{shortcode-1835fe8a928454125f0921cc1fadc623d5051de8}

On Sunday Nov. 9, the Citizens Opera House sparkled with anticipation as George Balanchine’s “Jewels” made its long-awaited return to the Boston Ballet. A staple of American ballet, the abstract ballet hasn’t graced Boston’s stages since its last performance — also with the Boston Ballet — in 2014, making its revival both nostalgic and exciting.

The excitement was heightened by the debut of WanTing Zhao, Boston Ballet’s newest principal dancer, who previously performed with San Francisco Ballet. This was her first performance of the “Diamonds” pas de deux with the company. Zhao brought refined clarity and poise as she made her first steps in Balanchine’s classic.

Compared to Boston Ballet’s production in 2014, this revival embraced a noticeably simpler design. The company stripped away the ornate jewel backgrounds, opting instead for a simple color-wash backdrop. The minimalist approach had a profound effect as it allowed for the neoclassical qualities of the ballet to emerge. Without the elaborate scenery, the clean lines of the dancers and the geometric formations of Balanchine’s choreography were able to stand out.

“Emeralds” opened the show with a soft and elegant glow, reminiscent of French Romantic ballets. Balanchine choreographed “Emeralds” as a tribute to his time choreographing for the Ballets Russes in France. The inspiration from early romantic ballets like “La Sylphide” and “Giselle” was unmistakable, especially with the romantic, flowy skirts worn by the dancers.

For some, this section of the ballet can be an acquired taste. Led by soloists Lia Cirio and Schuyler Wijsen, Lauren Herfindahl and Lasha Khozashvili, and the trio of Sun Woo Lee, Kyra Muttilainen and Haley Schwan, the cast moved with a quiet delicacy. Balanchine’s choreography is intentionally understated, unfolding in slow lyrical lines and hushed musical phrasing of Gabriel Fauré’s score. Its true beauty reveals itself to those willing to lean into the unhurried pace. And when one does, the effect is enchanting — “Emeralds” lingered in the mind long after the last notes of the orchestra faded.

“Rubies” provided a stark contrast to the French elegance of “Emeralds.” Guided by Ruoting Li’s articulated and brilliant piano playing, the dancers launched into a dance overflowing with American modernism — Broadway flair and jazz. The shorter skirts and the crisp, angular movements immediately signaled a shift in the tone of the ballet. Stars of the act, Ji Young Chae and Jeffrey Cirio, joined by Chrystyn Mariah Fentroy, filled the stage with sparks of energy. Their claps and deliberate taps of pointe shoes echoed audibly through the hall.

As the curtains rose to reveal the iconic “Rubies” opening, in which Fentroy and the corps balanced en pointe in a line while holding hands, the scene instantly captivated. Each step and turn felt like a burst of electricity. Chae and Cirio brought charisma and graceful boldness to their pas de deux, softened by a touch of the child-like playfulness that Stravinsky’s witty score invites. This gave the dancers room to play around with the unconventional skips, emboîtés, and even the rhythmic claps.

And finally, it was time for the regal “Diamonds.” This section is Balanchine’s tribute to his education in St. Petersburg at the Vaganova Ballet Academy. The choreography is also reminiscent of the classical precision of the Mariinsky Ballet, a ballet company closely related to the Vaganova Academy.

The coda — the polonaise — was especially striking as its grand, interlacing formations unfolded with the elegance of a royal ball. As the dancers processed across the stage, framed by white silk curtains and a crystal chandelier in the center, the scene felt lifted straight from Tolstoy’s “War and Peace,” echoing the grandeur of Natasha’s first ball.

In contrast to the ceremony of the coda, the pas de deux was seeped in the essence of classical ballet. Accompanied by Tchaikovsky’s brilliant score, the choreography carried with soft, flowing musicality — even the still poses were fluid. Every arabesque, every suspended lift, and every assisted turn glided weightlessly across the stage, sustained with clean technique yet infused with so much emotion and connection. Zhao and Patrick Yocum truly brought Tchaikovsky’s Third Symphony to life, drawing out a depth of emotion that was so powerful even in a ballet without a narrative.

The performance was also made special by the amount of American ballet history present on stage. The costumes, modeled after the original design made for New York City Ballet by Barbara Karinska, carried the authenticity of Balanchine’s “Jewels.” And Boston Ballet’s own longstanding history with the choreographer gave the revival an added sense of legacy, making it feel like a continuation of the tradition that helped shape American ballet as we know it today.

“Jewels” is a true staple of Balanchine’s repertoire, and Boston Ballet performed it with remarkable clarity and elegance, as well as heartfelt passion. Although we said goodbye to the jewels on Nov. 16, we can only hope to see it return to Boston again soon.

—Staff writer Anastasia Poliakova can be reached at anastasia.poliakova@thecrimson.com.