I agree with Jack Reed about Balanchine being of different minds about a subject – like most artists he seemed to be throwing people off the track, or reposition the past to meet present needs. In a documentary somewhere he winkingly says this is the step we do when we do Giselle, when of course they didn't do Giselle at the time (except perhaps for Serenade).
The NY Times review of the production of Giselle that abatt cites doesn't credit Balanchine with the actual choreography but instead says:
The production would have more unity, and greater justice would have been done Mr. Berman, if Balanchine were called in to revise the choreography and Stravinsky to fix up the music...
Quite clearly everybody was out of step last night but Mr Berman despite a superb cast … As it was [Miss Alonso] might have been dancing it on the back of an elephant in Ringling’s circus… Stanley Herbetter, who has previously done an excellent Hilarion, was completely smotherd in his red flounces, which cut through the blue scenery and blue tutus (Mr. Berman had transformed the work into a “ballet bleu”) like a knife...
GISELLE IS DANCED IN STRANGE DECOR, NYT Oct 16, 1946
Balanchine did a short Sleeping Beauty for Ballet Theatre which was triple billed with Giselle (Nana Gollner, Igor Yoskevich, and Diana Adams) and Jerome Robbins' Interplay:
The evening opened with the second presentation of Balanchine’s new arrangement of Princess Aurora with Nora Kaye, serene, scintillating and elegant in the title role; John Kriza again, as Prince Charming, and Janet Reed dong a charming first “Bluebird” pas de deux with the assistance (if that is the word) of Eric Braun, who has excellent elevation even when his is nervous.
GOLLNER AT BEST IN ROLE OF GISELLE, NYT April 23, 1949
But Tim Scholl writes a complicated argument in From Petipa to Balanchine that Balanchine was always doing Sleeping Beauty, that the precious stones of SB also figure in colored costumed original Symphony in C and in Jewels. Which is how painters and writers work – anxiety of influence or whatever. As Cezanne was redone by Matisse and Picasso, so was Petipa by Balanchine.