In Siddartha Angelin Preljocaj undertakes to show how Prince Siddartha becomes the Buddha through increasing renunciation, leaving behind his wife, kingdom, and all earthly pleasures to relieve mankind from suffering. The action develops through a series of semi-abstract scenes, with Enlightenment embodied in a ballerina, and the supporting characters often move in unison. The movement vocabulary is modern, but the Paris Opera dancers rise splendidly to the occasion. At ninety-three minutes, it’s a marathon for Nicolas Le Riche, who’s onstage for much of it in a virtuoso performance recalling Edward Villella’s in Watermill. Bruno Montovani has written a suitably big modern score to support it all. The film of this ambitious work, made at the 2010 premiere, however, too often focuses on details.