It's also... well, here's the rest of what he wrote on Jewels:
Under Litton, the Fauré was duly Fauré-like: courtly, gracious, and French. Solos in the orchestra ranged from adequate to excellent. The horn was admirably supple and unflubbing. The piano soloist in the Stravinsky was Stephen Gosling, who was accurate and alive. I have heard more jagged, more emphatic accounts. Bonier accounts. Perhaps the musicians were limited by the needs of the dancers. Whatever the case, the Capriccio had its impishness, gaiety, and other qualities. I was worried about whether Gosling would be able to take a bow, because ballet is so odd in its rituals (at least to me). But there he was onstage, to the side of the dancers. I wonder whether most in attendance knew who he was.
Let me tell you something about the Tchaikovsky symphonies and me: No. 3 is my least favorite of the six, always has been. In “Diamonds,” however, you see that the work is practically as balletic as it is symphonic. And Litton made me appreciate it more than ever.
Of course, the Bolshoi dancers had something to do with it. I should stay in my lane, as they say, and not comment on ballet: but the Bolshoi dancers gleamed and cut and sparkled like, forgive me, diamonds.
I think it's a little weird to review the music in isolation. And the gratuitous jab at ballet patrons is obnoxious as well.
I mean, I guess he acknowledges that he's not going to write about ballet, and for all I know he's right in his judgment to me, but it still feels weird to me.
I didn't tip at Per Se either.