There was no need to take notes during the “Diamonds” portion of “Jewels,” performed on Wednesday night at New York City Ballet. Wendy Whelan and Nilas Martins danced with such purity that that it was memorable enough without any scribbles. I couldn’t take my eyes off it.

Mr. Martins, an increasingly dashing presence, was polished and masculine in his dancing. That extended to his partnering , which was smooth and gentlemanly – so much so that one hardly noticed him. Which, in this ballet, is part of the point. “Diamonds” is really a time to bask in the ballerina’s aura. With Ms. Whelan in the leading role, it’s easy to sit back and get lost in her movements. Her extensions appear so easy; just a lift of the leg, a lowering of the upper body, a twist, and then she’s nearly upside-down – but held firmly by Mr. Martins. The two seemed to fold well into each other, though in terms of shine, he folded into hers.

Miranda Weese and Damian Woetzel were magnetic in the pas de deux of “Rubies.” They interacted so fully with each other and with such playful zest that they seemed unaware of the rest of us. Ms. Weese tempered her flowery style into a more dynamic intensity – with a touch of romance. Mr. Woetzel was jokey and fun in the little runs around the stage, hamming it up. After his solo, he twirled off the stage in a series of quick turns that held the audience rapt. Light on his feet and able to create a mood with nothing more than a tilt of the head, he shines bright every time he takes the stage.

Teresa Reichlen danced as the soloist in “Rubies,” and proved again just how direct a dancer she is. Every kick of her leg and bend of her knee seems completed with total authority. Yet during the portion in which the boys come along to hold her wrists and ankles, then move her limbs like a doll, she observed them with a curious disdain.

“Emeralds” was not on such sure footing. Instead of a calm pond with gentle ripples, there were some choppy waves in this bay. Rachel Rutherford was clear, but not quite lush enough to give the impression that we were floating through the forest with her. We should have the sense that there are dandelion puffs being picked up from the ground by a warm breeze. Ms. Rutherford suggested more of a girl frolicking in that same breeze. Her partner, Stephen Hanna, is just the right artist for this lyrical ballet.

Jenifer Ringer, by contrast, had the elusiveness of a fairy spirit. She is what one might imagine to be an undine, scooping up flowers by a riverbed. James Fayette made for caring partner, but was less suited for this Frenchy ballet than for the jazzy American “Rubies” section. The men, including the third male dancer Seth Orza, looked to be scrambling to catch up to the music a few times here. But they made up for that with a tender, sad moment at the end, when the ladies have all flitted away, and they are left alone.

On a different note, Carrie Lee Riggins (one of the soloists in this performance) uses her hands and arms with a good dose of flourish, without being overly ornate, suggesting that she might someday make a fine “Emeralds” ballerina.

On the whole, this “Jewels” was one to relax into. It’s easy to allow yourself to slip into full appreciation mode with this ballet. It’s all just so easy on the eyes. After several days of staring at the clothing and accessories collections at Olympus Fashion Week, I found it a relief to be back where the sparkle comes not just from the clothes.

“Jewels” will be performed again February 12, 15 &17 (Lincoln Center, 212-870-5570).