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

Over twenty-two vignettes, some long, others short, a cast of thirty pedestrianizes ballet. The work suggests that who you are matters more than what you do. 

I must admit I like NYCB’s recent trend away from the themed programming. The combinations can seem strange, but the performances have more variety.

A matinee performance that was bright and polished across the board, boding well for the company's future. 

Sofia Coppola's film closed on a note of optimism. The message seemed to be: “Normality is just around the corner. We’re coming back.” 

New York City Ballet ends its Fall Digital Season with a festival of new choreography, including works by Justin Peck and Pam Tanowitz. 

Judging by the enthusiastic audience reactions to this program one might have to rethink the modern/ballet divide. Maybe there’s only two types of dance – good dance and bad dance. 

Disappointing new creations in NYCB's Fall Fashion Gala, leaving Balanchine's Symphony in C as a surefire closer. 

A triple bill of 21st-century ballets at the Koch Theater sees the return of Alexei Ratmansky's masterpiece, Pictures at an Exhibition. 

When de Luz reached down and laid his hand on the floor in the final Nocturne, it suggested to me that, on this night and with these dancers, the stage was sacred ground.

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

Miriam Miller is the latest ballerina to stand out from the crowded field at City Ballet and she may well be the best at such a young age since Sara Mearns. 

Dance, when fulfilled by such artistry as seen this evening, requires no embellishment. 

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.