New talent needs time to shine, and on Saturday night, New York City Ballet gave three young dancers a rare shot at significant roles. Sara Mearns took her first turn in the second movement of “Symphony in C,” and Sterling Hyltin made her debut in the third. Edwaard Liang, meanwhile, danced the lead role in Mauro Bigonzetti’s Diamond Project ballet “In Vento.”

The “Symphony in C” debuts were a study in opposites. Ms. Mearns had plenty of glamour and control during her adagio alongside Charles Askegard, a most able partner.The scene, however, lacked a sense of mood or mystery. It was a clean performance, but there’s more to this game than a checklist of steps completed correctly. And Ms. Mearns’s dancing suggested that she knew it. Here and there were flashes of creativity and deliberate choice – in the stretch of her neck or the flutter of her arms. But it takes more onstage comfort to turn those fleeting moments into something haunting throughout the entire piece.

Ms. Mearns put herself on the map this winter when she landed the Odette/Odile role in “Swan Lake.”Then a corps de ballet member, she exhibited a similar imbalance between technique and expressivity. She has since been given a promotion, which is tantamount to a vote of confidence. The sooner her confidence matches her gifts, the better.

Ms. Hyltin, by contrast, is a geyser of confidence. Her dancing in the third movement of “Symphony in C” must be considered together with that of her partner, Antonio Carmena. These two were like colts frolicking in the woods: They seemed equally joyful and loaded with personality. Which is all quite cheerful, until it was time for some tricky steps and partnering.

Ms.Hyltin has fast feet, but she sometimes sacrificed speed for clarity. Mr. Carmena created a few too many nailbiting moments in his partnering, which reversed the effects of all that passionate enthusiasm.

The ballet began and ended with dancers who set fine examples for these young artists. Jenifer Ringer danced the first movement with her unmistakable air of loveliness; the choices she made in terms of placement and emphasis are almost hypnotic in their charm. Abi Stafford danced the fourth movement with the speed and surety that come from ample physical strength. Her dancing was a relief after Ms. Hyltin and Mr. Carmena – like the running into a good friend at a party where you’ve made too much small talk.

A popular Balanchine ballet creates opportunities to watch dancers’ progress and development. But a new ballet, such as “In Vento,” can emphasize a dancer’s interpretive qualities. By that yardstick, Mr. Liang is a major force.

Benjamin Millepied originated the role for the world premiere earlier this season, but Mr. Liang has since made it his own. He created a solitary figure who was mysterious – somehow alone from the crowd – yet emotive in a stinging, human way.The crowd understandably went wild for him on Saturday night. It helps that “In Vento” is an excellent contemporary ballet with plenty for the dancers to do and newly commissioned music that is pleasant to the ear. And that’s not something that comes along too often.

Until June 25 (Lincoln Center, 212-870-5570)