New York City Ballet's second night begins with another mixed bag of new work with Polyphonia, by young resident choreographer Christopher Wheeldon. It is a poetic, mature piece for eight dancers, gracefully manoeuvred by Wheeldon through 10 pieces of music by Gyorgy Ligeti. Beginnings and endings are exquisitely crafted in highly inventive classic form. Splitting from ensemble to solos and pas de deux, the whole group dances impeccably. But it is two men who stand out - Sébastien Marcovici for sheer panache and Jock Soto for his incredible chunky, godlike presence.

Peter Martins's Ash (1991), though similarly sized, is more one-dimensional - a bit of a crowd-pleaser, chosen perhaps to give the younger members of the company an outing. Dashing eagerly through the piece, they aquit themselves charmingly.

Two pas de deux round off the second section. The first, Herman Schmerman (1992) by William Forsythe, is plucked from a larger ballet and set to the music Just Ducky by Thom Willems. It is a gorgeous, edible piece of choreography made dense and luscious by Monique Meunier and Albert Evans. Both of similar stature they dance as equals, powerful and casual at once. It is moody but even, bluesy but funky. A star performance.

Peter Martins' Zakouski (1992), performed by Margaret Tracey and Benjamin Millepied, creates an interlude of Russian music by Rachmaninov, Stravinsky, Prokofiev and Tchaikovsky with well-executed, but run-of-the-mill dance on the side.

The evening ends with American choreographer Richard Tanner's Ancient Airs and Dances for 18 dancers. Again, it is the music, a courtly score by Respighi, which demands most attention. The choreography is saved by some elegantly lyrical pas de deux and Maria Kowroski's long, curling legs tipped in white pointe.

Ends tomorrow. Box office: 0131-473 2000.