It was a typical night in the life of a New York City Ballet fast-tracker: On Wednesday, Teresa Reichlen made her debut in the lead ballerina role of George Balanchine’s “Monumentum Pro Gesualdo,” then danced a demi-soloist role in Mauro Bigonzetti’s “In Vento,” and then returned to dance the solo role in the first movement of Balanchine’s “Brahms-Schoenberg Quartet.”

NYCB’s total-immersion policy, which began because the company was so small in its earliest years, has become hardened as artistic doctrine, and the results can be dicey. Ms. Reichlen is one of the company’s most talented young dancers, and her “Monumentum” debut was respectable, but it bore some of the earmarks of treadmill routine that inevitably accrue from a workload as relentless as hers.

It seemed like Ms. Reichlen wasn’t quite sure about the differences between this ballet and Balanchine’s “Episodes,” which she has been dancing a lot recently. Missing was the courtliness of the varied Renaissance conceits that are distributed palpably throughout “Monumentum.” Her performance was clean and for the most part unstrained, although she hiked her arabesque penches to 190 degrees, an unwarranted invasion of balletic boundaries put in place for good visual and aesthetic reasons. At the same time, she should have conveyed more intrepid impetuosity when it came time for her dive into an unsupported penche.

At NYCB, “Monumentum,” is customarily paired with Balanchine’s “Movements for Piano and Orchestra,” and danced by the same ballerina. But the ballets were made for two ballerinas – Diana Adams and Suzanne Farrell, respectively, – and on Wednesday, the two roles were once again apportioned to two different ballerinas.That made the performance a new beginning of sorts, and it was further noteworthy that both ballerinas’ roles were debut performances.

Rebecca Krohn’s debut in “Movements” was cautious but respectable. As opposed to “Monumentum,””Movements” is an aggregate of tics and twitches, haphazard flings of the limbs and knock-kneed gawkiness. The lead man and woman confront each other in defiant alienation alternating with collapses into entropy. Ms. Krohn was understandably tight and tense as she began her debut performance, but soon relaxed sufficiently to hit all the right marks and correct rhythmic intricacies. Both she and Ms. Reichlen deserve the repeat performances needed to gain traction on these ballets.

The common denominator linking “Monumentum” and “Movements” was the two ballerinas’ partner, Albert Evans, who was dancing each ballet for the first time. Slithering and slinking about, he was in his element.

Ms. Reichlen’s return to “Brahms-Schoenberg” was understandably more informed than her initial take on “Monumentum.” Her jumps in the “Allegro” were huge and springy and she securely prolonged her arabesques into authoritative punctuations. Dominating this movement, however, was Kyra Nichols’s positively magisterial authority in the ballerina lead. Ms. Nichols paced the many comings and goings of the role so that each built on the last and the “Allegro” progressed inexorably toward culmination.

Also on Wednesday night, Jenifer Ringer’s performance in the ballet’s “Intermezzo” was even better than it had been the night before. She swooped and swooned and glided like a sleek, mysterious bird.

Until June 25 (Lincoln Center, 212-721-6500).