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Saturday, July 22


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A review of the Paris Opera Ballet, the New York City Ballet, and the Bolshoi Ballet in "Jewels" by Marina Harss for DanceTabs.


Emeralds, as usual, proved the most elusive, though the second night cast, and particularly Dorothée Gilbert in the role created for Violette Verdy, was able to tease out its magic, allowing its apparent simplicity and underlying gravity to speak for themselves. On opening night Laëtitia Pujol, an étoile since 2002, over-interpreted and under-danced. The phrases were clipped, the partnering (with Mathieu Ganio) sometimes awkward; but more irksome was her habit of looking out at the audience as if to say, “see how wonderful it all is?” Gilbert, on the other hand, held back the commentary, and simply danced, with grandeur, a boldness one seldom sees in the role, and a welcome suppleness. In the famous solo in which the principal woman dances only with her arms and hands before whirling off, as if swept up by a breeze, she was teasing and charmante, like a queen at her toilette, but never mannered.


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