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The big draw on Wednesday night's opening was Vadim Muntagirov making his debut as Prince Siegfried: Only 20, and at the 5000 seat Royal Albert Hall, pressure does not come greater me thinks. And one has to say immediately that he rose to the occasion and delivered the goods. Currently he is lyrical and a little reserved in his approach but definitely not in awe of the space or audience. It's tempting to compare him with the other ex-RBS/'Russian'-trained 20-year-old, Sergei Polunin, who has just been promoted to Principal by the Royal Ballet. Early days, but Polunin strikes me as having the heart and moody look of Irek Mukhamedov whereas Muntagirov is a little more refined - a Thomas Edur and Jonathan Cope type. But hey, years of amazing viewing seeing how these two develop, I think.

Muntagirov was scheduled to dance with Polina Semionova (and still will) but visa problems meant he opened the run with Daria Klimentova and I think this worked to his and all our advantages. Klimentova is a glorious dancer, in her golden years of dramatic and technical artistry. She can do reserved but also knows how to dial the wick up as Odile and dominate a space, which is important with well over 60 swans on stage to compete with her (and a cast of 120 overall). Anyway they complement each other dramatically and look good too.

All those massed ranks of Swans really add to the ballet spectacle, though I think you need to be a few rows back from the stage to get the best effect. While the Swans looked well drilled, ENB's job lot of jugglers struggled actually to juggle, which rather detracts. On firmer ground they fielded a fine crop of soloists and principals in the Pas de Douze (normally pas de trois) and the Tring Park School kids charmed us. But the role that impressed me more than I ever expected was Rothbart, danced by Tamas Solymosi. Tall, good looking, believable, he has all the attributes to succeed in his evil ends and didn't we know it - one of the most expressive and imposing Rothbarts I've seen in a good while. Call me a pleb if you like but add in copious quantities of dry ice and some stadium lighting and I really do feel more moved than I otherwise would. Of course I'm not saying that 'normal' Swan Lakes are redundant, just that this one is valid and works.

All up it's a Swan Lake for the masses but it wears its classicism with appropriate decorum. I wish the same could be said of some in the audience who seem to have no respect for others in the theatre - constant cameras out and flashes, emails openly checked on bright phone displays, chattering, late-comers admitted to disturb us... It's not just the Albert Hall or ENB and one sees increasingly inconsiderate behaviour at most dance performances. I'm not sure of the best way to sort this but something should be done if the magic of live performance is not to be spoiled.