In Diana Vishneva he found his perfect interpreter; beautiful, passionate and one of the world’s great dancers, she gave herself as completely as the tragic heroine in a profoundly moving performance. Yuri Smekalov, as Vronsky, was a fitting consort and their duets were the highlight of the ballet.

However Denis Matvienko as Basilio was absolutely on form, setting the stage alight it a flurry of leaps and multiple turns. Anastasia Matvienko as Kitri feeds off his dynamism to ignite their duets.

The corps in ravishing costumes and Alexander Sergeev as Espada made this a virtuoso ballet par excellence topped with a brilliant grand pas. But I missed the contrasting lyricism in Act 2 although Valerya Martynyuk, as Cupid, gave a solo of firefly delicacy.

David Hallberg, guesting from American Ballet Theatre, added his easy grace and needle sharp feet but the ballet does not offer great opportunities for male dance.

In the Night, Jerome Robbin’s series of romantic duets to Chopin’s music elicited performances of both technical and expressive excellence notably from the Matvienkos in their opening duet. Balanchine’s Ballet Imperial looked less than imperial in soft pink frocks. I prefer tutus in this classically structured work. The greatness of the company is the strength in every rank.

The corps is exemplary and every soloist has star quality. Ballet Imperial was a fine example of this; while Alina Somova and Igor Kolb shared centre stage, honours were shared all round with every dancer playing their part.

Le Jeune Homme et la Mort, born in the existentialist era of post-war Paris has attracted many great interpreters including creator, Jean Babilée, Rudolph Nureyev and Ivan Vasiliev who gave an impromptu guest appearance in tribute to Petit.

His power was monumental – from a brooding Brando figure in the sullen opening to accepting death with detached stoicism and in between, attacking the virtuoso steps with animal ferocity.

Jia Zhang struck a chilling note with her cold sadistic beauty and the coup de thêatre of the closing scene on the rooftops of Paris made this an unforgettable performance. First night cast, Jonah Acosta barely out of his teens and a real ‘jeune homme’, made an exciting debut that promises much for the future.

Begoña Cao’s dark eyes blazed invitingly over her fan while her pointes were perfectly positioned. Anaïs Chalendard, who trained at Petit’s school in Marseille, gave the role a nonchalant sexuality, her legs, the ultimate in eloquence and elegance.

Don José, Fabian Reimair alternating with Daniel Kraus, impressed as much with their strong presence and acting skills as with their well honed technique and the duets were breathtaking. The bandits added earthy humour and James Streeter triumphed as the Toreador in a pastiche of overblown ego.  

He was sensitively paired with Erina Takahashi who gave a finely nuanced and exquisitely musical interpretation as his bride. The ensemble, in traditional black and white costumes, are used to great effect, working in formal symmetry yet bringing a sympathetic voice to the narrative.
Back to normal

The Mariinsky Ballet has gone home, local companies are gearing up for the new season and a citizen’s army with their brooms and dustpans are reclaiming the streets from the mob. London life is getting back to normal.