At New York City Ballet, George Balanchine’s choreography is heard in close conversation with Wolfgang Amadeus Mozart’s scores, treating classical music as an organizing principle rather than accompaniment. Balanchine shaped much of his late style in New York, and these Mozart ballets sit inside the company’s homegrown lineage of plotless, architecturally clear dance. What unfolds is less narrative than structure: timing, symmetry, and musical wit made visible through bodies. The critical point is that the choreography does not decorate the music; it argues with it, beat by beat.