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The choreographic text of their production of "Giselle" is an exact reproduction of the Kirov Ballet's current production which was last seen in London in 1997 at the London Coliseum. The sets are simple and effective, especially the leafy backdrop in Act 2 depicting the forest. In the Kirov version Berthe's mime foretelling Giselle's death has been cut, while Giselle's mime scene with Bathilde who gifts her a necklace has been retained. In the Act 1 peasant pas de deux, there is an interesting passage when the woman does an unsupported pirouette and then excitingly locks her hand into her partner's arm. And I particularly like a delightful villagers' dance in which the corps de ballet girls dance a series of 'echappes' on pointe.

The cast of "Giselle" that I saw was led by Irina Kolesnikova, a silver medallist in this year's Varna competition, and Yuri Gloukhikh, both of whom had just made their debuts in the leading roles at the Apollo Theatre in Oxford in the previous week. Kolesnikova was slightly too sophisticated in her manners to convince as the peasant girl Giselle in Act 1. But her mad scene was thoughtfully presented, gradually accumulating in tragic force. Kolesnikova really came into

Yuri Gloukhikh as Albrecht in Giselle photograph by Kevin Ng

her own as the wili in Act 2, dancing with a beautiful Romantic plastique, as well as an emotional intensity. She was most tender and moving in this act.

Gloukhikh, a pure classical dancer who was a revelation on the last UK tour especially as Florimund, danced stylishly. His high soaring jumps in Act 2 were light and effortless. Gloukhikh's acting was intelligent and convincing; his remorse and dejection in Act 2 were heart-breaking to watch.

In the Act 1 peasant pas de deux, another young long-limbed dancer from Moscow, Andrei Yakhnyuk, danced with ease and grace; his cabrioles were sharp and crisp. And Anastasia Kharbarova was an imperious Myrtha.

Several nights later, I also attended a performance of the company's "Swan Lake" which was also led by Kolesnikova and Gloukhikh. This production of "Swan Lake" is also a reproduction of the Kirov's current 1950 version by Konstantin Sergeyev. Kolesnikova's interpretation of this ballerina role showed a marked improvement over her performances last season, her dancing has now acquired more nuances emotionally. Kolesnikova's Odette had a tragic grandeur; and her Odile was quite glamorous, her single fouette turns at whirlwind speed in the coda of the Black Swan pas de deux were breathtaking. And in the final act her dancing was lyrical and expressive.

Gloukhikh repeated his outstanding performances of Siegfried last season. He danced the first two acts poetically with a romantic yearning, perfectly complementing Kolesnikova's Odette. In his Act 3 variation his virtuosity was dazzling, and he ended all his three double tours en l'air in a fifth position.

Andrei Yakhnyuk was again impressive in the Act 1 pas de trois. It was gratifying to see so much young talent shining in the St. Petersburg Ballet Theatre. The company gave decent supporting performances in both classics.