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The company’s latest Firebird is Isabella LaFreniere. She’s perfect for the role. LaFreniere is tall, commanding, magisterial, with unusually liquid arms and an expressive back.

Modern dance choreographer Pam Tanowitz' first commission for New York City Ballet proved unruly yet fascinating, sandwiched between George Balanchine's enduring Valse-Fantaisie and Western Symphony.

An all-Balanchine program that is remarkably energetic and free at New York City Ballet

Tiler Peck is at her peak as an artist and let’s hope it lasts a long time.

Balanchine’s Jewels program is one of those can’t miss nights at New York City Ballet.

A high-spirited divertissement from the New York City Ballet.

The double bill of Liebeslieder Walzer and Tschaikovsky Suite No. 3 is a cloying juxtaposition that serves neither well at New York City Ballet. A handful of fascinating performances rescue the evening. 

In the mid-1960s, a visit to renowned French jewelers Van Cleef and Arpels inspired George Balanchine to choreograph a glittering ballet. New York City Ballet premiered Jewels in April of 1967 at the New York State Theater (now called the David H. Koch Theater) and it remains a fan favorite 44 years later, delighting audiences from that same stage.