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An all-Balanchine program that is remarkably energetic and free at New York City Ballet

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.

Judging by this show, New York City Ballet is doing fine in the aftermath of Peter Martins’s departure.

When you add it all up, this was a perfect closing show. It wasn’t without flaws but they were minor and the good far outweighed the bad.

Sterling Hyltin owns The Concert and seems to be having the best time of anybody onstage.

For that special evening out during the holiday season, you can’t go wrong with New York City Ballet’s warhorse version of The Nutcracker.

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

Sterling Hyltin rendered the sylph so enchantingly that I can’t imagine who could dance it better.

NYC Ballet's fashion-forward program of five new works helps to keep things interesting.

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. 

How lucky I am to live in a city where I can head over to Lincoln Center and catch an entire evening’s worth of Balanchine ballets, performed by the stellar artists that make up New York City Ballet. This gift is not lost on me; I may be becoming a jaded New Yorker, occasionally cynical and impressed by little, but I feel quite a thrill attending the ballet.

Who was George Balanchine’s greatest muse? If her name is on the tip of your tongue, and you think that she must be a famous ballerina, think again. From their first collaboration in early in the 1920s, composer Igor Stravinsky inspired and challenged Balanchine with his music, starting in France and then expanding into different countries.