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The Four Seasons to a Verdi score starting in a familiar rum-ti-tum fashion immediately encouraged, and although dating from 1979 its decor and approach is 1950's looking back lovingly on 19th century opera ballets. Warm and 'ballet homely', it features God-like Kings and Queens walking on at points to complete elaborate tableau at the start or end of a season. What delightful, if bonkers, fun. And what a foil for such a steely troupe - but the steel is there as, within seconds of the start, 4 boys jump high and cleanly in perfect formation - not a sight we see a lot of in Central London ballet haunts. Oh the clarity, speed and general polish on display. Ashley Bouder was in Fall, all smiles, attack, fizz and confidence and I also liked Sara Mearns glamour in Summer and Daniel Ulbricht's checky Devil too.

Moves is in total contrast and has no music - it must prove challenging to set and dance. The lack of audible distraction, other than the tap and slap of pointe shoes, really makes you focus on the dancers much more. And it's a ballet that shows its dancers off well rather than itself perhaps. However Robbins as showman still delivers some unexpected moments along the way with an interesting starburst of dancers, a recurring dancers' line and some simple but clever light fades at the end of sections. I didn't expect to like it but I did.

The evening ends with The Concert, more Robbins as showman but with the surreal giggles for some of Chopin's piano music played live on stage. The piece was created within a couple of years of Balanchine's Western Symphony (mid 1950's) and it's hard to imagine such lovable works being created in today's more cerebral choreographic world. If you have never seen it then you are in for a treat at some point and NYCB's Sterling Hyltin and Andrew Veyette were wonderful as the ditzy blonde and the womanising Groucho with murderous intent. I left happy at the works I'd seen and even more happy at renewing acquaintance with a great company that moves thrillingly differently from what my UK-centric eyes expect. I guess if I saw lots of them I might get picky, but goodness we are lucky to see them here I reckon.

I just wish that advertised seat prices were cheaper and that the Coliseum had the bolt-holes and cheap seats/standing that enable fans to see such good dancers close to.