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Since her ascension to etoile-dom in her mid-20's, Dupont danced the lead roles in most of the company's grand-classics except for Odette/Odile. We had an interesting, and perhaps a bit unusual case here that a ballerina was to make a debut in one of the most important ballet roles at a rather later stage of her career, though the reasons behind it might be simply coincidental. Opportunities appear to have slipped through her due mainly to the career-threatening injury she suffered some years ago, and the programming policy of the company. In Paris you don't get to see grand classics such as Swan Lake every or every other season, but more likely once in three years. (The last time they staged Le Lac was September 2002.) So how will she make of this long-awaited chance?

Prior to the official debut, I saw her in the role of Odette briefly in the gala performance, last summer. Back then Dupont didn't quite look like a convincing Swan Queen – it even gave an impression the occasion was merely used as warm-up. Her movements duly followed the choreography as it required, but that was all that's given - her mind was elsewhere. With the experience, before catching this performance, the thoughts crossed my mind that perhaps this might not be her role after all.

To my delight, she proved me wrong. A transformation was simply amazing, and Dupont turned out to be the most satisfying Odette I saw in years.

In the lakeside scene, her dancing, clean and refreshing as limpid streams, was true to classical form and aestheticism, never out of theory. Nothing was exaggerated, nor neglected, and her control of movements was truly remarkable. In scenes where a ballerina should let every pose speak for itself to express Odette's fear, sorrow, a glimpse of hope, she did just that. (For instance she kept her balances in a perfect form, beautifully sculpted, with just right angle, exactly at a right timing and for right lengths.) Her understanding of the role seemed deep enough – another merit from her maturity. She appeared to have a very clear picture of Swan Queen, well thought-out, to her heart, and projected it very intelligently. Except for eloquent and richly nuanced mime scenes her expressions were rather understated, delicate and subtle thus all the more more effective, and it felt 'right'.

Then there's her rapport with the music. I always find Dupont a very musical dancer, yet at this performance it was as if she lived through it. Inspired and led by the music, she seemed to explore the ballet with an attitude of a curious child, and got very close to reveal what's in there, whilst revealing herself (albeit perhaps unconsciously) – a willful, strong-minded swan maiden. In this Dupont's Odette possessed the strength two other Swans I saw in this run somehow lacked - Letestu and Zakharova. Both were beautiful creatures no doubt and fitted the bill of Odette in this version (an imaginary woman who only exists in and is confined to Prince's fantasy), giving competent and professional performances, yet neither of them dared get into the very core of this ballet, as Dupont braved.

Her partner Mathieu Ganio, the POB's youngest etoile at the age of 21, can easily be described as a Nature's most plausible ballet Prince. Gifted with many a precious asset that only merits him as a ballet dancer, yet on this occasion he looked nerve-stricken and his dancing wasn't properly in place, particulary in solo variations; he also lacked vital stamina. Full marks could be given to his supporting skills though – for a very young dancer Ganio's ability to provide an assured security to his partner is admirable. In his arms Dupont seemed to be able to move about with much freedom. There was very pleasant rapport between them, and the adagio scene in Act 2 was beautifully danced with much empathy, tenderness and dreaminess.

As the villain Rothbalt (a double-act here with Prince's tutor Wolfgang), Stéphane Bullion wasn't at all bad except that he was too young to give a desired weight to the role. Created by and for Nureyev himself, Rothbalt in this version immersed throughout 4 acts, is given an important status and meaty choreography. (In the end, it's Rothbalt who triumphs and crushes Siegfried's dream into pieces.) As a dark figure who masterminds the conspiracy this role requires a dancer of an extraordinary strength both in physical presence and character, I thought. In this Laurent Hilaire (on the 27th December) totally eclipsed the other two – simply no contest there. His chilling portrayal of the role and powerful stage presence were so effective, gave the whole act an integrity. In Rothbalt's solo variation at the ball scene he also showed off his technical strength, moving about the stage in the sharpest possible manner . (That manège! What was that – a bullet?)

My verdict on this Nureyev's version itself is still out, but after the 3 viewings I am not yet convinced on the justification for the switch of the main role; whose ballet is this anyway? Phrases like “psychological drama” or “Freudian Lac” are often used to describe this production, but personally I didn't find the entire affair that complex or emotionally profound; in fact, the impression was rather flat. After all, giving Prince an extra variation or two and making him look apprehensive all the time, like a fragile juvenile, wouldn't automatically make him a 'deep' character, would it? You need a lot more justifications or some drastic measures, like Matthew Bourne's re-interpretation, to make the shift acceptable for a die-hard classical ballet audience like me.... (which can prove to be a hard job anyway – Prince Siegfried is usually envisaged as a shadowy character, his only raison d'être being that of a would-be rescuer of the Princess. But it's quite a rational arrangement, isn't it? This ballet should belong to Odette, and to her swans, entirely and unequivocally.)