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A sublime Robbins-Balanchine pairing at New York City Ballet, it was Robbins’ Goldberg Variations that came off best.

New York City Ballet offered a few exhilarating moments in a mishmash of a program from the company with arguably the greatest rep in the world.  

NYCB's triple bill that harks back to the 1950s proves a love letter to an America that never was.

A slightly under par opening night at New York City Ballet but nevertheless, some strong individual performances.

When We Fell, Kyle Abraham’s bracing new piece for NYCB, made a minimalist statement on a maximalist quadruple bill, also notable for stunning ensemble work in Alexei Ratmansky's Odesa.

Opening New York City Ballet's spring season, a quadruple bill of major and minor Balanchine eventually proceeded after protestors infiltrated the Koch Theater and created a diversion. 

A winning mixed bill at New York City Ballet, featuring three stylistically and conceptually very different works, yielded many gems. 

Last night’s New York City Ballet program gave you an idea of Tallchief’s versatility and depth in a fitting tribute to her great talent.

Brahms-Schoenberg Quartet comes across as a work with fragments of greatness rather than a masterpiece but the rest of the evening offers sheer brilliance.

Coppélia is a gift from Balanchine and Danilova to classical ballet, in this 50th anniversary revival.

New York City Ballet dancing Balanchine's A Midsummer Night's Dream is the happiest way to end a long season.

Underneath, There Is Light was soothing, expansive and uplifting. One could see it becoming a regularly revived work.

An intermittently sparkling evening culminates in a thrilling explosion of art.

One minor Balanchine, elevated by commanding performances; a rare Albert Evans; Peter Martins at his most compelling and Jerome Robbins at his funniest.

An uneven performance with mishaps and mis-pairings, yet still offering some outstanding individual interpretations.

Unlike Tiler Peck’s ballet, the stories of Odesa continue to live in your head.

Someone at New York City Ballet needs to believe in Orpheus before they present it again.

New York City Ballet marked its 75th anniversary with the same triple bill that caused so much excitement at City Center in 1948: Orpheus, Concerto Barocco and Symphony in C.

An evening of George Balanchine’s joyous, kitschy send-ups, with clever parodies of Petipa ballets.

An auditorium packed with former company members usher in New York City Ballet's 75th anniversary with George Balanchine's ornamental triptych. 

 Both the new works are accessible ballets in the neoclassical style that is typical of the company.

Recent retirements within NYCB have resulted in uneven performances, but there is still hope for future spring programs.

 The melancholy ending was a fitting farewell between ballerina and ballet. The heartmelting, beautiful Duo Concertant alone was worth the entire price of admission.

The fall season opens with three Balanchine ballets and what felt like a gesture of thanks to a trio of ballerinas for their many years of service to the company.

Gonzalo Garcia bows out from NYCB with a ridiculously ambitious program of Robbins, Peck and Balanchine.

A trio of audience-pleasing Balanchine ballets as a blizzard blows through New York City...

After the cancellation of New York City Ballet’s Nutcracker season in 2020, the warhorse to end all warhorses returns to delight holiday audiences. 

Several important firsts at New York City Ballet: two female choreographers; the first black female choreographer; the first collaboration between a female choreographer and female composer. But the longstanding practice of pairing choreographers with fashion designers continues to prove problematic.  

To celebrate its return to the theatre after lockdown, New York City Ballet pulled out all the stops with a triple bill of Balanchine's Serenade and Symphony in C and Wheeldon's After the Rain. The house went wild. 

Alexei Ratmansky draws out exceptional individual qualities of each of five ballerinas in his intriguing world premiere for New York City Ballet, set to spoken word and live piano.

Ashley Bouder, Tiler Peck and Megan Fairchild were at the top of their game in a Balanchine triple bill at New York City Ballet

Union Jack isn't a Balanchine masterpiece – it's more of a fun-sterpiece, which is even better.

Whatever your taste in ballet, this program probably had it: Wheeldon's DGV meets Balanchine's Door and a Sigh and Raymonda Variations. 

Alexei Ratmansky and Justin Peck are all the more impressive among choreographers working today because of how many of their works seem destined to stay in the repertoire for a long time to come.

Twelve years after its creation, we’re still talking about what’s going on in Russian Seasons and we’re still looking forward to what the next dancer in gold, or red, or green will do with the role.

Judging by this show, New York City Ballet is doing fine in the aftermath of Peter Martins’s departure.

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

Bernstein's On the Town is luxuriously cast, crisply played, and impressively danced in a much-more-than-semi-staged production at the San Francisco Symphony.

An all Robbins program at New York City Ballet is one of my favorite things.

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. 

A flock of women triumphed on opening night of Peter Martins' patchy Swan Lake at New York City Ballet: the peerless Sara Mearns as Odette-Odile; Ana Sophia Scheller, Tiler Peck and Megan Fairchild in a spectacular pas de quatre; and corps dancers Jacqueline Bologna, Baily Jones, Alexa Maxwell and Claire Von Enck as the Four Little Swans. 

How lucky I am to live in a city where I can head over to Lincoln Center and catch an entire evening’s worth of Balanchine ballets, performed by the stellar artists that make up New York City Ballet. This gift is not lost on me; I may be becoming a jaded New Yorker, occasionally cynical and impressed by little, but I feel quite a thrill attending the ballet.

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.