Ballet seasons come and go, but this spring, New York City Ballet is offering up more reasons than usual to place a call to the box office. On that list of reasons are three world premieres, three company premieres, and two retirements by principal dancers (during which hankies will be most definitely required).

Topping the list of new works is Christopher Wheeldon’s new version of “An American in Paris” (May 4, 7, 8 & 10). Set to George Gershwin’s 18-minute original score, this ballet condenses the ideas represented in the musical and movie. Cast in the leading roles are Damian Woetzel and Jenifer Ringer, both among the company’s strongest in dramatic roles.

But there’s even more to recommend this ballet: the set. Mr. Wheeldon brought in noted set designer Adrianne Lobel, whose Broadway credits include “A Year With Frog and Toad” and Stephen Sondheim’s “Passion,” in addition to Mr. Wheeldon’s own “Swan Lake.” The sets are intended to evoke iconic images of Paris as if through the eyes of an artist

While the Gershwin music may strike New Yorkers as familiar, there’s something a little more exotic in store, too. Ballet Master in Chief Peter Martins has created a new work that takes its name from its music: “Tala Gaisma” (“Distant Light”), a concerto for strings by Latvian composer Peteris Vasks (May 4, 5, 10 & 11). Leading dancers in this work will be Jock Soto, Darci Kistler, Sofiane Sylve, and Miranda Weese.

Principal dancer Albert Evans will also present the world premiere of his as-yet-unnamed work, set to an original score by Juilliard student Mathew Fuerst (May 4, 13 & 14). Freshly minted principals Ashley Bouder and Stephen Hanna will take the leading roles.

New York City Ballet will also have the opportunity to dance several ballets that premiered on stages other than its own. Chief among them is Jerome Robbins’s “N.Y. Export: Opus Jazz” (April 29 & 30; May 3, 5 & 7), which was originally danced in 1958 by Ballet U.S.A. Robbins took this small company to the first Spoleto Festival in Italy, where it presented “N.Y.” which is set to music by Robert Prince.

Also on tap are two works that premiered at smaller venues and were created by company members. Principal dancer Benjamin Millepied created the pas de deux “Double Aria” (May 4, 13 & 21) in 2003 for Sag Harbor’s Morriss Center. Maria Kowroski and Ask la Cour will perform the work, which incorporates music by Daniel Ott, a faculty member of the Juilliard School and Fordham College.

Soloist Edwaard Liang will also present his soulful ballet “Distant Cries” (May 4, 10 & 14), a pas de deux – for Peter Boal and Wendy Whelan. With music by Tomaso Albinoni, it was originally presented in March at the Joyce Theater under the auspices of Peter Boal & Company.

To see several of these new works in one evening, you need only a ticket to the company’s Spring Gala on May 4. The lineup will include all the new works except for “N.Y. Export: Opus Jazz.” But if a gala evening isn’t in your plans, there are plenty of other opportunities to catch the new additions mixed in with repertory ballets.

This season the company will dance 17 Balanchine ballets – including “Apollo,” “Union Jack,” “Divertimento From ‘Le Baiser de la Fee,'” “Jewels,” and “Ballo della Regina.” Other repertory works will include Susan Stroman’s “Double Feature,” Mr. Wheeldon’s “Carnival of the Animals” (starring John Lithgow), and Mr. Martin’s “Barber Violin Concerto.”

While you’ll have to move fast for the gala tickets, you’ll have to be even faster on the draw for the farewell performances of Peter Boal and Jock Soto, two of the company’s most masterful male dancers.

Mr. Boal, who was named artistic director of Seattle’s Pacific Northwest Ballet, has been a company member since 1983 and a teacher at the School of American Ballet since 1997. A brilliant creative artist, his dancing is known for its spry mix of the courtly gentleman and the playful boy. For his farewell on June 5, he will dance Robbins’s “Opus 19/The Dreamer.” The program will also contain “West Side Story Suite” and “Agon.”

Mr. Soto is retiring from the stage, but will continue to be a member of the SAB faculty. Known for his supreme partnering skills, Mr. Soto developed his clean, spare style since becoming a company member in 1981. His final program, on June 19, will include the work of five different choreographers: Robbins’s “Dance at the Gym” from “West Side Story Suite,” Mr. Martins’s “Barber Violin Concerto,” Mr. Wheeldon’s “Liturgy,” Lynne Taylor Corbett’s “Chiaroscuro,” and a portion of Balanchine’s “Union Jack.”

Though it’s cold comfort, these two artists will continue to have influence on ballet by training future star dancers. While we may not see them on stage, their influence will be felt. But they will be missed.

The New York City Ballet Spring Season begins April 26 at the New York State Theater (Lincoln Center, 212-870-5570).