It is 40 years since Mayerling was created, and this ballet, which opened the Royal Ballet’s season at the Royal Opera House on Monday night, still has the power to shock. Sir Kenneth MacMillan’s dark interpretation of the events leading up to the double suicide in 1889 of Crown Prince Rudolf and his teenage mistress, Mary Vetsera, does not gloss over the more unsavoury elements of the story. Unlike many of the romanticised versions made for film or television, MacMillan’s take on the scandal which hit the Habsburg royal family is probably nearer the truth, even if it is expressed through the thoroughly unrealistic medium of classical ballet.

Rudolf is a prize role for a principal dancer; here is no classical prince, playing a mere supporting role to his ballerina. It requires a performance of both stamina (Rudolf is on stage for most of the night) and dramatic intensity. And, as in all of MacMillan’s full-length ballets, he must dance in some of the most convoluted and strenuous pas de deux ever created.

These pas de deux are both erotic (this is another ballet not for the kiddies), and technically taxing, and have an extraordinary beauty.

On the opening night, Ryoichi Hirano made his debut as the doomed prince (replacing an indisposed Edward Watson). It was rather underplayed — Rudolf not only has to take it to the edge, he has to go over that edge in spectacular fashion, disintegrating before our eyes.

It was only in the gruelling last act that Hirano totally inhabited the character. He is scheduled to dance at some other performances and will no doubt grow into the role.

Natalia Osipova as Mary Vetsera was luscious and sexy, her long limbs curving around Rudolf’s body as the two lovers embarked on their journey towards destruction.

Praise too, for Francesca Hayward as Rudolf’s sad wife, and Marianela Nunez sparkled in the small but vital role of the vivacious courtesan, Mitzi Caspar.

Kristen McNally was an icy, emotionally remote Empress Elisabeth, and Sarah Lamb (such beautiful feet!) played the manipulative Countess Larisch. There will be variations in the casting throughout the run.

The Royal Ballet’s Mayerling is on at the Royal Opera House until October 30. A live performance will be broadcast to selected cinemas on 15 October.