On Sunday afternoon, Janie Taylor and Albert Evans filled in as the central couple in Christopher Wheeldon’s “Polyphonia.” Though they did not immediately create a sense of togetherness in their first duet, their later work made up for that. Fluid, yet sharp in the flexed-foot angles, Ms. Taylor handled the stretches and long extensions with beautiful ease. Mr. Evans proved the careful partner, adding his own sense of mystery throughout the work. Though the duet suggests a couple in turmoil, it ends on a contemplative note, with the pair looking out to the audience as if through a window.

Alexandra Ansanelli performed a haunting solo, in which she seemed to define a Wheeldon dancer: long body, curiously distant expression, and an insatiable appetite for something that’s floating just beyond her in the air.

The Sunday program began with “Square Dance,” led by Megan Fairchild and Nikolaj Hubbe. Together and individually, they treated this ballet with the utmost clarity. The patterns and gentle expressions here and there were delivered with a respectful sense of purity. Ms. Fairchild could have created a greater sense of ease or joy, but in keeping her own character so limited, she showed off the choreography. Mr. Hubbe gave his solo a bit of his Apollo-gear with full, strong weight in the curious curves.

In just its opening week, City Ballet seems to be dancing with richness and creativity. It would seem that the last year of intense repertory focus has had a lasting effect.

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On Saturday night, City Ballet presented Peter Martin’s entirely delightful “Todo Buenos Aires.” This ballettango crossover piece has been re-choreographed to include a leading man: American Ballet Theater’s Julio Bocca, as a guest artist. And with him around, they really ought to change the title to something like “Bring in the Man, Bring in the Machismo!”

Mr. Bocca brings an undeniable sexiness to this balletic take on the tango. But let’s not cheapen it: While he is very masculine, he is also a consummate artist. He’s able to blend his classical ballet training with tango so that it yields a sinuous and soulful end product. Just when you think it’s all in his hips, he cuts a melting line from his knees – or reaches out to a female dancer with longing that pulses through his arms. He is a star – and he has been given a wonderful vehicle in which to shine.

With “Todo Buenos Aires,” Mr. Martins has created something that is truly engaging. A six-piece band plays Astor Piazzolla selections on the stage, at the back of which is a dramatically draped dark fabric. There are two female dancers – Wendy Whelan and Darci Kistler – in black frilly dresses. The men – Albert Evans, Nilas Martins, Philip Neal, and Robert Tewsley – have a nightclub look and dance with Mr. Bocca sometimes as buddies, sometimes as rivals. The choreography plays with ballet partnering in ways that are daring and dramatic. The work for the men is strong and comes with a feeling of depth; the energy is earthy, and the lunges are low.

I am somewhat surprised to have enjoyed this ballet so much; the last year has been a bit overloaded with tango. But “Todo Buenos Aires” is fresh and dynamic. Mr. Bocca is a master.

Also on the Saturday night bill was a lackluster performance of Balanchine’s “The Four Temperaments.” For the most part, the casting was young and lacking in the mystery that a more seasoned crew presented last week. Sean Suozzi has potential and appears to posses a risk-taking character. But he had not enough psychical strength to get through the Melancholic variation convincingly. More was needed, too, from the elegant Ask la Cour, in Phlegmatic. He can grow into the role, but there is a gulf between his put-this-here treatment and that of the enigmatic, ruminating Arthur Evans on Tuesday night.

Crossing that gulf is what makes a creative artist. And one person who is already traveling on such a journey is Teresa Reichlen, who led Choleric again with her spellbinding, magnetic presence. When she poses, she pierces herself into the stage and through the hall. When she is lifted at the waist and throws her legs out in a quick split, she is a flash of lightening. Here’s hoping for stormy weather.

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If you’re willing to accept the logic that two out of three ain’t bad, then call up New York City Ballet and get yourself a seat for Tuesday night. I say this because “Ballo della Regina” is being performed along with “Todo Buenos Aires.” It’s the sort of program that will be remembered for a long time, if both pieces are delivered as well as they were last week. (The third piece, “Musagete” by Boris Eifman, you may remember for a long time, too, but for less favorable reasons.)

“Ballo,” as they call it, was presented on Wednesday night. And the bottom line here is that Ashley Bouder was born to dance it. Set to music from Verdi’s “Don Carlo,” the choreography requires a ballerina with fast-action feet, glorious showmanship, and easy musicality. Frankly, she’s got it all – and more. With the sparky Benjamin Millepied as her partner, the verve on stage was brimming; he himself can breeze through all the zippy, bouncy work – and he has a gentlemanly air in partnering.

Tomorrow night, soloist Joaquin De Luz is taking the role. And the combination should be an exciting one. Few male dancers combine elegance, speed, and technique the way he does. As a native of Spain, he once studied bullfighting, and it shows in his unshakable poise. With Ms. Bouder and Mr. De Luz on stage together in this particular ballet, don’t expect to stay in your seat.

“Polyphonia” will be performed again January 15 at 2 p.m. & January 21 at 8 p.m.; “Todo Buenos Aires” will be performed again January 11 at 7:30 p.m., January 14 at 8 p.m., and January 16 at 3 p.m.; “Ballo della Regina” will be performed again January 11 at 7:30 p.m. (New York State Theater, 212-870-5570).