We hear Stravinsky's ominous polyphonic music, Prince Ivan captures a magical Firebird, they struggle, and she gives him a magic feather in exchange for her life. Their pas de deux is passionate and a paradox. It is the Firebird and not the sweet Princess who dances the duet. The Firebird is really an exotic spy and her deceptive dance isn't about love. It's about power and manipulation.

Michel Fokine's "Firebird" is one of [several] Ballet Russes works set to Stravinsky scores (Firebird, [Petrushka], The Rite of Spring, and Les Noces). It was one of Serge Diaghilev's first collaborative projects and premiered in Paris in 1910 during his second season. Diaghilev's company was in existence from 1909 to 1929, and ballet companies are marking that 100th anniversary with revivals of its ballets that have become part of the world's permanent repertory.

To coincide with the centenary, San Diego Ballet entered its 20th season this weekend at the Lyceum with a good revival of "Firebird." Diaghilev would have been surprised, but mostly pleased.

Stephanie Maiorano was well cast in the fierce title role. She moved with sharp precision, but never became stiff. In her solo, she moved over the stage with mysterious presence and silent feet, and her calculated expressions were thrilling. Trystan Loucado was also engaging as the Prince, a conflicted man who is tempted by the non-human Firebird but smitten by the Princess, danced by a grinning and appropriately sweet Abby Avery. Matt Carney as the Enchanter - better known as the sorcerer-king Kostchei - was effectively evil with grotesque sneers and flaps of his cape.

Diaghilev caused a sensation in Paris with his harmonious blend of dance, music, and design. Co-director Javier Velasco's approach wasn't extravagant, but retained key elements in the lurching narrative. He used portions of Stravinsky's heart pounding score. Sound quality was good, although one edit was jarring. Scenes consisted of four colorful panels constructed by students at the School for Performing Arts in Chula Vista.

Most remarkable was the syncopated style of the six Minions danced by Culture Shock Alumni. Dressed in camouflage pants, their hip-hop isolations were a sharp contrast to the demure Princesses and evil Creatures. Unusual, yes, but they fit in and added another dimension to Stravinsky's score. Costumes in the finale were colorful, but added accessories, such as polyester scarves and headdresses of curly wire, felt cheap and uninspired. Still, the corps scenes and final marriage were exciting and symmetrical, and the Firebird stood in the background, proudly eyeing the resulting order.

The program of four dances opened with "An Old Sweet Song," a jazzy revival by Velasco set to a suite of songs by Ray Charles. Rachel Sebastian started and ended the piece with stretchy off center turns and extensions set to "Georgia On My Mind."

Women rocked en pointe like the Rayettes, the men leaped, and all slid into splits. A solo set to "Ruby It's You" was memorable for its seductive, yet virginal sequences: the playful woman simply paused on the floor and smiled, and later put one hand on her hip and the other to her cheek. Velasco is known for his jazzy ballets, and the dancers truly enjoyed grooving like go-go-dancers, stepping out in Charleston formation, and whipping off fouettes to bluesy rhythms.

"Tango" from 1997 was also set to music by Stravinsky and beautifully danced by Bernadette Torres and Carney. Torres sizzled in vertical extensions and slides down Carney's legs. The dancers had chemistry. At times their steamy manipulations seemed so real you felt like a voyeur.

The program's premiere, Velasco's "Bach Suite" was technically sound, but not particularly memorable. And it was difficult to get past the dreadful costumes. Catsup red bodices for the women bagged and skirts looked like worn dishtowels. A duet for Avery and Carlo Di Dio was underpowered and consisted of static poses and his shuffling to support her. And again, Di Dio looked out of place in his icy white tights and structured brocade vest.

Still, the corps of six women was spot on in beats and fouettes. Velasco's choreography led them into demanding groups and trios that were often attractive. Danika Pramik-Holdaway was a standout throughout the piece with herpleasing focus and musical interpretation. She grabbed every note and never let the music wash over her.

San Diego Ballet's season continues with "The Nutcracker" at UC San Diego's Mandeville on Dec. 17 & 18, 2009.

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