Paris Opera Ballet
The corps express the crystalline structure of emeralds and rubies by clasping hands in the air (green or red), Diamonds make for a tighter bond, an intricate waist-level line.
The peroration is a treatise on formal beauty. A solo girl continues in the manner of a discourse en pointe animated by movement, then another girl, two girls and a boy, two pas de deux, the company. Fauré’s umber-and-pallor out of Puvis de Chavannes unwinding is revealed by analysis.
The New York Times reviewer was fooled, Rubies moves the air echt Balanchine. A “hot” ballet lending itself to a final comparison with Massine’s Parade.
Balanchine notes even the orchestration of Diamonds. The finale is a cotillion or ball, it might be Eugene Onegin, emerging from abstraction.
The direction for television suffers from “arbitrary divisions” (Kafka) but doesn’t add and detract.