Royal Ballet's Swan Lake review: Nothing short of a triumph

Such is the good will towards the Royal Ballet’s new Swan Lake that when the curtain rises on Act III, an empty set gets a spontaneous round of applause.

But for ballet fans this has been a long time coming. The company’s previous version — Anthony Dowell’s 1987 monstrosity — was characterised by fussy costumes, garish sets and enough gilding to rival a Fabergé egg. Choreographer Liam Scarlett may not have torn up the rule book, but his new production is nothing short of a triumph.

Scarlett understands that if the narrative is to make any sense at all the focus must lie with its men. Thus the role of Siegfried is given proper psychological weight, while the sorcerer Von Rothbart also becomes a power-hungry court adviser.

Petipa and Ivanov’s iconic lake scene has been left untouched, while Acts I and IV have been sensitively overhauled. It’s all offset by John Macfarlane’s glorious sets and the best-looking tutus anywhere.

Leading the opening night’s magnificent cast were Marianela Núñez and Vadim Muntagirov, fast becoming the Royal’s dream partnership. While Nuñez is never less than exceptional, the evening belonged to Muntagirov, who even managed to outshine the famous 32 fouettés with a series of whip-fast pirouettes of his own.

The only reservation? That revamped ending. In recent months we’ve seen Muntagirov cradling the lifeless body of his Giselle, Marguerite, Manon – and now Odette. Swan Lake should end with joyful redemption, not with crime scene tape going up.

Until June 21