For my own reference:



The company’s spring season draws to a close with a week of “Le Corsaire,” a pirate caper famous for its sexy slave solo—a specialty of Nureyev’s, and, more recently, of Ángel Corella’s. The ballet is full of juicy roles in which the company’s many excellent men can show their mettle. With its potluck score—which includes music by Drigo, Delibes, and Pugni—and delirious plot, the piece isn’t high art, but it can be great fun. On July 7, the last day of the season, Ethan Stiefel, ballet’s all-American boy, takes his leave from the company with one final turn as the slave Ali. (Or catch Ivan Vasiliev, July 4-6.) (Metropolitan Opera House, Lincoln Center. 212-362-6000. July 4 at 2, July 5-6 at 7:30, and July 7 at 2 and 8.)

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Ballet was born in France, and this is the world’s oldest ballet company. Its exquisite ballerinas, all trained at the company’s school, are famous for their poise and their crystalline technique. The company’s repertory, however, is more eclectic: a combination of the classical and the contemporary. The Festival engagement offers a little taste of everything: the diaphanous Romanticism of “Giselle,” the stylized neoclassicism of Serge Lifar’s “Suite en Blanc,” the storybook liveliness of Roland Petit’s “L’Arlésienne,” and the charisma of Béjart’s “Boléro.” (In the second week, the company presents Pina Bausch’s “Orpheus and Eurydice.”) Try to catch Nicolas Le Riche in “Boléro” and Clairemarie Osta in “Giselle.” | July 11-12 at 8 and July 15 at 3: “Suite en Blanc,” “L’Arlésienne,” and “Boléro.” | July 13 and July 17 at 8 and July 14 at 2 and 8: “Giselle.” (David H. Koch, Lincoln Center. 212-870-5570.)

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