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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.

With a trio of excellent performances, Balanchine's sassy Rubies proves the hit as Jewels – a relatively recent acquisition – returns to the Wiener Staatsballett. 

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.

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.

Atlanta Ballet began its season with a mixed bill which amply demonstrated the versatility and capabilities throughout all the ranks of the company.

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.

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.

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.

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.

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.

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. 

Ballett am Rhein offered three pieces with no narrative, but this triple bill has broad appeal across the full spectrum of ballet and dance.

Which choreographer's adaptation of A Midsummer’s Night Dream is superior, Ashton or Balanchine? This season, New Yorkers get to compare as ABT revives Ashton's The Dream as part of its Fall season. 

Yet the audience loved it, just as they love every performance of A Midsummer's Night DreamI've ever attended. This ballet is a tribute to Shakespeare, a tribute to love, a tribute to dance. One walks out feeling as if one's "soul is in the sky."