When Diaghilev's Ballets Russes first came west, it was the works of Mikhail Fokine which gave the company their instant, cult success. However even Diaghilev, disloyally, soon began to find these works old-fashioned and today they've become even harder to stage with anything like their original intensity. So it's a tribute to the Kirov's all-Fokine programme that it does, remarkably, capture some of the novelty which so enraptured Europe in the early 20th century.

Chopiniana, Fokine's distillation of early Romantic ballet is essentially an ensemble piece and what's stunning about the Kirov's staging is how profoundly the dancers move as a single body. As they mesh their limbs in a delicate trelliswork, as they flutter apart and gently incline they create that brief, collective illusion, unique to dance, of individuals so connected by music and by style that they seem to share the same heartbeat.

The Kirov's Petrushka is, by contrast, more robustly Russian in detail than any production I've seen. The peasants at the street fair look straight out of Tolstoy and the dancing bear (only a man in a costume after all) is startlingly lifelike, a lumbering sullen beast whose mangy coat seems to harbour as much of a tormented soul as Petrushka himself.

The programme closes with Scheherazade, a ballet whose sensual extravagance usually retreats into coyness or topples into ludicrous vulgarity. With Altynai Asylmuratova dancing Zobeide, however, it becomes grand melodrama.

Until June 27.