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

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.

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. 

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

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.

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

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. 

Concerto DSCH received a raucous reception during curtain calls. It’s a classic closer for an evening in that it sends everyone home happy. It doesn’t below as the middle ballet. Programming gods at NYCB, are you listening?

Partita has emerged as one of the stronger Peck ballets. If we see more Partita and less Principia, that’s a good thing.

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

Balanchine’s Nutcracker may have premiered in 1954, but every year tickets sell out for this festive treat. 

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.

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.