it on as a new-to-the-Company corps member, when the work was still referred to as Ballet Imperial, and the manner in which the ballet requires both stamina and style: “…the spirit is there. You're the princess, the queen, and everyone else is your court.” (1:00:38) Written by Silas Farley Edited by Gus Reed READING LIST: Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds Balanchine's Tschaikovsky by Solomon Volkov Mr. B: George Balanchine's 20th Century by Jennifer Homans Dancing for Balanchine by Merrill Ashley Tchaikovsky: A Biography by Anthony Holden MUSIC: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Piano Concerto No. 2 in G, Op. 44 (1879-80) by Peter Ilyitch Tschaikovsky Piano Concerto No. 3 in E-flat major, Op. 75 (1892) by Peter Ilyitch Tschaikovsky All music performed by the New York City Ballet Orchestra