Episode 112: New Combinations: Amy Hall Garner

This week, Hear the Dance host Silas Farley is joined by three dancers who know William Forsythe's 1992 ballet Herman Schmerman well: Original cast members Jeffrey Edwards and Associate Artistic Director Wendy Whelan, and current interpreter Tiler Peck. Edwards and Whelan recall the unique physical and artistic challenges Forsythe's choreography posed, particularly as he called for improvisation and constant change in the studio—sometimes up until the dancers hit the stage. For Peck, Forsythe is as essential a creator as a mentor, particularly as her own career as a choreographer takes off. (59:13) Written by Silas Farley Edited by Emilie Silvestri Music: Behind the China Dogs (1988) by Leslie Stuck The Four Sections (1987) by Steve Reich Just Ducky (1992) by Thom Willems 200 Press (2014) by James Blake Reading List: William Forsythe and the Practice of Choreography: It Starts From Any Pointe Edited by Steven Spier William Forsythe Edited by Senta Driver The Oxford Handbook of Contemporary Ballet Edited by Kathrina Farrugia-Kriel and Jill Nunes Jensen

As we prepare for opening night of Spring performances, Associate Artistic Director and New Combinations host Wendy Whelan catches up with sought-after choreographer Amy Hall Garner between rehearsals for her first commission for NYCB, premiering in just over a week. Garner shares the long, dance-rich journey—including summer sessions at the School of American Ballet, studying modern, tap, and jazz, and performing on Broadway—that led to this moment in her dance-making career. "I love being in the studio," she says of the creative process. "I think that's a sacred space." (40:04)  Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

City Ballet The Podcast is back! In the lead up to the return of two of Pam Tanowitz's ballets to the stage this spring—Gustave le Gray No. 1, from 2019, and Law of Mosaics, which premiered in 2022—Former Principal Dancer Russell Janzen and current Soloist Miriam Miller join Hear the Dance host Silas Farley to discuss working with the singular choreographer. As both dancers describe, Tanowitz's unique approach to ballet and generosity in the studio make familiar steps new, freeing the performers to challenge themselves and discover new aspects of their own artistry. (1:14:37) Written by Silas Farley Edited by Emilie Silvestri Reading List: Reality Hunger: A Manifesto by David Shields Béla Bartók by David Cooper The Prickly Rose: A Biography of Viola Farber by Jeff Slayton Merce Cunningham by Roger Copeland Four Quartets by T.S. Eliot Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Law of Mosaics (2012) by Ted Hearne All music performed by the New York City Ballet Orchestra

This week at The Rosin Box, hosts Claire Kretzschmar and Soloist Aarón Sanz are joined by NYCB dancers and "real-life" couple Emily Kikta and Peter Walker to talk about partnering—onstage and off. Peter and Aarón share their memories of learning from legendary former Principal Dancer Jock Soto, who taught partnering at the School of American Ballet when they were students, while Claire and Emily reflect on the ways in which pas de deux challenge their stamina while offering opportunities to take risks. The most important element for a successful partnership, they all agree, is simple, if not always easy: communication. (56:23)  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 at The Rosin Box, joined by Corps de Ballet Member and Get Golden founder Jenelle Manzi. Jenelle describes her journey to the stage and how struggles with injuries and food allergies inspired her to start crafting her own anti-inflammatory recipes. As she shares, a stray comment from a colleague on the tour bus to the Kennedy Center sparked the formation of her business, which she runs alongside performing full-time with the Company. (40:49) Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

The Rosin Box returns for another round of candid conversations with hosts Claire Kretzschmar and Soloist Aarón Sanz. This week, they're joined by NYCB Director of Costumes Marc Happel to talk all things tutus and beyond. Happel shares his journey to the Company's storied costume shop, where decades ago Co-Founder George Balanchine collaborated with Barbara Karinska on the innovative powderpuff tutu, and artisans fit and craft costumes for today's dancers under Happel's direction. (43:32)  Edited by Emilie Silvestri Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

In this week's See the Music episode, we revisit a 2013 live presentation with host and Associate Music Director Andrews Sill, exploring Igor Stravinsky's 1945 composition Symphony in Three Movements, the score for the George Balanchine ballet of the same name. With help from the New York City Ballet Orchestra, Maestro Sill highlights the musical "nuts and bolts" of this galvanizing piece, and outlines some of the cinematic and real-world inspirations for its taut construction and powerful impact. (14:39) Edited by Emilie Silvestri Music: Symphony in Three Movements (1945) by Igor Stravinsky All music performed by New York City Ballet Orchestra

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

In the latest New Combinations episode, Associate Artistic Director and host Wendy Whelan chats with Principal Dancer Tiler Peck about memories from their time dancing together and Tiler's upcoming choreographic debut with the Company. Tiler describes how her internal sense of musicality drives her choreographic practice as much as her work as a performer, and shares that this commission from New York City Ballet came at exactly the right time—the dancers' happiness and enthusiasm in the studio were "exactly what she needed." (37:56) Edited by Emilie Silvestri Music: "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

City Ballet The Podcast launches this season with a new Hear the Dance conversation, guest hosted by Silas Farley, who is joined by three generations of dancers who are well acquainted with Jerome Robbins' In the Night. Former Principal Dancer Kay Mazzo originated the lead role in the ballet's first movement, about "young love"; Repertory Director Christine Redpath took over coaching the ballet from colleague Victor Castelli; and Principal Dancer Unity Phelan is performing the lead role in the tempestuous third movement. As they discuss, In the Night's power resides in its effective representation of human relationships and what the choreography reveals of its dancers' inner lives; in Unity's words, "You get to really be yourself—to dig down inside yourself and find something you didn't know you had." (46:54) Written by Silas Farley Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Nocturne Opus 27, No. 1 (1835); Nocturnes Opus 55, No. 1 and No. 2 (1843); Nocturne Opus 9, No. 2 (1830-1831) for solo piano by Frédéric Chopin All music performed by the New York City Ballet Orchestra Reading List:  Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir by Jerome Robbins, Edited by Amanda Vaill Jerome Robbins: A Life in Dance by Wendy Lesser Fryderyk Chopin: A Life and Times by Alan Walker Ballerina: A Biography of Violette Verdy by Victoria Huckenpahler Far from Denmark by Peter Martins