Interesting that in the mostly-anti, but now somewhat more balanced critical response to Lifar’s 1943 Suite en Blanc, and its recent performances by POB in New York, I haven’t read an acknowledgment of the cranking arabesque penches in the adagio and the way they turn up in Balanchine’s 1967 Emeralds.
Mimi Paul, the ballerina who cranked those penches at the Emeralds opening night, (with some support from Francisco Moncion) alerted me to this two years ago as she was watching excerpts from Suite en Blanc on youtube.