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Its prestissimo tempo, though, raises the question of who might be its ideal readers.

In any case, Dusty introduces a new note to the proceedings, which until her arrival seem, in Susan Stroman’s prestissimo production, at least loosely tied to reality.

“You don’t want largo and lethargic,” she added, “and you don’t get prestissimo because that will make people feel more rushed than they already feel.”

The second movement has a middle section usually played “prestissimo,” as fast as possible, when in fact Tchaikovsky wanted a less frenetic “allegro vivace.”

None of these three offered the bewildering feats of prestissimo coloratura footwork that are now a celebrated feature of the dancing of Gabriel Missé, but there is room in the world for all of them.