NYCB 2025: All Balanchine
Miriam Miller in George Balanchine’s Brahms-Schoenberg Quartet. Photo credit: Erin Baiano
On January 21, 2025, New York City Ballet raised the curtain on their Winter Season with their “All Balanchine” program, featuring three stunning works from the eminent choreographer. Braving frigid temperatures, ballet lovers gathered into a nearly-fully house for what was a passionate night of dance.
Before the performance, company Artistic Director Jonathan Stafford opened with welcoming remarks to the audience before presenting the 2025 Janice Levin Dance Award to company dancer Victor Abreu. Continuing the legacy of the late philanthropist Janice H. Levin, the award offers recognition and support for emerging corps de ballet dancers who hold great promise for the future.
“Dance has always been a huge part of my life. It’s a way for me to express myself and connect with others,” shared Abreu in his acceptance speech. “…Ballet requires honesty, and more than anything in life, brings me such joy and purpose that words can never explain. It gives me satisfaction committing to improvement, to showing up, and to consistently push myself. Sometimes it feels like I’m not making any progress at all, I might fall on stage, which I’ve done... and will again, but then there are those moments where the music and my body just click. Learning Balanchine choreography makes it so my heart believes this is why I was born. Experiencing Tchaikovsky music makes my muscles jump, sending chills down my spine, and giving me goosebumps… Ballet has the incredible ability to inspire those who watch. In fact, there are certain performances that just take my breath away as I sit in awe. Sometimes I even cry... yes, I love ballet that much. It is more than just an art form; it teaches me about strength, compassion, empathy, and determination… This award, to me, isn’t just a reflection of my work—it’s a reminder that I’m allowed to have my moments, to shine, to stumble, to learn, and to keep evolving. I’m allowed to celebrate the small wins, and yes, even the big ones. I am honored to be a part of this list of incredible dancers. I’m thankful for all my supporters throughout the years.”
Unity Phelan, Andrew Veyette, and the Company in George Balanchine’s Concerto Barocco. Photo credit: Erin Baiano
Opening the program was “Concerto Barocco” Set to Bach’s “Double Violin Concerto in d minor,” the work features two female dancers whose movements portray the respective violin lines. This night, the female dancers were soloist Emilie Gerrity and Unity Phelan, backed by violinists Arturo Delmoni and Kurt Nikkanen. This interplay of musical lines translated wonderfully to movement, with the two women smoothly circling about the other as they traded phrases; their close positioning made their fluidity all the more impressive as they excelled in the shared space. Gerrity and Phelan were joined by principal Andrew Veyette, who demonstrated splendid control through his partnering, with one example being the way he wove the soloists through the line formed by the corps of women, and shortly after through the series of lifts as he placed each of the women with ease and precision. These qualities were displayed beautifully through the three movements of the work, adding up to a most elegant selection to open the program and the season.
Tiler Peck and Roman Mejia in George Balanchine’s Allegro Brillante. Photo credit: Paul Kolnik
Next on the bill for the evening was “Allegro Brillante.” Set to Tchaikovsky’s “Piano Concerto No. 3,” this piece is a vivacious celebration of classical choreography, featuring principals Roman Mejia and Tiler Peck, and pianist Hanna Hyunjung Kim. What ensued was a showcase in elegance as the two excelled through the shifting moods and dynamics of the piece. Their sensitivity to one another was evident from the fluidity of their lifts and promenades, as they seemed to share their weight effortlessly. The corps also delighted through their time onstage, at times echoing the leaps and turns of the principals, or flowing to create a number of complex figures and impressive tableaux.
Megan Fairchild in George Balanchine’s Brahms-Schoenberg Quartet. Photo credit: Erin Baiano
Bringing the program to a close was “Brahms-Schoenberg Quartet.” The performance was dedicated to the late Clotilde Otranto, who served as Resident Conductor since 2008, as well as a steadfast champion of the arts and New York City Ballet until her passing in October of last year. This expansive work saw the opening allegro section handled by Alexa Maxwell, Peter Walker, and Miriam Miller, who joined the dense corps to exult in the stately passages of string and brass measures. Their time on and off stage was like a swift tide as they alternated between lyrical measures and combinations which kept the focus on them, or larger figures like the five-pair promenade which displayed a lovely coordination from the couples. The following intermezzo, danced by Mira Nadon and Gilbert Bolden III, saw them enter amidst the en pointe skimming of the corps before they captivated with flowing arabesques and soft lifts which swept her about the stage and often into a tender embrace. For the ensuing andante, principals Megan Fairchild and Joseph Gordon shaped a truly refined scene through the precise line work of the corps, trading partnered measures or brief solos to stunning effect. The closing rondo alla zingarese was danced by Sara Mearns and Tyler Angle with great vivacity to match the upswing in tempo and their bold, Scottish costumes. With breathtaking catches, nimble leaps, and charged variations, the two held nothing back as they brought the work to splendid conclusion.
Sara Mearns and Tyler Angle in George Balanchine’s Brahms-Schoenberg Quartet. Photo credit: Erin Baiano
Tuesday’s performance was a beautiful concentration of Balanchine’s artistry as a choreographer, and a testament to the ability of the company to give it such intoxicating expression. The three works were pure dance taken to beautiful heights, relating a wealth of nuance and emotion through the language of movement where no story or plot exists. With this kind of passion in their step, NYC Ballet looks set to bring the heat through this Winter Season.
-written by Logan Martell.