From the sublime to the ridiculous sums up Cincinnati Ballet's Winter Festival. The evening of four ballets opened Friday at the Aronoff Center for a one-weekend run.

        George Balanchine's “Tchaikovsky Pas de Deux” began things on such a high note that the remainder of the works seemed to be playing catch-up for the rest of the evening. Unfortunately, none of the others had the choreography to match the master.

        Mr. Balanchine's devil of a duet was the perfect vehicle to introduce the company's newest stars - Lorna Feijoo and Nelson Madrigal of Cuba. Their strong Cuban dance training was evident in everything they did from her fast beats and footwork that flashed by in a whir and his articulate feet and legs that propelled him effortlessly. They can do it all — turns (Ms. Feijoo whipped off six with barely a breath), leaps (both of them can jump as silkily as cats) but it's primarily their warmth that lingers. They connect to the audience in spite of the distance created by lights and a vast stage.

        Bart Cook staged the Balanchine piece meticulously for the couple. He also provided “7 X 5,” a Balanchine wannabe for two sets of five dancers (hence the “5” in the title). The “7” comes from the number of instruments used in the Camille Saint-Saens score (played wonderfully — as was the Tchaikovsky — by Carmon DeLeone's ballet orchestra).

        He referenced Balanchine unmercifully but was able to find his own clever way at times. A pleasant courtly dance, it tackles the question — sometimes humorously — of what to do in a dance with three girls and two guys. Its weakness was in not pointing you where to watch — the stage was often too busy.

        Which brings us to the final two works created by artistic director Victoria Morgan and Cincinnati Opera Director Nicholas Muni. “Beyond Innocence” premiered a couple seasons ago. Set to the music of Enigma, it purports to examine the passage from childhood into adulthood. As with the first time, it was well-received. I had a hard time getting past the odd costume designs (Mr. Muni) where most dancers appear to be wearing lampshades on their heads. There's a bit of posturing in the choreography with an emphasis on the percussive; ballet technique is secondary.

        “Out-O-Sense” is the latest collaboration. With its ridiculous look at the '50s and '60s, let's hope it's the last.

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