Balanchine considered Mozart’s Divertimento No. 15 the finest ever written, and to compliment the sparkling score, he created a work of prodigious ingenuity featuring a regal cast of dancers.

When asked to present a work at the Mozart Festival held at the American Shakespeare Theater in Stratford, Connecticut, in 1956, Balanchine originally planned to revive Caracole, an earlier work set to Mozart’s Divertimento No. 15. Instead, he created a new ballet that used many steps from the old, and he named the new ballet after the music, which he considered the finest divertimento ever written. The divertimento genre reached its zenith amid the parties and informal entertainments of 18th-century aristocratic life. Divertimentos did not have a fixed structure; the number of movements could vary from one to twelve, and they could be scored for one instrument or a chamber orchestra. Divertimento No. 15 is choreographed for eight principal dancers, five women and three men, with an ensemble of eight women. The ballet omits the second minuet and the andante from the sixth movement; a new cadenza for violin and viola by John Colman was added in the late 1960s.

A virtuosic ballet, Tschaikovsky Pas de Deux is brief, beautiful, and beloved – an adrenaline rush for both dancers and audiences.

For the original production of Swan Lake in Moscow in 1877, Tschaikovsky composed a pas de deux for Act III at the request of Anna Sobeshchanskaya, a Bolshoi prima ballerina who was one of the first dancers to perform the lead role. Since it was composed later than the rest of the music, it was not included in the published score and was therefore not available to Marius Petipa when he choreographed his famous Swan Lake in St. Petersburg, in 1895. In its place, Petipa moved some music from Act I to Act III, and it is this piece that is now well-known as the Black Swan pas de deux. Well over half a century later, the complete and original Swan Lake score was found, including an appendix with the lost pas de deux. Hearing of its historic discovery, George Balanchine asked for — and was granted — permission to use it for his own choreography. The result is an eight-minute display of ballet bravura and technique.

With delightful narration written by John Lithgow, Carnival of the Animals imagines a schoolboy’s night in the Museum of Natural History and the outlandish museum residents who come to life as versions of his teachers, classmates, and family members.

Created for New York City Ballet in 2003, Christopher Wheeldon’s Carnival of the Animals is set to Camille Saint-Saëns' humorous musical suite of 14 movements that the composer created for a private performance in 1886. Wheeldon’s ballet features a cast of nearly 50 dancers and tells the story of a young boy, Oliver Pendleton Percy the Third, who falls asleep in New York’s American Museum of Natural History, and dreams that the people in his life — family members, teachers, classmates — have all been transformed into animals. The production features a text written by the award-winning actor John Lithgow, who performed the narration in the original NYCB production. For the 2013 revival of Carnival of the Animals, the narration was performed by the stage and screen actor Jack Noseworthy.