George Balanchine’s “Mozartiana” received dazzling treatment last week at American Ballet Theater. On a series of mixed bills, the neoclassical, plotless work – one of Balanchine’s last – provided a dose of purity.

On Saturday night, Julie Kent danced the lead, and it was a homecoming of sorts. Ms. Kent first appeared in this ballet when she was all of 13, cast as one of the four youngsters who bring a sense of life’s pas sage to this ballet. The ballerina then was Suzanne Farrell, but tonight, Ms. Kent assumed that mantle – and did so glowingly.

Initially there was an overly pristine, almost plastic, quality to her performance, as if she could have been dancing a 19th-century role. But an angelic graciousness took over, which then gave way to a more clean, more Balanchine style. Some moments were a bit too cute or flirty, but overall it was a vivacious, fresh performance. Her partner Angel Corella, too, was in fine form, delivering the bouncy, tricky footwork in the male role with polish and verve. The two were a picture of radiant joy, beaming at each other and bringing out the best in each other.

On Thursday evening, Veronika Part danced the lead, bringing that sense of beguiling mystery that she has. Ms. Part, a transfixing dancer, created a feeling of maturity in this ballet – not in terms of age but understanding and artistry. Her long swoops of the arms and back bends were full and undulating. To see her stretch up into an arabesque on point was a sumptuous image. Her “Preghiera” is that of a woman who knows things, who has been through life’s joys and pain. One gets the sense that Ms. Part is a thinker.

Though her partner, Maxim Beloserkovsky, certainly showed her off with graciousness, Ms. Part kept up the image of the ballerina as a fine jewel. She projected confidence and strength with an incongruously sweet feminine air. She is truly a dancer that the young girls in this ballet can look up to.

Ms. Part wasn’t the only one lighting up the stage. The four women of the “Menuet” section – Kristi Boone, Sasha Dmochowski, Erica Fischbach, and Sarawanee Tanatanit – gave truly beautiful performances. These are girls one sees often in the course of a season, but in this ballet they seemed to come together to collectively shine. Ms. Boone and Ms. Dmochowski, in particular, displayed the sort of magnetism that keeps you interested in the growth and development of dancers.

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“Mozartiana” concludes this season’s premieres at ABT. The season offered up development on the part of male dancers. Herman Cornejo’s dancing is evolving from show-stopping athletic technique to a broader artistry. Danny Tidwell came dashing into the spotlight with a magnetic style, and we’ll surely be seeing much more of him. Paloma Herrera seemed to extend her dramatic range in Christopher Wheeldon’s “VIII,” a ballet that also gave Angel Corella a shot at some meaningful character building. From the principals to the soloists to the corps, ABT has a great deal of talent right now, and all pistons seem to be firing. If this keeps up over the winter, the company’s spring season at the Met is going to be spectacular.