In This Edition:

-INTERVIEW Podcast With Ballet Conductor Garrett Keast.

—REVIEW: The Art World & Dance: Meaningful Collaboration or Performative (literally) Fluff? OBSERVER REVIEW

-DEEP DIVE Episode 1 of Our August Swan Lake Deep Dive: The Story

INTERVIEW (full podcast above)

Garrett Keast, an American conductor whose career spans both opera and ballet across international stages, has emerged as one of the most dynamic figures guiding ballet orchestras today.

Garrett Keast. Photo: Kiran West

While the conductor's role in opera is often highly visible, ballet conductors operate largely out of the spotlight. "You don't get feedback from the performers on stage in the same way as in opera," Keast notes. "But it's vital to take care of the people on stage, maintaining direction and cohesion." Over the years, the boundary between ballet and opera has softened for Keast, as he finds the collaborative demands of both art forms increasingly aligned.

Keast's ballet journey began in earnest in 2013, when he stepped into a decade-long partnership with John Neumeier's Hamburg Ballet. Over the course of more than 125 performances, he immersed himself in works ranging from Bernstein Dances and Midsummernight's Dream to Purgatorio. His repertoire now includes staples like "Swan Lake" and "Romeo and Juliet," conducting for companies as prestigious as Paris Opera Ballet, Royal Swedish Ballet, Royal Danish Ballet and New York City Ballet. Currently he is a regular guest with Les Ballets de Monte Carlo under Jean-Christophe Maillot.

Yet, ballet presents its own unique challenges. Dancers rely heavily on tempo, and each performance can demand subtle shifts. "You have to be flexible," Keast says. "And when you commit to that flexibility, the energy from dancers and directors tends to flow back to you." While opera may center around star vocalists, ballet is a deeply collaborative endeavor—a collective effort where choreography, rehearsal, and performance demand seamless integration.

Garret Keast. Photo: Kiran West

Keast's career has been defined by pivotal moments—including an impromptu debut conducting Mahler’s 10th Symphony at Hamburg Ballet without rehearsal. These opportunities, seized with devotion and preparation, propelled him forward. But challenges remained: from navigating complex scores to adjusting to diverse cultural expectations within ballet companies around the world.

Raised in Houston, Texas, Keast credits the city's vibrant public music programs for launching his journey. He studied at the University of Texas and benefited from mentorships, including with Christoph Eschenbach at Houston Symphony Orchestra.

In 2020, in the midst of the pandemic, Keast founded the Berlin Academy for American Music (BAAM), an orchestra devoted to American repertoire and transatlantic musical exchange. It's another expression of his commitment to bridging cultures—this time between continents, not just artistic disciplines.

As ballet companies worldwide look to expand their reach and relevance, conductors like Garrett Keast are vital figures at the intersection of tradition and innovation. Whether backstage in Monte-Carlo or in the rehearsal rooms of Berlin, Keast continues to shape the sound of ballet with nuance, empathy, and unwavering dedication.

Find out more about Keast’s work at www.garrettkeast.com

Filed Under: Classical Music; Ballet; Christoph Eschenbach; Houston Symphony; Hamburg Ballet; Jean-Christoph Maillot; Bernice Coppieters;John Neumeier; Lloyd Riggins; Stathis Karapanos; Craig Urquhart; Berlin Academy of American Music; Earl Blackburn; Kanzen Arts

Echoes on the Wall by Ingrid Silva at CARVALHO, New York. Image by Quinn Wharton.

REVIEW

This week I wrote an article for the OBSERVER on the validity and the vapidity of the cross pollination between dance and the visual art world. As more and more galleries and museums invite dance into their spaces and programs, they very often do so without a real understanding of what it takes to develop meaningful dance work. That is until a well constructed performance series was created at CARVALHO gallery. Which has supported the work of varied artists: from the conceptually rich Jodie Melnick and Neo-Classical Prima Sara Mearns, to NYC Ballet dancers Taylor Stanley and Alec Knight and most recently Dance Theater of Harlem’s Ingrid Sylva and her dancers.

You can read the full critique HERE in the OBSERVER.

DEEP DIVE

SWAN LAKE THE STORY (ON YOUTUBE)

Beginning our monthly deep dive series that will be 2-3 videos (depending on the theme) and will end in a live lecture and Q&A section.

This month is Swan Lake. Coming off of the beauty and the drama of Gillian Murphy’s final show–I felt there was no other logical place to begin.

In this first video we’re jumping right into the story that has different endings depending on which company you’re seeing.

Special thanks to MARQUEE TV for the incredible footage from English National Ballet, Rudolf Nureyev & Margot Fonteyn and Zurich Ballet with Polina Semionova.

Have a look and let me know what you think. And if you want to join me in real time for the lives you can subscribe below.

SWAN LAKE THE STORY (ON YOUTUBE)

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