Within the Golden Hour, choreographed by Christopher Wheeldon, is a captivating ballet that beautifully combines the ethereal qualities of light, music, and movement. Inspired by the artistry of Gustav Klimt and the compositions of Ezio Bosso, the work invites audiences into a transcendent experience, bathed in a warm, golden glow reminiscent of California’s tranquil evenings. As the dancers navigate contrasting musical styles, the ballet unfolds a narrative that balances the abstract with emotional depth, encouraging audiences to immerse themselves in its exquisite beauty.

We had the privilege of speaking to Christopher Wheeldon ahead of Atlanta Ballet’s premiere of Within the Golden Hour, taking place at the Cobb Energy Performing Arts Centre from April 3–5, 2026.

What is the vision and inspiration behind Within the Golden Hour?

The choreography of Within the Golden Hour was inspired by two distinct sources. First, it drew from the visual world of Austrian artist Gustav Klimt, celebrated for his enchanting fusion of gold leaf and portraiture. His work - particularly The Kiss, often considered his masterpiece - provided a rich visual foundation. Second, the musical compositions of Italian composer Ezio Bosso played a significant role in shaping the piece. Having worked with Ezio as a dancer, I was deeply moved by the intimate and connective qualities of his music. The combination of these two influences ultimately shaped the original work for San Francisco Ballet.

Can you elaborate on what the golden hour represents to you both emotionally and visually within the context of this ballet, and how these aspects manifest on stage?

The title Within the Golden Hour emerged from a walk I took one afternoon after rehearsals in San Francisco, where I was creating the ballet. I found myself wandering through the beautiful Presidio when golden hour hit. This is a magical time of day, especially in California, when the setting sun intensifies every color, casting the world in a warm, luminous glow. I had been searching for a title, knowing how important it is for me that it evokes a particular atmosphere without confining the work to a fixed narrative. I wanted something that would invite the audience into the poetry of the piece. As I stood there, looking up at the Golden Gate Bridge, already magnificent in its own color, also bathed in that radiant light, the title suddenly came to me. In that moment, I thought, “This is the world in which the piece should exist.”

In your approach to choreography, how did you effectively navigate and blend the contrasting musical styles in the works of Ezio Bosso and Antonio Vivaldi to create a cohesive narrative?

The string compositions of Ezio Bosso greatly inspired me. He has produced a significant body of work in both symphonic and chamber music and has also successfully written for films. Some of the music for Within the Golden Hour came from a movie soundtrack I love called I'm Not Scared. While listening to the album, I discovered a beautiful piece titled Adagio for violin and orchestra, and I was struck by how magnificently Bosso had captured the essence of Vivaldi. I called Ezio to express my admiration, saying, “You know, I’d love to use this music; this track is extraordinary and perfectly embodies the world of Vivaldi.” In his charming Italian accent, he replied, “Christopher, it is Vivaldi.” Of course, I hadn’t checked the track listings on the album, and indeed, it was a Vivaldi violin concerto. Yet, to me, it served as a true anchor for the style of Bosso's new writing. This track is the only one not composed by Bosso, and it appears in the last third of the ballet, during the final duet for the last three couples.

Is there a particular scene or movement that you feel captures the heart and essence of this work? And if so, what is it about that moment that resonates most deeply with you as choreographer?

The ballet is structured with an opening and a closing, featuring a dance for two men and a dance for four ladies in between. However, the core of the ballet is anchored by three duets: one that is lighthearted and playful, a central duet that exists in a mystical, magical, and private realm, and the third set to Vivaldi's music. For me, the middle duet is the heart of the ballet. It captures what I’ve always aimed to achieve with abstract dance, which is to tell a story without clearly defining it for the audience, allowing them to interpret it in their own way while feeling comfortable in the abstract world we are creating. I often find that new audiences hesitate to attend ballet performances because they feel intimidated by the work they see, worried that they won't understand it or that they are expected to grasp its meaning.

Within the Golden Hour is often on the repertoire of ballet companies around the world. What do you think makes it so popular?

I believe that one of the most successful aspects of Within the Golden Hour is its accessibility. It is truly beautiful and invites the audience to simply sit, absorb its beauty, and immerse themselves in it. They can let the beauty of the music, visuals, and choreography wash over them. At the center of the ballet is the pas de deux. I often ask the dancers to envision themselves standing on a highland peak, surrounded by shifting weather and swaying grass. If you've ever visited Scotland and driven through a glen, you might know how the highlands have this incredible movement that flows through the grasses. It's almost as if the hilltops are made of cashmere. I encourage the dancers to imagine they are there, surveying the land that has been passed down to them, while speaking in a private, mystical language. To me, this is the heart of Within the Golden Hour.

What do you hope audiences will look for, or simply feel, when they watch it?

I believe Within the Golden Hour has gained popularity due to its ability to balance abstract and narrative elements. It elicits an immediate, visceral response from audiences. The music is glorious, and when combined with the painterly qualities of the choreography that is designed to capture and embody that music, as well as the beautiful lighting and the exceptional talents of the performers, it invites the audience to embrace beauty. In a time when we may not encounter much beauty in the world, this piece encourages viewers to surrender to the notion of beauty for 25 minutes and allows them to be touched by it in some way.

How excited are you for Atlanta Ballet to premiere Within the Golden Hour?

I am very excited about Atlanta Ballet's upcoming premiere of Within the Golden Hour. We are less than two weeks away, and I have already had some wonderful experiences watching the rehearsals via Zoom from my office in New York and connecting with the dancers. They are doing an extraordinary job with this piece, and I believe they will be triumphant. I look forward to seeing the results of their hard work.

Experience Christopher Wheeldon's Within the Golden Hour, along with works by choreographers Val Caniparoli, Yuri Possokhov, and Claudia Schreier, at Atlanta Ballet's mixed repertoire program, Golden Hour. This special performance will take place at the Cobb Energy Performing Arts Centre for one weekend only, from April 3-5, 2026. Don't miss it!