Nuñez and Soares are real life partners but don’t often dance together and were obviously thrilled when the opportunity presented itself. They gave of their best in virtuoso performances; the few partnering blips amply compensated by a performance of joyful exuberance.
The Dryad Scene offers a lyrical interlude and Melissa Hamilton in the role of the Queen interpreted the contained beauty in fine classical lines while Elizabeth Harrod, a neat soubrette, danced a chirpy Amour of precise musicality.
Hayley Forskitt, who danced for several years in Oslo before joining the Royal Ballet, proved a dramatic Mercedes while William Tuckett gave a solid performance as the Don and Jonathan Howell tagged along as the mistreated Sancho Panza. But this is a ballet all about dance and in that department, the Royal Ballet did it proud.
November’s Mixed Programme was an unwieldy mix of the dated and the modern. Notable it marked the return of David Dawson to home ground. Born just minutes from Covent Garden, he trained at the Royal Ballet School and started his career with Birmingham Royal Ballet and has since established himself as a major choreographer on the international scene. His premiere at the Royal Ballet is a work of twenty-first century dance powered by a throbbing romantic heart. London has waited a long time for this homecoming but The Human Seasons was worth the wait.