Robert Fairchild, on leave from Broadway’s “An American in Paris,” could have turned on all his ego as the lead man in “Who Cares?” Wonderfully, he did the opposite, focusing all his attention on his three leading ladies and often effacing himself in his partnering of them, while happily embodying the music’s jazz rhythms and poetically vernacular spirit. And in that ballet’s “Fascinatin’ Rhythm” solo, Tiler Peck gave (even more than on previous occasions) one of the most astounding performances before the public today: teasing rhythmic brilliance, impish speed and sensational oomph.

Mr. Litton opened with the overture to Bernstein’s “Candide,” a favorite of orchestras. (City Ballet’s band played it at a gala in 2010 under its last music director, Fayçal Karoui.) Mr. Litton has rearranged the orchestra’s seating to create a new balance of sonority. On Tuesday, Mr. Litton and his players ascended into full view to play this opener while the curtain remained lowered; the sound of the rearranged strings and wind sections became all the more exciting. This high-energy overture is, in its way, a good orchestral showpiece — loquacious speed, rattling brio, complex ensemble — though I find it introduces tunes for the first time as if it were reiterating them for the hundredth. This performance suggested that this orchestra’s sound is becoming both brighter and fuller.

Musically speaking, this program was pleasing but lightweight fare. More will emerge of Mr. Litton the dance conductor when he tackles Bizet, Verdi, Tchaikovsky and Hindemith later this week. But he is already well qualified. His many recordings include not only those Bernstein scores but also all the Tchaikovsky symphonies, and now he works for the company with the greatest number of Tchaikovsky ballets. He made his debut in November with “George Balanchine’s ‘The Nutcracker,’” and showed his skill at drawing out fresh aspects of phrasing and sonority. He also seems an effective accompanist to individual dancers.

The first obvious change Mr. Litton has made is to the overture to “Fancy Free,” which Bernstein set as a recorded vocal blues song, “Big Stuff” (lyrics and music by the composer). Since 1980, City Ballet has used the Dee Dee Bridgewater recording; the 1944 premiere used a recording by Bernstein’s sister, Shirley. But Bernstein originally had Billie Holiday in mind. (Robbins admired her, too.) And one of Ms. Holiday’s several accounts of this song is now played in Mr. Litton’s rendition. Dare we hope that Mr. Litton will move on to revise the awful Kay orchestral arrangement of “Who Cares?” I never hear it without wanting to jump into the orchestra pit and destroy the percussion. And, alas, I never watch the current production without wanting to destroy the costumes, hideous in color scheme and pattern.