I must start by partially eating my words in my preview, when I warned that there is no lake in this production. Viewed this time from the circle, there are indeed a few wavelets to be seen behind the steps that hide them from those in the stalls. However, a design that leaves this most essential ingredient out of view from the best seats in the house, is hardly one to admire.

I am not keen either on Philip Prowse's granite mausoleum that is the palace interior. Prince Siegfried's loneliness, and the mysterious events by the moonlit lake, work better when contrasted with a bright, festive atmosphere. Here, Marion Tait, as the Queen, is still dressed in the flowing black robes she wore for her husband's funeral, which we have glimpsed during the overture. Looking rather like her unrivalled Carabosse, she really puts the dampers on the Prince's birthday party.

A change, for which I can see no justification, is reducing the six princesses who have come to win Siegfried's hand to three. Usually their arrival from different countries is the catalyst for the six national dances. With only three, there is music left over, so that one of the remaining dances is incongruously performed by von Rothbart's retinue! And this from Peter Wright, generally seen as the guardian of correct interpretation!

What sets this production alight, and blows away any such reservations, is a stunning central performance by Nao Sakuma in the twin role of Odette-Odile. Her dancing by the lake is so controlled, so lyrical, so ethereal, and her acting as the fragile Odette so convincing, that you wonder whether she will be able to transform into the confident, sexy Odile of Act III. But can't she just! She simply glows with seductive malevolence, turning again and again to von Rothbart, who is directing her actions like an evil puppeteer. The Prince is lost from the moment he sets eyes on her. Technically Sakuma is wonderful to watch, and so in command that when it comes to the famed fouettes - whipped turns on pointe - she throws in no fewer than seven doubles.

Iain Mackay makes a noble Prince. He is particularly good in the 'white acts', partnering well, and overwhelmed by his feelings from the word go. In the showy variations of Act III he doesn't have the glamorous pizzazz of Sakuma, but gives a good account of himself all the same. Tyrone Singleton is a scary von Rothbart, and that little powerhouse Kosuke Yamamoto has some exciting dancing as Siegfried's friend Benno.