A masterclass in stage presence from the Bolshoi

Jewels is everything a George Balanchine admirer could ask for. The sumptuous triptych, set to scores by Fauré, Stravinsky and Tchaikovsky, is a compendium of what Balanchine’s style is about; each part — Emeralds, Rubies and Diamonds — provides unique insights into the subtleties, signature features and inventiveness that inform the art of the Russian master who fathered American ballet.

Yet on these shores Jewels is seldom a sell-out production. Unless, of course, it is danced by the Bolshoi Ballet. Comparisons are odious, but seasoned dance-goers could not help noticing that, on Monday, the Royal Opera House was packed to the brim. The lure of the exotic, the hype of the advertising campaign, and the fact that the tourist season is at its peak are factors that cannot be discounted; but there is also word of mouth and, more particularly, the word of mouth of discerning ballet-goers.