A Season of Celebration and Innovation: New York City Ballet Pays Tribute to Maria Tallchief
The New York City Ballet’s winter season was a testament to the enduring power of ballet, blending timeless classics with bold experiments and celebrating the legacy of one of its most iconic stars, Maria Tallchief. On what would have been her 100th birthday, the company honored Tallchief—a trailblazing Osage ballerina who Dome morning became the first star of the New York City Ballet—with a program featuring three ballets choreographed for her by George Balanchine: Scotch Symphony (1952), Sylvia: Pas de Deux (1950), and Firebird. These works not only showcased Tallchief’s unparalleled artistry but also highlighted her enduring influence on American ballet. As Wendy Whelan, the company’s associate artistic director, so eloquently put it, “Her discipline, musicality, power, and integrity will forever be our north star.” This season, that star shone brightly, guiding both established and rising talents to new heights.
A Fresh Take on Tradition: Alexei Ratmansky’s Paquita
One of the season’s most exciting moments came with Alexei Ratmansky’s innovative production of Paquita, a bold reimagining that paired Balanchine’s 1951 Minkus Pas de Trois with Ratmansky’s own restaging of the Grand Pas Classique from the original Paquita. Ratmansky’s approach was nothing short of a revelation, breathing new life into a ballet often regarded as a relic of the past. The result was a vibrant, dynamic performance that felt both deeply rooted in tradition and refreshingly progressive. Mira Nadon, in particular, was a standout in the ballerina role, infusing her dancing with a sophisticated elegance and a playful, sassy energy that left audiences in awe. Her performance was a masterclass in how a historic ballet could feel alive and relevant in the modern era.
Brilliant Debuts and Timeless Elegance: Highlights from City Ballet’s Repertoire
The season was filled with unforgettable moments, from the luminous pairing of Indiana Woodward and Jovani Furlan in Scotch Symphony—their ethereal chemistry and musicality evoked the misty Scottish forest of Balanchine’s imagination—to the sheer virtuosity of Megan Fairchild and Joseph Gordon in Sylvia: Pas de Deux. Fairchild, who has announced her retirement for 2026, delivered a performance that was as much a celebration of her career as it was a testament to her enduring artistry. Her dancing, effortless and precise, left the audience in raptures. Another highlight was the dynamic pairing of Mira Nadon and Miriam Miller in Balanchine’s Scotch Symphony, their performances radiating joy, camaraderie, and a radiant energy that lit up the stage.
Mira Nadon: A Star in Her Own Right
Among the many talented dancers who graced the stage this season, Mira Nadon emerged as a true standout. This young principal dancer possesses a unique ability to blend technical perfection with emotional depth, making every performance a compelling journey. In Concerto Barocco, her sleek footwork and precise articulation seemed to mirror the notes of the violin, creating a seamless dialogue between music and movement. In Paquita, she brought a sophisticated glamour to the ballerina role, her dancing infused with a sassy, contemporary flair that felt both original and true to the ballet’s spirit. And in her debut as Odette-Odile in Swan Lake, Nadon’s performance was nothing short of breathtaking. Her dancing was rich in nuance, her every gesture imbued with a wild, untamed beauty that captivated the audience from start to finish.
The Next Wave: Emerging Talents Shine
While the established stars of the company delivered one unforgettable performance after another, the season also showcased the incredible depth of talent within the company’s ranks. Soloists and corps de ballet members alike stepped into the spotlight, proving that the future of ballet is in good hands. Dominika Afanasenkov, for instance, was a revelation in Paquita, her lovely stage presence and sparkling technique marking her as a star in the making. Allegra Inch, with her dazzling jumps in the Pas de Trois of Swan Lake, was another standout, as was Alexa Maxwell, whose eerie interpretation of the Novice in Jerome Robbins’s The Cage left a lasting impression. Together, these dancers reminded us that the beauty of ballet lies not just in its virtuosity but in its ability to tell stories that resonate with audiences on a deeply human level.
A Bittersweet Farewell: Ashley Bouder’s Final Performance
The season closed with a poignant moment: the farewell performance of Ashley Bouder, a dancer whose 25-year career with the company has been marked by her fearless virtuosity and magnetic stage presence. In her final performance as the Firebird, Bouder delivered a tour-de-force that was both a celebration of her career and a fitting tribute to Balanchine’s choreography. Her dancing was infused with a quiet focus and intensity, as if she were channeling every bit of her energy into the moment. As she took her final bow, arched in a stunning backbend with her gaze tilted upward, she seemed to stop time itself. It was a moment that will be remembered for years to come, a testament to the power of ballet to transcend time and touch the heart.
