If we are making lists or wish lists in regard to this topic, what about Alexei Ratmansky suggestions.
Of the limited number of his works that I've seen, Russian Seasons is perhaps a favorite.
For me, there are essences of brilliance in his work. Russian Seasons seemed to make this the most apparent. It again depended on who was performing. I've seen it more than once and it was a performance by the Bolshoi in London that really impressed me and seemed to make apparent so many interesting elements that Alexei Ratmansky is capable of highlighting, exploring and illustrating.
The duets and solos for the lead ballerina in Cinderella were surely exciting as performed by Diana Vishneva about ten years ago, and are beautiful, compelling and charming when performed by Alina Somova today.
I also recall very much enjoying a male performance in Dreams of Japan, for which he won the 1999 Golden Mask for Best Choreographer.
Here are some interesting comments about him from The Ballet Bag
"Dancing soon took him out of Eastern Europe to various companies in the West where he was exposed to different choreographers and styles. Absorbing all these influences he started developing his own choreographic language, a personal mix of influences by Petipa, Bournonville, Ashton, Balanchine and Tudor woven into narrative or abstract choreography.
"For Ratmansky, classical ballet can be kept alive as long as its human content is relevant, narrative being a particular trait in his works. Ratmansky often mentions that while for George Balanchine, one of his influences, it was all about the steps and abstraction, for him the steps are part of a conversation that blends craft and passion.
"His works are considered musical and fluid, probably a direct influence from his experience with Bournonville. He considers his choreography to be instinctive, the product of an analytical reaction to the score and physical response to the music (he used to put on music and film himself to observe how his body reacted naturally). That explains his preference for a more naturalistic port de bras, open chested stands, patterns that are circling, dynamic and constantly shifting, with suggestions of folk dance, as is the case with his Russian Seasons.http://www.theballetbag.com/2009/11/12/ratmansky/