The Generalife was where the Corsair embarked.

Last night of classical ballet this year. Colophon, an edition steeped in flamenco for centuries-old purposes, is not very bright on the page of white dancing, which has been so integral and defining of Granada Festival's inception.

This seventy-first edition's squalid choreographic book is closed. Some numbers from its second part are often seen at galas, anthologies, and demonstrations. The Corsair tells the story of Turkish markets and women who are freed from the sergeo. It also features a love story about a couple who eat partridges when the sea rises through the forum's cypresses. The music is a support for the dance and one doesn't even remember an arpeggio. Ballet has one more partner, and that is the corps de ballet. They balance the argument so that both men and women shine equally.

We were delighted by the Slovenian National Ballet's well-presented and worthy show. Jose Carlos Martinez's topical choreography, Petipa, was reconstructed in a pleasant and accurate manner. The action is arranged in places by prisms that have naive charcoal drawings on one hand and lattices that are almost embarrassed to be next to the Alhambra on the other. They are easily outdone by the stunning costumes, which in Kenta Yamamoto almost lean towards Russians and in the dancing couples almost evoke Central Europeans. The Pasha's gestatory chair and Turkish costumes are not to be missed, as well as the simplicity of her toys.

It all had a perfect rhythm and a delicious presentation. The only problem was the poor music mix that was recorded which caused some numbers to lose their endings. The constant mystery of what the grayish, smelly smoke was doing behind the scenes made it seem like cypress.

There were moments of beauty in the dance, especially by Susanna Salavi. It is as innocent for the Pacha to smoke his hookah and have a discreetly erotic vision as it is for the tutus or pointes to appear on the stage. This was one of the most popular numbers of the evening. Then there are the difficult jumps that don't sell out like a circus, repetitive duets that often seem drab, the repetitive and overextended duets that many of them have to be clones, the repetitive and monotonous duets that can be tedious, the childish sword fights which appeal to children who always attend these ballets despite their nightlife and the few numbers of the entire dance corp that fill the stage that please the public so much.

The unknown Eastern Europe brought the legendary orientalism of Slovenia to the most orientalist garden West. It is a night for forgetting about wars and invasions, through adventures of love and freedom that brings people together in dance.