Emery Kerekes concurs:

The MET used to have Ravel’s L’enfant et les sortilèges on rotation, in a triple-bill with Poulenc’s absurd Les mamelles de Tirésias and Satie’s Dadaist ballet Parade, which includes four minutes of a Picasso-designed horse dancing without music. I’d take that zany remount — or else, Peter Gelb could swipe Glyndebourne’s gorgeous Laurent Pelly production of a more typical double-bill, featuring Ravel’s other one-act, L’heure espagnole.