The Sleeping Beauty *****

The Sleeping Beauty has always held a special place in the life of the Royal Ballet: in 1946 it was chosen to reopen the Royal Opera House after the war (with the then Sadler’s Wells Ballet) and in 1949 the Company took the production to New York in a wildly successful tour.

The current production is based on that version, with a few tweaks here and there. It works – the set designs are not overly fussy and allow the dancing to be the focus of attention. The costumes, based on the original Oliver Messel designs, have been given more colour, though I do not like the neck ruffs worn by a couple of the dancers in the final act – they spoil their ‘line’ and look extremely uncomfortable to wear.  Also, poor Christopher Saunders, as the King, is lumbered with the most ungainly and large crown I have ever seen. He must have an almighty headache by the end of the ballet.

On opening night Marianela Nunez danced Princess Aurora. She portrayed a happy if rather shy young girl in her opening scene – the Rose Adage was serene rather than flashy. The Vision scene was beautifully danced and the corps were on top form but it was in the final act that Nunez truly shone. She had grown into a woman in love and danced the final pas de deux with real star power. Her Prince was Vadim Muntagirov, who has such an elegant line combined with amazing leaps. The perfect partner, he is not called ‘Va-dream’ for nothing.

Fumi Kaneko was a delicate Lilac Fairy, bestowing goodness all around, while Kristen McNally was a deliciously malevolent Carabosse, evil but glamorous in black and red lace. All the fairies did well – some of those Prologue variations are very tricky, but Claire Calvert was coolly elegant in her solo and she also danced beautifully in the pas de trois in Act III (Calvin Richardson was wonderful too).

Fumi Kaneko as the Lilac Fairy in The Sleeping Beauty ©2023 ROH. Photographed by Andrej Uspenski

Fumi Kaneko as the Lilac Fairy (Photo: Andrej Uspenski)

Tchaikovsky’s score (under the baton of musical director Koen Kessels) is filled with pretty melodies, though for me, it has none of the deep emotion found in Swan Lake, which is a far more powerful piece of music.

It is a long evening – around three hours – but well worth it, as this classical work shows off the Royal Ballet at its best.

The Sleeping Beauty is at the Royal Opera House until 6 June. There will be a live cinema screening on 24 May at 7.15pm.