For a mixed bill it is longer than most - at 3 hours, though that does include some long 30 minute plus intervals. What's more, I think I'm right in saying all the pieces on display are new to UK audiences. What we got were two act-long works by British choreographers and 5 shorter pieces by prominent International choreographers - come to celebrate the opening with us. Only one of these pieces was created especially for the season and there was joy and sadness in seeing that many came with non-RB dancers. It's always nice to see guests of course, but after being starved so long we really wanted to see 'our' dancers out there and showing us the new international work.

The international choreographer's pieces you get depends on which night you go and doubtless the dancers will change some as well. It's all rather kaleidoscopic as one work, in most cases a part of something larger, gets swiftly followed by another of very different style and temperament.

Peter Martins' "Barber Violin Concerto" featured Jock Soto and Darci Kistler of NYCB and was magnetic mainly because of Soto. Of Navajo Indian and Puerto Rican descent he is one hell of a beefy dancer who commands that you look at him. I find him more powerful than Mukhamedov even. Kistler is a pretty dancer, comes with a hell of a reputation, but we really need to see her in something longer. Tetley's piece (Tagore) confirms, to me anyway, that he pushes his dancers all the time, and there seems no respite for them or us. But it came with Greta Hodgkinson and Rex Harrington, of the National Ballet of Canada, and she was particularly radiant and fluent. They also danced in James Kudelka's "Four Seasons - Summer pdd" which proved a fast, inventive and athletic thrash. Kudelka created "Baiser de la fee" for BRB 3 years ago, a piece which did not do so much for his reputation in the UK, but Four seasons looked rather stronger to me.

Duato brought "Remanso" for Jonathan Cope, Inaki Urlezage and Carlos Acosta. It had jokes, athletic balances, complex solos and tight costumes: the eyes of all women visibly narrowed. For the chaps Darcey Bussell put in an appearance in a brilliant red one piece. She was dancing with Otto Bubenicek in John Neumeier's "Lento" - getting its world premiere on the night. Darcey danced well, everybody clapped loudly, but the moves seemed a wee bit ordinary if very athletic.

All-in-all this middle section of the bill had been an interesting experience and I look forward to seeing some things for a second time But it's not possible to say there was a monstrous hit and announce the arrival of a hitherto less than well known choreographer to these shores.

The evening started with Siobhan Davies's first piece for the Royal - "Stranger’s Taste". Davies is a bastion of modern British dance and her small company has dancers in it just as accomplished, if differently, as those at the Royal. For dance fans this was probably the most anticipated piece in the bill - how would modern and ballet come together on this occasion? Well for a first "attempt" (I ignore the 13 Different Keys experiment) it was fine. Yes there were boring and pedestrian solos and silly hand jives, but at its best Davies moves blocks of dancers with a silky and speedy fluency while allowing you still to see individuals who change the whole colour and intensity of the group - it's like a shoal of fish, they move, but in very slightly different ways and time frames.

To a balletic eye it can be discordant at times as limbs just do anything but what you anticipate. If Forsythe is about speed, danger and being on the brittle edge, Davies is perhaps about a softer and a more poised angularity. The designs were marvellous consisting of simple hanging drapes which partly concealed the viola and harpsichord that were played live on stage. For me only one thing jarred and it's certainly always been my contention that one should never dance with children, animals or propellers...

The new Ashley Page was a revelation. As many will know much of his work seems to revolve around a distorted and painful view of the human condition and usually one expects to see strange cutting edge design, pouting pained expressions on the faces of all the dancers, and lots of romping and jealousy in various combinations. We have also come to expect some quite exciting and fast moving moments for groups of dancers, the odd sexy pdd and much rather boring stuff in the middle as dancers trickle on, move around some and gracelessly exit. Normally, about half way through, many in the audience are fidgeting and trying to get crafty looks at their watches.

Well it's marvellous to report that with "Hidden Variables" Page has moved on and it features smiling happy faces performing work that is both an inspiration and an uplifting joy. Not.