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The choreographic text of this 1950 Konstantin Sergeyev production is not as authentic as the Royal Ballet's present 1986 production by Anthony Dowell. Perhaps it is time for the Kirov to undertake a reconstruction of this classic, as Sergei Vikharev has already done with “La Bayadere” and “The Sleeping Beauty” to much acclaim. For the final weekend of this festival, I caught the cast of Uliana Lopatkina. Lopatkina’s interpretation has changed since I last watched her in this role during the Kirov’s 2005 London tour. There wasn’t any spontaneity at all in her dancing, and every effect in her very stilted performance seemed calculated and hence artificial. And technically she wasn't on her best form either that evening. It was regrettable that she had the conductor slow down the tempo to suit her series of single fouettes in the Act 3 pas de deux.

Evgeny Ivanchenko, replacing Roberto Bolle at the last minute as Siegfried, strongly partnered Lopatkina, but was slightly bland in his characterisation. Ilya Kuznetsov danced powerfully as Rothbart, one of his best roles. Vasily Scherbakov impressed as usual in the Act 1 pas de trios. He did all the steps, unlike Anton Korsakov nowadays for instance, including the difficult final diagonal of double tours en l'air. Grigory Popov was a charming jester.

The Kirov's corps de ballet still surpasses any other ballet company's in terms of upper-body uniformity. But the Kirov corps was greater still two decades ago when I first watched the company. Though the Kirov's character dancers are still unrivalled in the national dances, I remember even more grandeur and stylishness in these character dances in the past.

Sergei Vikhareov's reconstruction of Petipa's gem “Le Reveil de Flore” ("The Awakening of Flora"), which opened last year's festival, was magnificently danced again by the original cast led by Evgenia Obraztsova and Vladimir Shklyarov. Obraztsova was exquisite as Flora, and Shklyarov was as light as air in his Blue Bird-like jumps in Zephyr's solos. They are really a superb partnership. Praise also to Svetlana Ivanova's graceful Diana, and Alexei Timofeyev as a fleet Mercury. The six Vaganova students were a delight as usual.

There were two outstanding premieres included in the mixed programme on the penultimate day of this festival. The more significant premiere was Sergei Vikharev’s masterly reconstruction of a rare 1910 Fokine ballet “Le Carnaval”, associated with the legendary Ballets Russes stars Nijinsky and Karsavina, complete with the original Leon Bakst sets and costumes. It is a charming period piece. The story is simple, about the intrigues of several pairs of lovers in a ball. Fokine choreographed delightful cameos of the characters.

Evgenia Obraztsova and Vladimir Shklyarov were most endearing as the central pair of Columbine and Harlequin. Yana Selina was ravishing as Papillon, and Islom Baimuradov was moving as the sad Pierrot. Excellent dancing from the whole company. This is a most worthwhile reconstruction.

The second was Christopher Wheeldon’s “For Four”, originally created for the ‘Kings of The Dance’ show last year. It is an effective ballet, with a solo for each. American Ballet Theatre star Angel Corella, one of the original cast, dazzled in his solo with his pirouettes sautés. The ballet began spectacularly with a lot technical bravura before the mood softened. Alexander Sergeyev was at his most graceful in the last, lyrical solo which was a contrast to the virtuosic solos for Andrian Fadeyev, Mikhail Lobukhin, and Angel Corella.

Corella also brought the house down in the divertissements section of the closing night’s Gala. He was magnificent in the pas de deux from “Le Corsaire”, partnering Alina Somova, who was technically impressive. Corella’s multiple pirouettes and manege of double tours en l’air were most dazzling.

Royal Ballet star Alina Cojocaru sparkled in the “Coppelia” pas de deux with Johan Kobborg. Her equlibres and promenades were most impressive. Irma Nioradze danced beautifully in “The Dying Swan”. Tatiana Tkachenko and Mikhail Lobukhin were most exciting in “Le Talisman” pas de deux.

Uliana Lopatkina and her now regular partner Ivan Kozlov didn’t make much impact in a trivial Hans Van Manen piece “Trois Gnossiennes”. They were shown off to better effect when dancing an excerpt from Alberto Alonso’s “Carmen Suite”. Kozlov was expressive as Don Jose.

The greatest performance in the gala came from the Munich stars Lucia Lacarra and Cyril Pierre in Roland Petit’s lyrical piece “Thais”. It was my first time seeing this renowned couple who missed the 2006 festival. Their dancing, so perfectly lyrical, was sheer bliss and harmony. Lacarra was ecstatic in the high swooning lifts. Her turns were multi-layered. They are a perfect partnership.

The gala concluded with Balanchine’s masterpiece “Ballet Imperial”, premiered in 2004 by the Kirov to celebrate Balanchine’s centenary. How come the Kirov hasn’t premiered any more Balanchine ballets since then? Their plan to stage “Agon” has again been delayed. Viktoria Tereshkina was outstanding in the ballerina role, and the corps de ballet danced with high spirits. It was a glorious finale to this 11-day festival. Hopefully next year there will be a greater variety again in the programming as in previous years’ festivals.