By Ballencine
As I walked into the David H Koch Theatre, I knew I was in for a spectacular performance. Being able to attend this performance by The New York City Ballet was way more than just a dance recital, it was an artistic experience that combined music, choreography, and storytelling. The classic red seats with gold detailing gave the theatre a vintage elegance. A nostalgic atmosphere that gave a sense of history and tradition giving the theatre a timeless feel. The ballet dancers showcased amazing technical precisio while the richness of the music elevated the performance, making the atmosphere in the room powerful and unforgettable. The reaction of the audience demonstrated that ballet continues to engage modern audiences preserving its expressive powerful art form.
This year marked two landmark world premieres and the 500th premiere since the founding of The New York City Ballet seventy-seven years ago. Justin Peck, the ballet resident choreographer since 2014, created a whole new piece for the major milestone.
Justin Peck’s world premiere was set to the first movement of Ludwig van Beethoven’s Third Symphony, the Eroica, highlighting the Classical era of music. Justin’s choreography and choice of music pushed the form into new territory while still honoring classical music. The dancers performed with such intensity, you could tell they fully embodied the music. 16-year-old, leading ballerina in “The Sleeping Beauty” – Emma Von Enck stated that “the music really tells you what to do, all you have to do is listen” (Enck 6). As I watched Emma Von Enck with her expressive movements I could tell she was being musically responsive. The rhythm was
harmonious, the steps she took across the stage felt light and airy yet sharp and poised. Along with the rest of her team the dances were so controlled that every turn and pirouette accented the strong beats coming from the live orchestra creating this seamless expressive synergy.
Even though the New York City Ballet performance was incredibly captivating as a whole and full of vibrant energy, solo pianist Hanna Hyunjung Kim left the most lasting impression on me. The live orchestra filled the theatre with rich and powerful sound, my
attention always returned to her. The technical skill, the way she was immersed in the music she was playing. Hanna’s body language, and expression seemed as if she was embodying every note on a deeper level and drawing the audience into the same emotional space- for me at least. Hanna is the principal pianist of the New York City Ballet Orchestra since September of 2022. Hanna was born in Korea but received her Master’s in Music at The John Hopkins University in Baltimore, Maryland. There was a small yet bright light right above Hanna, the theatre was completely dark except for the stage, and Hanna. She had really bright red hair that moved
dynamically and seemed to dance along with her music, adding so much more drama to her performance. Hanna Hyunjung Kim performed “Dances at a Gathering” by Chopin and, it felt especially meaningful because, as stated in the program notes, it reflected choreographer’s Jerome Robbins long awaited return after thirteen years. After learning this I was able to recognize the deep significance behind her interpretation. I felt like not only was she the pianist but also somehow one of the dancers. The way she swayed back and forth and moved her head forward every time she hit a high note. Both soft and high pitches were very much felt. Hanna Hyunjung Kim sat alone under one bright light, more of a solo because she didn’t sit with the Orchestra and she was not on stage.
The most vital role in this entire masterpiece was the live orchestra. Everyone looked so elegant dressed in all black. They presented unity and professionalism that stood out immediately. It was mesmerizing to watch how each instrument contributed to a larger and more cohesive sound. Their focused expressions and precise timing gave the dancers more life, gave the room more color. The audience was completely silent, you can hear if someone even sneezed from any corner of the theatre. But, as soon as the music stopped the crowd went wild! There was not much interaction with the audience, but how could they? All their focus remained with
their instruments. The orchestra was composed of strings, brass, woodwinds, and percussion, each contributing their own texture to the performance. The conductor should have been a performer as well with all his sharp directions. The music shifted effortlessly between delicate stillness and powerful intensity shaping the emotional tone of the performance.
At the end of the show, the theatre was filled with such warm and friendly energy. Happy voices and cheers, clapping and the audience throwing flowers on the stage. It was like straight out of a movie. If there is any feedback I can give about this show, I would really recommend everyone to go at least once in their life to experience the powerful combination of classical music and dance. Everyone’s reaction including my family and myself proves that ballet continues to engage modern audiences preserving its expressive powerful art form.
Work Cited
“Hanna Hyunjung Kim.” Hanna Hyunjung Kim | New York City Ballet,
Hanna Hyunjung Kim | New York City Ballet
Accessed 29 Mar. 2026.
Playbill. New York City Ballet Program: [Emma Von Enck], New York City Ballet, 2026.
Accessed 1 Mar. 2026.
