It’s rare for a woman choreographer to emerge from the ballet ranks, and just as rare for a choreographer of any gender to craft a worthy—which is to say, deliriously spectacular and emotionally persuasive—fairy tale ballet. This makes Anna Hop something like the love child of a buffalo and a unicorn. The Polish National Ballet corps member’s first smart move for her recent full-length Pinocchio was to unearth the score of a ballet staged precisely once, in 1962, written by her fellow Pole Mieczysław Weinberg. Since his death, in 1996, the composer has emerged from Shostakovich’s shadow, but this score shares the verve, color, and mercurial change of scene that marked the Russian’s early works for theater. Hop responds with several folktales’ worth of fairies, cats, foxes, villains, and hapless widowers. The scenes slide easily from the boy puppet’s slapstick follies to dreamy fairy solos to populous pageants that deploy the company’s full arsenal of dancers and its advanced capability stagecraft. —Apollinaire Scherr