Swan Lake:★★★★

The last time the Royal Ballet performed Swan Lake was just before the first lockdown back in March 2020. The company’s season was cut short as the pandemic threw the world into chaos, so it was particularly moving to see the world’s most famous classical ballet back on the Royal Opera House stage and a packed auditorium. Even more moving was hearing the Ukrainian national anthem, played by the orchestra to rousing applause before Tchaikovsky’s familiar overture– and the outside of the building is currently lit in the blue and yellow of the Ukrainian flag in a show of solidarity.

With the world seeming such an uncertain place at the moment, there is something enormously comforting about watching Swan Lake. The theme of love triumphing over evil is an eternal one, and Tchaikovsky’s magnificent score is a highlight of the evening – and that’s before the dancing even begins.

This season sees several debuts as Odette/Odile, with new principals and first soloists trying their hand (and feet) at this most challenging of dual roles. On opening night, dancing the Swan Queen opposite Vadim Muntagirov was Yasmine Naghdi, a late replacement for Marianela Nunez, who is recovering from Covid.

Naghdi has a seamless quality to her dancing, particularly as Odette where the legato music in the Act II pas de deux highlights this beautifully. At the end of the famous adage, her petit battements are so tiny as to be almost imperceptible – a wonder to watch. Naghdi’s Odile is unsmiling, predatory and glamorous, throwing off the notorious fouettes with ease.

Muntagirov is a fine partner, but he comes into his own with his variations, showing off his fine line in arabesque and displaying rock-solid landings in all his multiple tours en l’air.

Other standout performances come from Bennet Gartside as Von Rothbart, stalking the stage with a compelling malevolence, and Gina Storm-Jensen. She is all delicious backbends and haughty demeanor in the Act III Spanish dance, while in the Act I Waltz, her sunny smile lights up the stage.

John Macfarlane’s designs are stunning – the back cut of the tutus is especially pretty – and David Finn’s lighting does much to enhance the atmosphere. I dislike the ending, where Prince Siegfried is left alive to grieve with the dead body of Odette, while she ascends to swan nirvana by herself. Better they both enjoy heaven together.

Swan Lake is at the Royal Opera House until 28 May.