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Ansanelli has had a somewhat awkward introduction to the Royal Ballet. She arrived in the middle of last season when casting had already been fixed and there were few obvious parts for her. Since then we have seen her excel in Balanchine (naturally) but be less confident and comfortable in other roles such as Lilac Fairy. Aurora, then, was a major hurdle, a test and a chance to silence the naysayers. Afterwards there were smiles all round from previously anxious aficionados. She had been nervous and her performance, especially in Act I, did not always flow, but she was technically strong, thrilling in places and showed appropriate restraint where called for. An excellent foundation for further outings.
 

Sarah Lamb's Aurora has had a little longer to mature, and that showed in a confident and fluid performance. In classical roles her byword seems to be restraint and she does not embellish her part with actorish devices. Nor is she one for the gratuitous extra pirouette, preferring simplicity and clarity. Her dancing is always coherent and one can see this especially in adagio movements where her phrasing is intelligent and complete.

The difference between the two can be seen in small things. Ansanelli's whirlwind chainé turns against Lamb's more measured pace, or the way in which they perform Aurora's come-hither gestures in the Vision scene: Lamb plaintive and pleading, Ansanelli more imperative and seductive. It is a pleasure to see work in progress, to know that next time, next year, things will have evolved. Here we have two very different Auroras, two very different young ballerinas, both with years ahead of them to develop their roles. One could not ask for more.