It is unfortunate that Dutch National Ballet's second programme, which was to have given us a larger view of the company's repertoire, should have been curtailed by an injury to one of its cast. This meant Krystof Pastor's Do Not Go Gentle... was replaced by a repeat of two duets from the previous night. However, the programme still had Balanchine's The Four Temperaments, which is always a treat for Londoners, given how rarely this gem of charged, neo-classical imagination is performed in England.

The scale of this work - 25 dancers - certainly offers a much more comprehensive feel for the company, displaying the fierce definition of their footwork, the admirable clarity of their line and their fearless speed.

Though Temperaments has no story, and no real characters beyond the humours (Melancholic, Sanguine, Phlegmatic and Choleric), its steps are fraught with mysteriously intent images and eccentric passions. It is a fantasy of personality and conflict woven out of pure dance, and the dancers have to be able to make that vivid on stage.

Tomas Nagy, a mop-headed clown in the Melancholic variation, makes an instant impression with his lanky mournfulness, but there is no depth or definition to his disjointed brooding. The most interesting man is Viacheslav Samodurov, attacking his steps in the Sanguine pas de deux with an extrovert snap.

The women soloists are impressive for the expertise with which they delineate Balanchine's abrupt, sensuous nuances of style but a crucial element of charisma is missing. It is significant that although Igone de Jongh dances one of the smaller roles, she is the one who most dominates the stage. With a style and demeanour that appear effortlessly powered, her dancing also hints at hidden claws. We're fascinated by what she shows us, and even more so by what she seems to hold in reserve.