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Serenade and Symphony In C demonstrate Balanchine's Petersburg roots and Agon those of his and Stravinsky's adopted home in America.

Wednesday night's Serenade had echoes of the Russian orthodox church, in Tchaicowsky's music, in the costumes and lighting, and in Balanchine's choreography and, such is its place in the canon, that an act of worship is not too far of the mark. Balanchine was never shy of altering works and Serenade is no exception, so even old hands may have seen a version with which they may not have been totally familiar. The favourite moments have all been preserved, many having grown organically out of the rehearsal process all those years ago in the early days of the School of American Ballet: the latecomer rushing in, the girl who fell and cried and the sublime "hidden" supported promenade. What a glorious work this is and how well it enabled the Company to get the season off to a flying start.

The second offering of the evening, Agon is a modern classic. A daring work at its première in 1957, not least for its casting of Arthur Mitchell in the Part II pas de deux, it still has the power to sharpen the senses. For the opening night, Company stalwarts Wendy Whelan and Albert Evans danced the pas de deux and were well supported by the remainder of the cast, not least Teresa Reichlen in the perennial favourite Bransle Gay. Although Agon is meant to be a competition, what it really demonstrates is the Company's cohesion and the fact that they are thoroughly steeped in the style required to do justice to the piece. Many companies around the world perform Balanchine's work with the support of the Balanchine Trust, but none can quite perform it like NYCB, and tonight was no exception.

Just when it seemed that the evening could get no better, Symphony In C burst upon the stage in all its glittering finery. Foot perfect and totally precise, this was an homage to Petipa with the slimmed down simplicity of Balanchine, having been stripped of its set early on it the repertory. Relevés and retirés were razor sharp and the dressing utterly precise. The Company made best use of the Coliseum stage and it was a delight to hear Bizet's youthful masterpiece so well played.

The Company looked so at home on the Coliseum stage that it is difficult to believe that the majority of the dancers were barely born when the Company were here last. Great promises for the rest of this season and let us hope that we will not have to wait as long again for their return.