Enter, then, Szentes, a noble—and indefatigable—partner, the pas de deux perfection personified, made even more heartfelt as set to Gershwin’s “The Man I Love” and “Embraceable You.” 

With Martha Carter’s evocative lighting, this was a kind of ballet heaven, the corps’ in-your-face unisons (another ACB draw is the close proximity to the performers), and refined elegance embodying the score and days gone by, where martinis and modernism ruled in Gershwin’s day. Familiar tunes, including “I’ll Build a Stairway to Paradise,” oozed both lyricism and longing, Szentes’ solos superb, his effortless leaps Astaire-like, his entrechats seemingly transcending time and space.

The second half of the program opened with a hum-along “Camptown Races,” Stephen Collins Foster’s ditty that segued perfectly into the Adagio from “Western Symphony,” the traditional American tunes originally arranged by Hershy Kay, with James and Kathy McMillen doing an equally stellar version here and throughout the evening. 

Szentes, now in cowboy mode, coupled beautifully with Quincey Smith (she’s also retiring at the end of this season), the costumes by Ruoxuan Li from Karinska’s original designs. Not exactly the John Wayne type, Szentes still radiated heat in his Stetson while high-stepping to the sounds of traditional Americana-type tunes, such as “Good Night, Ladies,” said ladies of the ballet including Berwick, Ruthie Dalby, Victoria Manning Long and Vanessa Meikle. 

Not really an adagio, but more a waltz tempo, which seamlessly blended über-classical partnering with the gestures of American folk dance, this foray into horse opera territory further exemplified Balanchine’s love of this country, with the women doing themselves proud.

Also in fine form was Pierson Hall as El Capitan, a sturdy partner to Madeline Houk’s Liberty Bell in the Grand Pas de Deux from Sousa’s “Stars and Stripes.” Replete with pirouettes, quasi-march steps and intoxicating lifts, as well as solo variations, the number thrilled. And while there was no enormous flag rising patriotically during the full-length work’s dazzling finale, the essence of the music paired with Mr. B’s movement vocabulary proved infectious.