A new season of performing arts began at the Maine Center for the Arts Saturday night with Stars of the American Ballet, an ensemble of principal and core dancers from the New York City Ballet and American Ballet Theatre. Perhaps because a similar program opened the season last year, this gala was relatively small in terms of attendance but there was no lack of appreciation for the selection of pieces, which ranged in style from classical to contemporary.

George Balanchine’s neo-classical standard, “Apollo,” payed homage to the choreographer’s interest in pure lines and Greek imagery. Robert LaFosse in the title role was simply flawless, and principal ballerinas Susan Jaffe, Marianna Tcherkassky, and Kathleen Moore in the supporting roles, were careful and graceful, but didn’t consistently move in the inhumanly careful symmetry that this piece demands.

Similarly, the frolicking and athletic “Spring Break,” which was at times derivative of the weaving whirls and self-conscious artistry of “Apollo,” didn’t quite have the sharpness one might expect from these notable companies. It was, however, fun and light — like a 1950s summer movie, a kind of “beach blanket ballet,” with all the galloping and glee of a volleyball game but without the ball.

Certainly, the most fascinating and outspoken number of the evening was “Come Unto Me,” a rather jarring combination of retro imagery and modern harshness. Choreographed, sung, and written by a mysterious performer called only “Savior” in the program, “Come Unto Me” could only be called a hip-hop ballet. At the center of the stage, standing on a riser, was Savior himself wearing a black, Baroque-style, velvet suit, combat boots, and headful of tiny braids (a la Janet Jackson). With a recording of percussive music and background vocals, Savior sang a chant-like melody while two hip-hop dancers in loin cloths performed to either side of him. In the center of the stage, Marie France and Robert Conn performed a torchy pas de deux. At one point, France lay on the front of the stage and hung her torso upside down toward the audience, braced only by her spread-eagle legs which remained on the floor of the stage. The music beat wildly, the air was filled with smoke, and white lights flashed as this lusty and primal sex dance took place.

“Romeo and Juliet,” from Prokofiev’s ballet choreographed by Johan Renvall, was the only classical piece of the night. Dancers Susan Jaffe and Jeremy Collins nearly burst from their skin with the glory of young infatuation. They were as high as the stars in love, and exchanged many a consuming you-love-me-don’t-you looks. Shy gestures and breathtaking ecstasy marked the emotions of this little exerpt from the quintessential story of youthful drama.

The final offering for the evening was “A Salute to Fred Astaire and Ginger Rogers,” a ballet adaptation of the works of these well-loved American dancers of the 1940s. This showcase presented some of the finest dancing of the program.

In particular, LaFosse, who created this piece, danced the most marvelous duet with Tcherkassky. Together, they had the soul and spontaneity that was often missing from other members of the company. Jaffe and Collins, also partners in this piece, were likewise filled with the spirit of old-time show dancing. In general, Fred and Ginger never showed their carefulness; they always managed to dance so well that you forgot that they were studied performers. The two principal couples in this number really caught that jazzy and fluid looseness, and the other eight dancers who made up the corps were more rigid.

After the show, approximately 75 people gathered for a champagne and chocolate reception in the Bodwell Lounge, and were joined by several dancers.