New York City Ballet

New York City Ballet will present a mix of old and new works, including premieres by Justin Peck, Alexei Ratmansky and Caili Quan, and introduce fewer intermissions.

Click through as Joseph Gordon performs a section from Alexei Ratmansky’s new dance for New York City Ballet, a reaction to the horrors of the war in Ukraine.

Justin Peck, who directs and choreographs a narrative dance musical to Sufjan Stevens’s concept album “Illinois,” resorts to his usual standby: community.

New works, by Alexei Ratmansky and Tiler Peck, and revivals brought solace and sadness, beauty and humor — and full-out, thrilling dancing this winter season.

The institution co-founded by George Balanchine celebrated at Lincoln Center on Monday night.

In “Solitude,” a stellar, haunting work that had its premiere on Thursday, New York City Ballet’s artist in residence brings a photograph to life.

The nonbinary dancers Ashton Edwards and Taylor Stanley made history in their magnetic performance of Justin Peck’s “The Times Are Racing” at New York City Ballet.

Alexei Ratmansky, arguably the most important ballet choreographer today, has made a deeply personal first work as artist in residence that reflects his Ukrainian roots.

George Lee was the original Tea in “George Balanchine’s The Nutcracker.” A documentary filmmaker found him and a lost part of ballet history in Las Vegas.

Peck’s choreographic debut for the company, the lively “Concerto for Two Pianos,” shares the spotlight with Alexei Ratmansky’s mysterious, wonderful “Odesa.”