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A shimmering smorgasbord of some of today’s most exciting international dancers, who performed pristine works by Petipa.

The ballet’s second act, following Giselle’s death, is set in a spooky, mystical realm, precisely the kind of thing that so intrigued its 19th century audiences and made this ballet an instant classic.

With Tchaikovsky’s dear, familiar overture, the reassuring sameness of Wendall K Harrington’s slide show projecting 1915 San Francisco scenes onto the curtains, we were all, most decisively, back. 

The ballet culminates with fouettés, bravura leaps from the oversized ensemble and a rousing finish with all 44 dancers onstage. It was an exuberant end to an intelligent, satisfying production, both of thought and movement.

In Helgi Tomasson's production, Michael Yeargan’s scenic design and the late Martin Pakledinaz’ sumptuous costumes create a scene so charming, you just want to climb inside and stay in that world all evening and beyond.

A welcome return to London for America's oldest ballet company begins with a highly personal interpretation of Shostakovich in dance 

Ulrich Birkkjaer presented an affecting portrait of a tormented Shostakovich, as he paced, leapt, slumped, was propped back to standing, and relentlessly propelled forward.

Among the standouts at the San Francisco Ballet gala evening performance were Ana Sophia Scheller in Rubies, Sasha De Sola in Études, Benjamin Freemantle in Agon, and Misa Kuranaga and Angelo Greco in Handel-A Celebration.

Benjamin Freemantle danced the opening solo, gorgeously, in the role of the grandfather as a dreamy young Adonis. 

San Francisco Ballet's Giselle brought enthusiastic Beijingers out in hordes to see Yuan Yuan Tan in the title role at the National Center for the Performing Arts on Friday night.