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The programme included only two of these ballets. Strangely, the middle piece was a new creation, specially choreographed for the occasion by Thierry Malandain, but based on the theme of one of Lifar’s most seminal ballets, ‘Icare’. This was brought to Edinburgh for one of the recent festivals by Charles Jude and his Bordeaux Ballet . Whilst it had seemed dated, it still seems curious not to include it in the Paris programme given its historic importance as one of Lifar’s earliest important ballets (1935), that influenced a generation of French choreographers. The new piece, ‘L’envol d’Icare’ is intended to reflect Lifar’s commitment to pushing the boundaries of neo-classical technique. Based on Schnittke’s Concerto for piano and strings, and enlivened with bright designs and lighting, the ballet gave Benjamin Pech and Melanie Murel a chance to shine, but seemed obscure.
 

The two ballets by Lifar himself represented the two sides of his work, both as a dancer and choreographer, alike. As a dancer, he created Balanchine’s Apollo and Prodigal Son, for Diaghilev’s Ballets Russes, and was later a celebrated Albrecht, thus excelling in both dramatic and lyrical works. His choreographic oeuvre shows similar strengths.

The first ballet in the programme, ‘Suite en Blanc’, represented his development of classical choreography, a magnificent display of symmetrical geometry in dance, exploiting the use of different levels on the stage to highlight dance patterns. The series of technical studies was stunningly performed by an array of etoiles and premiers danseurs, including Le Riche, Legris, Dupont, Fiat and Osta, combining athletic strength with elegance. It was an uplifting performance of technical bravura which would make a perfect closing piece.
 

Whilst ‘Suite en Blanc’ seemed timeless, ‘Les Mirages’, created in the same period (the Occupation of Paris, during the war) appears dated, although in the 1940s it may well have seemed the more modern of the two. The obscurity, at a first viewing, may be due to the attempt to fuse surrealism and romanticism, and the heavy decor. The succession of characters tempting the Young Man was also confusing whilst the portrayals of the Moon and the Shadow (a female alter ego) were difficult to grasp. Karl Paquette was the Young Man on his journey of self discovery in a sensitive performance. In other performances some of Paris Opera Ballet’s older dancers were cast, such as Belarbi, Le Riche and Legris who were likely to produce an even more powerful interpretation. Letestu, as the Shadow, was implacable. The final scene, when the scenery lifts to expose a backdrop depicting the sort of open vista one associates with early Kylian or Bruce ballets, was the most moving as the Young Man is reconciled to his fate; and the meaning of the ballet finally became clearer, at least for this viewer.

This was the third programme over the years that the company has paid homage to their former star and director; and it was intriguing to see the roots of so much that still lives in the Paris tradition.