A priceless gem among Balanchine’s ‘Jewels’

George Balanchine choreographed greater Tchaikovsky ballets than his setting of the composer’s third symphony (consider “Serenade” or “Theme and Variations,” for starters). And he choreographed greater Stravinsky ballets than his showpiece to the composer’s Capriccio for Piano and Orchestra (“Apollo,” “Agon,” “Violin Concerto,” take your pick).

But by juxtaposing these 1967 pieces with one using incidental music by Faure, Balanchine created or assembled “Jewels,” an evocation of different gemstones and periods of classical dancing that critic Walter Terry called “history’s first full-length three-act abstract ballet.”

As such, “Jewels” eventually became the Everest of 20th century ballet: the ultimate challenge for any company seeking to develop, test or display its Balanchine prowess.

The Kirov Ballet joined the contenders in 1999, and that production -- staged by Karin von Aroldingen -- reached the Orange County Performing Arts Center on Friday.

Although conductor Mikhail Agrest and the Kirov Orchestra provided authoritative accompaniments all evening long, and the Kirov corps remained exemplary, only the performance of the central, “Rubies” section (to Stravinsky) proved a priceless gem.

As in many other stagings, “Emeralds” (to Faure) offered fine individual performances but no stylistic cohesion. And when Kirov star Igor Zelensky suffered a back injury during “Diamonds,” the result left him and his stellar partner, Uliana Lopatkina, in obvious difficulty. (Zelensky reportedly was able to dance the same role again the following night.)

Because “Diamonds” (to Tchaikovsky) evoked bedrock Kirov style -- Imperial Russian classicism of the late 19th century -- Lopatkina sought to embody the pure, majestic essence of her artistic heritage.

Images of the suffering Odette in “Swan Lake” seemed to dominate her mind and body in the early pas de deux with Zelensky, but the emergency conditions of the performance soon left their partnership chancy or worse.

The sets by Peter Harvey lent glitter to “Diamonds” and “Rubies,” but deprived “Emeralds” of the haunting atmosphere that the choreography can achieve when the dancers seem to emerge out of darkness, as in the more persuasive Miami City Ballet edition.

Considered a tribute to early French Romantic ballet, the work developed contrasts between couples, but the Kirov performance exaggerated the contrasts by allowing Sofia Gumerova diva mannerisms that distracted from the exactitude of her dancing and looked even more excessive when compared to the luminous lyricism of Daria Sukhorukova. A curiously glum Victor Baranov and a characteristically spirited Andrey Yakovlev assumed major cavalier responsibilities here.

An essay in all-American 20th century neoclassicism, “Rubies” alternated the fabulous power of Tatiana Amosova and the corps with the dazzling speed and intricacy of Diana Vishneva and Andrian Fadeyev.

Vishneva seemed especially inspired by the radical juxtapositions in her role: flat-foot colloquialisms versus classical pointe, twisty floor contortions versus extensions in which her leg nearly grazed her ear, plus all those playful contests with Fadeyev to see who could be more slinky.

If the Kirov engagements in Hollywood and Costa Mesa confirmed the company’s return to greatness, Vishneva’s performances in “La Bayadere” and “Rubies” set a new millennial standard for ballerina star power, expressivity and technical brilliance. Other dancers possess some of these qualities, but who else commands all of them in service to the highest achievements of the art?