And suddenly, on the very same program: Nureyev’s balcony scene from “Romeo and Juliet,” minus the balcony. At this point, the pas’ placement in the contemporary programming of the Ballet Festival feels like a concession to classical ballet, but it’s a cherished one. We witness Paris Opera Ballet étoiles Guillaume Diop and Sae Eun Park’s mastery of their craft: their soft and precise closings into picture-perfect fifth positions, their consideration of every step, be it one on the floor or an arabesque. In an age of noise and hyperstimulation, their composure and elegance feel sublime. This is a hallmark of the Paris Opera Ballet. Weeks earlier at New York City Center, other POB dancers—led by Hugo Marchand—reminded us how distinctive this quality is to their style. But back to the Joyce. Nureyev’s choreographically dense take on the Shakespearean tragedy has never been an easy sell. And yes, perhaps the grand pas de chat sequences going right and left are a set too many, but soon the couple find themselves again in very human, physical closeness. Those moments, departing from pantomime, build the dramatic narrative, giving a sense of urgency to their passion.

The above memorable pieces—from jazz to modern, contemporary to ballet—weren’t one vision of the festival or another. They were strong, singular voices telling gripping, universal stories. Unfortunately, they were served alongside an array of choices that left the program difficult to reconcile as a whole.