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Megan Fairchild pours her heart into her final performances of Coppélia at New York City Ballet.

Concerto Barocco and The Goldberg Variations make an unbeatable, timeless pairing at New York City Ballet. 

A triple bill including Tiler Peck’s newest ballet for NYCB, does not entirely work. Too much blue light and sadness for one program.

A longtime NYCB fan favorite, Concerto DSCH  by Alexei Ratmansky, meets the New York premiere of Christopher Wheeldon's Continuum. But the evening belonged to corps dancer Ruby Lister in Edwaard Liang’s Distant Cries.

A triple bill comprising Balanchine's Symphony in C, Agon and Firebird could not have been more inspiringly danced by New York City Ballet.

Jerome Robbins' Dances at a Gathering and George Balanchine's Diamonds make a study in contrasts. With lots of debuts in the former and seasoned leads in the latter. 

Roman Mejia and a raft of soloist debuts galvanized Peter Martins' Sleeping Beauty. An elegant production with some incidental messiness and the structural liability of a princess' dependence on a kiss.

New York City Ballet presents a very entertaining quadruple bill which includes Alexei Ratmansky’s latest work, The Naked King, showing off the company’s comic talents.

Never has Justin Peck seemed more compositionally assured, and paradoxically freer, than in his latest ballet, breaking the mold of past work that mostly celebrated the camaraderie of his generation. 

NYCB has a winning triple bill with its Balanchine + Ratmansky program. Excellent dancing and contrasting works sends the audience home in buoyant mood.

Some excellent individual performances but a disappointing program for Contemporary Choreography I with New York City Ballet.

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.

Balanchine's much-loved yet maddeningly disjointed A Midsummer Night's Dream returns to New York City Ballet. Some glorious performances on opening night, some uneven. But the night belonged to the bugs.

A joyful, very gracious finale for a highly respected and loved principal dancer at NYCB. Andrew Veyette bows out with dignity and humility.

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.

NYCB presents five short pieces to the music of Maurice Ravel in a bill that showed off some promising debuts.

New York City Ballet deliver an enjoyable, diverse, if occasionally predictable triple bill with revivals of works premiered last season.

Two masterworks by Jerome Robbins, Brandenburg and A Suite of Dances, are joined by Wheeldon's steamy After the Rain and Ratmansky's Paquita challenge.

A wonderfully varied triple bill for NYCB allowing the company to shine across all ranks.

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. 

Peter Martins' Swan Lake continues to divide ballet fans. Can Sara Mearns unite them, 19 years after her astonishing debut as Odette-Odile? 

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.

Scenic designs left the most lasting impressions of a mixed bill at New York City Ballet featuring a world premiere by Justin Peck.

The whole evening had an excellence across four ballets that is a rare occasion. And it had a sui generis portrayal in Alexa Maxwell’s Novice. I would highly recommend seeing this program.

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.

The best performances of Balanchine’s Nutcracker are always the SAB children. Year after year, they capture not just the steps but the emotions behind Nutcracker.

What took so long, you may wonder, to get three female choreographers on a triple bill at New York City Ballet. This one yielded three keepers. 

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

 It was a remarkable performance and (unusual for Monumentum pro Gesualdo and Movements for Piano and Orchestra) led to a loud, prolonged ovation at the curtain call.

Divertimento from Le Baiser de la fée is revived infrequently. It is an odd ballet, as if Balanchine’s couldn’t quite resolve his troubles choreographing to this piece. 

Piano Concerto #2 dominated this program and as the closer, would have sent everyone home happy.

Five of the best-known dance companies based in New York City have united for a weeklong program every summer since COVID. This year they shared a stage but stuck to their own rep.  

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

Love Letter (on shuffle) is like a Taylor Swift Track 5. Full of romance and longing, and it makes its emotional impact every time.

Although Glass Pieces and Pictures at an Exhibition are on the surface very different ballets, they both draw us into their world. I wish NYCB had been able to find more compelling middle ballets.

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.

Alexei Ratmansky’s poignant and gripping new work breaks ground at New York City Ballet in a powerful triple bill.

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.

Some great and some lacklustre performances in the Jerome Robbins triple bill on opening night of New York City Ballet's winter season – and a missed opportunity.   

The final performance at NYCB’s fall season was the best one. One has to have just pure admiration for this company, its dancers, its history, its future.

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.

NYCB give first rate accounts of the first and last ballets but the filler suffered from miscasting and lack of chemistry.