The big news at Dance Theatre of Harlem, in time for its annual home season, isn’t the repertory, although the addition of another Balanchine ballet (the seldom-staged Raymonda-inspired Pas de Dix) is always a good sign. It’s that the company’s longtime resident choreographer, the excellent Robert Garland, has been anointed artistic director. Garland is a perfect choice, given his long, deep association with the troupe and his genius for injecting Black vernacular into the classical idiom. To welcome him, the season will feature three of his works, spread across four programs. To Aretha Franklin and James Brown, The Return mixes Soul Train funk with ballet perk. New Bach answers to the music’s melancholy architecture and its winsome serenity. The recent Nyman String Quartet #2 winks at Balanchine’s Agon, but with a different kind of jazz (a lanky hoofer’s relaxed patter) and its own kind of contest (an Invisible Man struggling to be seen). —Apollinaire Scherr