The Birmingham Royal Ballet production of Swan Lake reprises the one that was originally staged 39 years ago by Peter Wright and Galina Samsova - though of course the tale itself is much older.
Tschaikovsky's 19th century ballet follows Odette, a princess turned into a swan by an evil sorcerer's curse.
This version doesn't disappoint - it's the perfect marriage of Tschaikovsky's score and powerful dance performances, from dancers who are both graceful and athletic and utterly mesmerising.
The set gives a sense of the dark story to come, beneath a canopy of trees and dark marble columns by a gloomy lakeside.
It is a vast stage, in which the dancers could have been lost had they had less presence.
Momoko Hirata is a faultless Odette/Odile, playing the role with humour and the inevitable grace and strength that it demands.
She is entrancing from the off, switching between a sorrow-stricken woman and a swan, with delicate swan-like movements of her arm and head dips.
The flock are wonderful - the cygnets' intricate dance and swan maidens Yu Kurihara and Yuki Sugiura intriguing.
There's applause for Hirata in the dramatic Act Three, when she becomes the black swan Odile.
She performs 32 fouette turns, revolving one one leg repeatedly without letting the raised leg ever touch the ground.
She spins and spins with the equally accomplished Prince Siegfried, danced by Cesar Morales, supporting her.
Someone nearby gasps: "Wow" and I have to agree, it's a 'wow' moment.
The pair looked delighted with the spontaneous mid-performance applause and whoops from the audience.
The music, too, conducted by Philip Ellis, and played by the Royal Ballet Sinfonia was matched perfectly to the intricate choreography.
It's important not to forget Benno, danced by Tzu-Chao Chou, who is an outstanding dancer.
He's a tiny powerhouse with a commanding presence across the stage with his jumps, as light and impressive as the puffy sleeves in his costume.
Swan Lake is completely sublime.
It will be at the Lowry until Saturday March 7.
