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

Edited by Emilie Silvestri

Music Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky

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

Music Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky

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

Edited by Emilie Silvestri

Music "Sisyphus" by Andrew Wegman Bird Wixen Music Publishing, Inc. as agent for Muffet Music Co

Host Silas Farley opens the latest season of City Ballet The Podcast with a Hear the Dance episode devoted to George Balanchine’s Mozartiana. Choreographed for the 1981 Tschaikovsky Festival, the ballet was a moving representation of Balanchine's admiration not only for the composer, but also for the dancers of the corps de ballet and students of the School of American Ballet. Silas is joined by fellow NYCB alums Jerri Kumery, one of the original four “tall" dancers in the Minuet movement, and Amy Kobberger, one of the child dancers in the opening “Preghiera” or prayer section in the work’s premiere, to share their memories of Mozartiana’s creation. (1:24:26) Written by Silas Farley Edited by Emilie Silvestri Reading List: Balanchine’s Mozartiana: The Making of a Masterpiece by Robert Maiorano and Valerie Brooks Holding On to the Air: An Autobiography by Suzanne Farrell with Toni Bentley Balanchine’s Tchaikovsky: Interviews with George Balanchine by Solomon Volkov

Music:  Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Suite No. 4, Mozartiana, Op. 61 (1887) by Peter Ilyitch Tschaikovsky Apollon Musagète (1928) by Igor Stravinsky All music performed by the New York City Ballet Orchestra

Hosts Claire Kretzschmar and Aarón Sanz are back with a very special holiday edition of The Rosin Box. In an intimate tour of the bustling backstage spaces before, during, and after a performance of George Balanchine’s The Nutcracker®, Claire and Aarón reveal what it takes to make this magical production come to life. From the necessary comforts of a dressing room “moon pod,” to the challenges of make-up and updo changes for dancers performing multiple roles, to the meditations and incantations that (quietly) echo in the wings, the joy of revisiting this holiday tradition and sharing it with audiences new and old is shared by all. (51:29)

Edited by Emilie Silvestri

Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records “The Nutcracker” (1892) by Peter Ilyitch Tschaikovsky

In the latest installment of The Rosin Box, hosts and Soloists Claire Kretzschmar and Aarón Sanz are joined by Judy Elliott-Pugh, NYCB’s Senior Director of Human Resources, Diversity, and Inclusion, for a conversation about her newly-created position. From day-to-day operations to ongoing and broadly-reaching projects and goals, they discuss the ways in which NYCB is an organization of people from a wide variety of backgrounds, in just as wide an array of roles, all working together to make the Company thrive. (48:02)

Edited by: Emilie Silvestri

Music:  "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

This week on the Rosin Box, hosts Claire Kretzschmar and Aarón Sanz explore the unique experiences of Company dancers originally trained in other countries. They’re joined by retiring Principal Dancer Gonzalo Garcia and still new-to-NYCB Soloist Chun Wai Chan for a wide-ranging conversation that covers everything from moving to the states, first introductions to Balanchine, adjusting to the Company culture, learning to drive, and the ways in which ballet is a universal language. (1:01:16)

Edited by Emilie Silvestri

Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

Step behind the curtain and into the rehearsal studio with hosts and Soloists Claire Kretzschmar and Aaron Sanz on another episode of The Rosin Box. School of American Ballet faculty members Suki Schorer and Anthony Huxley join to talk about the School’s curriculum, the challenges of teaching and performing at the same time, and the joys of watching students join the Company and perform the roles they’d taught them. Suki and Anthony share their similar journeys to the Company—the first as a Principal Dancer and protege under Mr. B, and the other her student and a current Principal Dancer with the Company. (58:08) Edited by Emilie Silvestri

Music: "Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

The Rosin Box is back for a fresh season of vital conversation and first-person perspective on the backstage lives and day-to-day work of NYCB’s dancers. Hosts Claire Kretzschmar and Aarón Sanz mark their triumphant return—and the Company’s return to the Theater—by sharing their experiences throughout the long months away, from Claire’s “garage Nutcracker” to Aarón’s meditation practice, and all the hurdles they had to overcome as they made their way back to the stage. (36:05) Edited by Emilie Silvestri

Music: ""Je ne t’aime plus" by Pink Martini Courtesy of Pink Martini & Heinz Records

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

Music: Valses Nobles et Sentimentales (1911, orchestrated 1912) and La Valse (1920) by Maurice Ravel Symphony in Three Movements (1945) by Igor Stravinsky