I am throwing out this question - why did Balanchine reject Giselle as a ballet for his company?
I recently saw a 1969 film version of the ballet with the amazing Carla Fracci and Erik Bruhn. I have seen it on stage as well. In the first act, for much of the time the corps is animated wallpaper. In the second act, the corps stand, arms crossed in the distinctive posture, for long periods of time. The second act especially has its longeurs, even in the solo of Myrtha, danced by Eleanor D'Antuono. Again, you have the wallpaper of the corps, standing in position for lengthy periods.
This is, as any Balanchine afficionado knows, contrary to everything Balanchine conceived of. Balanchine's corps is integral to the ballet. There is no standing in pretty poses. Also, Giselle depends a great deal on mime, when the dancing comes to a stop and the story is told. Balanchine's choreography requires minimal, often no, story telling through mime. Think of the innovations of Symphony in C and Concerto Barocco - the corps dances throughout, and they are "storyless". So is Jewels. So many examples.
I'd like to inquire of those with more knowledge of Balanchine and Giselle, as to whether my theories are correct, or if there is more to Balanchine's rejection of Giselle.