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I tend to separate dancers into two groups: those who just dance the choreography and those who dance the choreography as a fulsome expression of the music. We see plenty of the former, but few of the latter. Elena Glurdjidze is of the few rather than the many.

When I saw her Lilac Fairy on the opening night I recall that she reminded me of the great Lubov Kunakova (who can be seen as the Lilac Fairy on the 1982 Kirov recording) - soft and harmonious, expressing benevolence with her every movement. I was delighted therefore to discover last night that Glurdjidze was a pupil of Kunakova in St. Petersburg and heavens does she have it all - the lyrical, undulating arms, the warmth of gesture, a back which seems to sing unto the heavens.

Her Aurora is perfection itself. In Act 1 she bursts forth onto the stage like the brightest of spring blossoms - a blaze of miraculous colour after the winter gloom, reminding us of sunnier times to come. Like those early shoots she is so delicate and tender, yet there is also an assurance, an inner strength, which penetrates through. Though young she is nevertheless dignified in her manner, everything a youthful Princess ought to be. In petit allegro she is effervescent, in the pas seul she and the violin solo seem almost to be at one and in the Rose Adagio there is a harmony of invention as if Petipa and Tchaikovsky have re-united and live again in her body.

Then in Act 2, as the vision of Aurora, she is a mirage haunting our minds. She presents Aurora with a whisper of tragedy. In her we see Ariadne pining on Naxos, the Lady of Shalott searching for Launcelot. She is the poet's vision, real yet un-real, near yet far-off. Barely seeming to touch or be touched she entrances the stage, entrances Desiré and can one trust any Prince who would not want to kiss this Beauty awake? When he does, her body exclaims "Oh brave new world, that hath such people in it!"

And then in Act 3 we have a noble Princess Bride in whose bosom love has awakened. There is such an expression of joy on her face, such rapture in her dance, which never allows for extravagance but always a simple delicacy. There is musical phrasing of the most artful and gentle kind. When in her variation she crosses the stage diagonally en pointe she does so with the most willowy, soft and musical arms. She places never a foot wrong, there is never an expression mis-judged. In the Grand Pas de Deux she exults and is exulted. It is perfect dancing and a perfect dancer.

Apparently there were other people on stage last night. I didn't spot them.