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

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.

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

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

Two world premieres and a piece created in 1975. Tharp herself came onstage to raucous applause. She might be “pop dance”, but audiences love it.

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.   

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

If the famous fairy variations in the Prologue can sometimes expose weaknesses, NYCB proved that it excels in pure classical ballet and not only in the neo-classical repertory.

When she retires next week, part of me likes to think she’s not really retiring. She’s just decided to stay in the Land of Sweets.

Both In the Upper Room and Nine Sinatra Songs captivate at moments; however, they comment more on who we were than who we have become.

George Balanchine's ballet brings joy to audiences year in, year out. 

The Four Seasons is such a happy, appealing ballet that the audience barely notice any unsteady moments. 

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

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. 

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.

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

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

BalletNOW returns to the Glorya Kaufman Presents Dance at the Music Center in Los Angeles. The production features dancers from six different major ballet companies, but fails to impress.

As the season closer, you want something like this that lets everyone have some fun.

Peter Martins's greatest legacy at New York City Ballet is his tremendous eye for talent and it was on full display at this matinee show.