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Saturday’s matinee had the beautifully matched Sarah Lamb and Federico Bonelli.Lamb’s textbook account of the choreography made a careful contrast between her glacial swan queen and dominatrix Odile, but she never quite distils drama from this exquisite display of steps.

From the moment it premiered in 1997, naysayers – who would cut any amount of slack for the iconoclastic reworkings by Matthew Bourne or Mats Ek – were suddenly treating the ballet as a sacred text that had been vulgarised and diminished by Derek Deane’s populist arena staging.Swan was on the menu everywhere last week thanks to the UK premiere of Darren Aronofsky’s ballet-slasher Black Swan, which coincided, very obligingly, with the Royal Ballet’s latest revival of Swan Lake.The movie (for those who’ve been locked in their dressing room catching up with a little self-harming for the last fortnight) tells of Nina the ballerina, an infantilised bun-head whose director feels she lacks the sex appeal required to dance the evil doppelgänger Odile and sends her home to practise (on herself).On Wednesday, too, although she used her legs and arms exquisitely, there seemed at times to be a subtle hesitation about the neck and shoulders, a slight unwillingness to let rip.You could never accuse that helpless showman Vasiliev of not letting rip, either physically or emotionally.Real-life dancers have been queuing up to bellyache about Natalie Portman’s port de bras.

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