Love, heartbreak, a duel to the death and a final scene which will leave you emotionally in pieces…all this can be found in the Royal Ballet’s current production of John Cranko’s Onegin.

The story, based on the famous Pushkin poem, tells of young Tatiana’s unrequited love for the cold Eugene Onegin. His cruel rejection leaves her broken but years later, he realises his mistake as he sees her once again. This time, it is her turn to do the rejecting, when, in spite of her turmoil and real love for him, she banishes him forever.

It is strong stuff and there is plenty of glorious dancing along the way. At the performance I saw, Marianela Nunez danced Tatiana, with Ryoichi Hirano making his debut as the arrogant Onegin. His commanding presence and haughty demeanour were perfect for the role, but the famous “Mirror” pas de deux which ends Act I was a little muted; some of the lifts looked too tentative. The couple more than made up for this later in the ballet, when they let rip in the final, devastating pas de deux in which Tatiana says her farewell.

They were ably supported by Akane Takada as Tatiana’s sister Olga and Nicol Edmonds as Onegin’s friend, Lensky. Takada dances with tremendous lightness and precision; her beautifully arched feet are entrancing to watch and she has a wonderful jump.

The corps de ballet also deserves praise: there are lovely examples of Russian folk dancing in Act I which would not look out of place in Fiddler on the Roof and the ballroom scene is very prettily staged. Lukas Bjorneboe Braendsrod, still only a First Artist, was a dignified Prince Gremin who provided secure partnering for his Act III pas de deux with Nunez.

The music uses various pieces by Tchaikovsky, in an arrangement by Kurt-Heinz Stolze, and the orchestra, under Valery Ovsyanikov, pulled out all the emotional stops in the heartbreaking climax.

Onegin is at the Royal Opera House until 29 February. www.roh.org.uk