New York City Ballet began its winter repertory season on Tuesday night with an all-Balanchine program that included an uneven “Divertimento No. 15,” a haunting “The Four Temperaments,” and a vivacious “Cortege Hongrois.”

“Divertimento No. 15” seemed very much the first bill of a new season. Individuals anchored it, but the groups lacked cohesiveness. As a result, the string of solo variations provided the most to watch.

Megan Fairchild started things off with extremely quick port de bras and footwork, which she was able to complete with her lovely charm. Janie Taylor’s performance suggests that the contradictions in her dancing are only becoming more interesting. She’s sharp yet fluid, ethereal but real and cutting. Philip Neal seemed to be dancing with a more powerful, artistic mien. And the leading lady, Miranda Weese, concluded the run with her lush, distinguished regal air.

As for the groups, Jared Angle, Arch Higgins, and Philip Neal were astoundingly off-timing during their entrance. The “Andante” had moments of calm, but for the most part it was a tense affair: It wasn’t a performance that could convince you that you should come back for more. But then again, no matter what goes up first, it feels like a bit of a warm-up anyway.

The nervous mood had lifted by the time the curtain went up on “The Four Temperaments.” What a mysterious and engaging performance this was. Here, too, veterans were responsible for much – though certainly not all – of the character. Peter Boal gave a magnificent treatment to the Melancholic solo. Quiet and careful yet tormented, he oozed into the angles with personal style. He dances with utter command and deep artistry.

And a hearty welcome back goes to Albert Evans. He hasn’t really gone anywhere, but we just don’t get enough of him. He made up for it Tuesday night with a slinky solo in the Phlegmatic variation. What he shares with Mr. Boal is the ability to create a subtle mood; they are thinking, creative dancers. Surely, Mr. Evans was focusing on keeping his balance as he grabbed his instep and held his foot in front of him, but he also seems to be considering what he’s doing there and even the oddity of the gesture.

Adding to the sense of curious excitement were Alexandra Ansanelli and Stephen Hanna, who were purposeful and strong in Sanguinic. Teresa Reichlen seemed positively otherworldly as she insinuated herself throughout Choleric. This ballet gives the dancers so much to dig into – the ballet vocabulary is deconstructed and abstractly tossed around the stage. The Paul Hindemith score is full of energy, and the dancers adopt a look of secrecy – they seem to know something we do not.

Each of the dancers I’ve mentioned seemed to leave a trail behind, like a cartoon drawing of wisps of steam after a warm pie has been snatched from a window sill. They leave you wanting more, aching to be given another chance to understand what you’ve just watched.

After the meaty dancing in “The Four Temperaments,” “Cortege Hongrois” was a cotton-candy delight. Jenifer Ringer and James Fayette gave the character roles a zippy brightness. Every time they returned to the stage, the room seemed alive with their energy. Sofiane Sylve and Charles Askegard were the classical pair, and a marvelous one at that.

Ms. Sylve’s solo – which balanced majesty and femininity – was an example of the totally surety she brings to the stage. Her echappes were brilliantly quick and precise; she cast a spell with her chaine turns, which start deliberately slow and pick up whirling speed. If she were just a little more loose in the back, if she could melt just a little more, she might let us believe in the romance of it all.

Mr. Askegard complemented her with his dreamy element as a courtly, caring partner. His own work was strong and attractive; he seemed to dance up to Ms. Sylve. If her polish rubs off on him, and his romantic air on her, the exchange would be an exciting one.

In the Pas de Quatre, Alina Dronova, Jessica Flynn, Lauren King, Sarah Ricard displayed confidence and good timing. Dena Abergal danced her variation with loads of personality, which made the solo seem all too short. This ballet – set to music from Glazounov’s “Raymonda” – ends with a glittering, rousing finish. The kind that leaves you cheerful and looking forward to good things from the rest of the season.

“Divertimento No. 15” will be performed again January 6, 15 & 21 at 8 p.m., “The Four Temperaments” January 8 at 2 p.m. & 8 p.m. and January 16 at 3 p.m., and “Cortege Hongrois” January 6 at 8 p.m., January 22 at 2 p.m., and January 23 at 3 p.m. (Lincoln Center, 212-870-5570).