En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Teresa Reichlen

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

From the frivolous to the profound, New York City Ballet celebrates the galvanizing partnership of George Balanchine and Igor Stravinsky.

Union Jack isn't a Balanchine masterpiece – it's more of a fun-sterpiece, which is even better.

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."

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.

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

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

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

A high-spirited divertissement from the 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. 

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

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

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.

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. 

The YAGP Gala showcases young dancers who will go on to lead the world's ballet companies.