New York City Ballet’s all-Balanchine program on Wednesday night presented even more evidence that last year’s intense focus on the master’s choreography has paid off. Though it doesn’t show up in every dancer’s performance in the same way, the company is turning out gripping work, night after night.

Start with Sofiane Sylve. It’s impossible to really know what forces are at work backstage, but it looks – it feels – as if Ms. Sylve is leading the company the way a captain leads a sports team. When she’s on stage, everybody seems to work higher, stronger, faster. Wednesday’s performance of “Tchaikovsky Suite No. 3,” especially the final movement, was a thrilling case in point.

Ms. Sylve is such a magnetic dancer that it is almost impossible to watch her and breath at the same time. Forget blinking. Her soaring grandeur is supported with an uncommon strength and a genuine look of joyful pride. Her partner, Charles Askegard, again seemed to draw from her; the corps de ballet around her, too, seemed to take on radiance from her.

“Suite No. 3” had many other noteworthy performances, too. The dramatic Stephen Hanna courted the elusive Ellen Bar in the first movement, “Elegie.” Mr. Hanna created the picture of a truly lonely soul, enraptured with the fleeting girl (or memory) who is so quick to escape his clutches. Ashley Bouder and Tom Gold were a vivacious pair for the Scherzo movement; each with their own dash and verve, they bounded through the music briskly together.

Though this ballet was performed last year as part of the centennial, it was delivered with greater soul-stirring energy this week. That was true right on through the finale, “Tema Con Variazioni,” which Ms. Sylve led with such force. Conductor Andrea Quinn put the orchestra through the Tchaikovsky score with a pull-out-the-stops vigor that gave the ballet a glorious effect.

The program began with “Square Dance,” led by Megan Fairchild and Peter Boal. Ms. Fairchild is a wonder to watch in this ballet because she can deliver intricate precision footwork along with a flowing, yet poised upper body. Even more flow – or simply more relaxed arms – would enhance her work. Mr. Boal, as they say, put on a clinic.

What Mr. Boal has that the corps boys behind him must learn is discretion and finesse. Rather than throwing his legs out in an overly wide second position, then landing and having to heave himself up again, Mr. Boal uses smaller movements. This allows him to keep his head and shoulders in an unshakable, gentlemanly posture. In his solo, the waves of his hands through the air looked as tender as if he were touching a woman’s back.

There were many good parts to the evening’s performance of “Stravinsky Violin Concerto.” But they didn’t quite add up. Nilas Martins stood out with stronger character and more risk-taking than usual in his dancing. Wendy Whelan and Albert Evans were aggressive in their pas de deux, and there were some marvelous passages, which flowed as if the two were simply improvising their work. But it was not the richest or most textured treatment. Alexandra Ansanelli added charm to the sharp edges, but didn’t quite mesh with Mr. Martins.

This ballet is loaded with unusual angles, flexed feet, and surprising interactions. And while it can be cheery, it’s also quite odd. Somehow, the cheer seems to be weighing in stronger than the oddities. A more even balance – or even if the oddities won the day – would make the happy parts more of a surprise.

“Square Dance” will be performed again January 22 at 8 p.m.; “Stravinksy Violin Concerto” January 18 at 7:30 p.m. and January 21 & 23 at 8 p.m.; and “Tchaikovsky Suite No. 3” January 15 at 2 p.m., January 18 at 7:30 p.m., and January 20 at 8 p.m. (Lincoln Center, 212-870-5570).