In recent years when the Russian State Ballet of Siberia has come to the UK - and toured quite extensively - reviews have tended to be positive, but a little mixed. Concerns were expressed that their approach was dated and conventional, perhaps constrained by a lack of glasnostian fresh air; and that there was evidence of roughness around the edges in preparation.

But that could hardly be said of this performance, which was strikingly fresh, superbly tight and disciplined. Choreographed by Marius Petipa, Lev Ivanov and Sergei Bobrov, this was a powerful creation that was very properly received with tremendous enthusiasm by a packed, though somewhat cold-ridden, audience.

Sergei Bobrov is a previous principal dancer and choreographer at the Bolshoi who prepares the ground for each production with anything from eighteen to twenty four months of planning, shaping and rehearsal, and who feels that Britain is the company's most loyal and appreciative audience in Europe.

Composed in 1877, Swan Lake remains one of the most popular ballets, but also one of the most testing classical ballet pieces. Ways and means of staging it have been reshaped many times, both by Tchaikovsky and by the later interpreters and choreographers, and the original story can be sliced in a number of directions. This version is unusual in a number of respects, most particularly in the company's choice of following an alternative ending.

Odette and Odile were, as per tradition, danced by the same ballerina - a punishing regime which was handled superbly here by the young star Anna Fedosova. As well as being hugely appreciative of the lead players, the audience expressed special enthusiasm for the performances of the five 'potential brides' who presented their various Hungarian, Russian, Spanish, Italian and Polish dances for a sadly unappreciative Prince Siegfried (Daniil Kostylev).

Lighting makes such a difference in the staging of such a presentation, and its management here was simple but magically well conceived; the ghostly appearances of 'Odette' during the presentation dance of Odile were very effective, and the first appearance of the lake - the swans shrouded by mist against an atmospheric background - drew gasps of admiration.

The orchestra has to be excellent to transport the audience into the magic, as is required by the story; and the Siberian Orchestra, though it is a small ensemble fitted for smaller venues such as this one, were unimpeachably fine, conducted here by Alexander Yudasin and all clad rather splendidly in national Siberian costume.

A strong, affecting performance from this tight company - and it was great to see so many smiles among the audience as they left the Theatre.