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Sancho Panza was zestfully performed by Alexander Petukhov, who gave a rather detailed characterisation; along with Denis Savin as the candid Gamache whist Alexei Loparevich danced the title role.

Natalia Osipova was vivacious as Kitri. Her Act 1 was a wonderful mix of expressive acting and effortless dancing. Osipova’s generous backbend and sustained leaps were part of the highlights in the first act. Ivan Vasiliev as Basil in Act 1 was both charming and boyish. His lifts were quick to execute, steady and sustained. By Act 1, Vasiliev had showed what astonishing jumps he had, and one wondered what else he had up his sleeve.

Olga Stebletsova and Anna Rebetskaya, as Kitri’s friends, danced in sync with each other and were delightful and lovely. Beautiful line and a sense of jubilant on each temp de fleche. Anastasia Yatsenko displayed clean and arresting technique; she was partnered by Artem Shpilevsky, who gave an intense and dashing performance as Espada, a toredor.

Yulianna Malkhasyants seemed to be over-melodramatic in her Gypsy Dance solo One thought it was almost similar to Madonna’s Frozen music video, with the many wrist-like gestures and hypnotised facial expression. Nina Kaptsova was agile and bright as the quick-footed Cupid. Osipova and Ekaterina Shipulina (as Queen of the Dryads) sheared elegance and tranquillity as they lead the very professional corp de ballet, as dryads.

The Grand Pas de Deux and the Grand Pas variations, in the final act were absolutely explosive. Ekaterina Krysanova danced the Grand Pas 1st variation, and it comprised mainly of her jetes, which she seemed to contrast the dynamic of the different jetes from skimming ones to floating ones, flying ones to spit-fire ones. Nelli Kobakhidze presented the second Grand Pas Variation almost flawlessly. Her movements were fluid and lyrical and she danced with a lovely personality.

The exciting entrée of Basil and Kitri was just a warm up, which consists of Kitri’s fearless dive into Basil’s arms meters away. A seamless adagio pas de deux was followed. Both dancers coordinated and harmonizing their movements and lines with each other, in addition, the lifts were very well-handled by both.

Vasiliev presented an exuberating Basil’s solo with bodacious tours, ‘flights’ (leaps) and pirouettes. Coquettish Osipova’s Kitri’s solo was somehow disappointing. The choreography for the accomplished soloist seemed far too simple and facile. However, in Osipova’s coda, her fouettes pirouettes were crisp and clear and seemed to be in multiples of threes and looked like it could go on eternally. Whizz kid Vasiliev’s coda was just as sensational. He ‘flew’ in from one of the wings upstage and did a series of crystal clear double beats on his cabriole en arriere. After Osipova completed her fouettes, it was promptly followed by his. He demonstrated multiple pirouettes with an extended leg to the side, and whilst turning, he gently changed them to a different alignment, making them looked swift and effortless. Their partnership worked tremendously well, both had a very strong rapport and chemistry right from the beginning to the end of the curtain call.

On a personal note, apart from the extraordinary array of exciting dancing, I thought the costumes and sets were wonderful. To begin with, the sets for each scene had a strong sense of realism. Similar with the costumes, some of the them have a touch of realism; also the costumes of the individual characters enhances the dancers and assists in the way their character moves and act; for instance Sancho Panza’s rolly polly’s costumes, assist the animated quality of this heart-warming character.