August Bournonville, Marius Petipa, George Balanchine—three geniuses of choreography, each with his own philosophical approach to classicism, but all trusting ballet’s steps and finding meaning in them. “August 2.0” looks at eternal Bournonville solos, duets, and large formations—simultaneously robust and delicate. Ballo della Regina sees Balanchine at the opera, choreographing to ballet music from Giuseppe Verdi’s Don Carlos. It was a showcase for Merrill Ashley, a precision instrument if there ever was one, and the ballerina who dances her whip-quick solos must be secure and mercurial at once. The plush and sumptuous Act Three of Raymonda, one of Petipa’s last and grandest statements, is the evening’s finale. —L.J.