The only break in the flow comes just before the last song, “Toppling.” There’s a need to tune the guitar, so what – until this point – is an uninterrupted, pell-mell rush through what seems to be seven other songs is briefly halted.
It’s a sobering thought that had Marianela Nuñez joined the Paris Opéra Ballet at 16 instead of the Royal Ballet, she would have been compulsorily retired by now, thanks to the French company’s pension policy.
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