History lesson or overstuffed novelty bag? The Mikhailovsky Company's mixed bill veered between both as eight highlights from the Russian repertory were crammed into an exhausting, fascinating and occasionally preposterous three hours. Most intriguing from the history angle was Le Halte de Cavalrie, a one-act comedy by Marius Petipa, performed here for the first time in London. In the west, we know and love Petipa almost exclusively through his full-length classics; this 1895-ish work, complete with late revisions, turned out to be a small revelation. It inhabits a totally different world to Swan Lake or Sleeping Beauty, given its cast of flirtatious peasant and hussars, and its folk-inflected jumps and military mime. But at the same time it is constructed out of disconcertingly familiar elements - the densely patterned ensembles, the rivalrous heroines and climactic pas de deux - all distilled by Petipa into a single act.

There's more oomph with Spring Waters, a spectacular duet that has the ballerina hurling herself into her partner's arms from half a stage away. Marat Shemiunov and Irina Perren zip through it with gusto. Denis Matvienko is gleefully showy in the big jumps of Le Corsaire, though Anastasya Matvienko lacks stamina in her solos.

Earlier in the week, this couple came off much better in Giselle, the best of the Mikhailovsky programmes.

Denis Matvienko and Anastasya Matvienko (the husband-and-wife stars of the company) brought plenty of beautiful dancing to their leading roles, if not quite the soulful dramatic exposition one hoped for. His Count Albrecht was sensitive but not wholly honourable, which is right (his betrayal is what sends Giselle to her death), and his dancing in Act II brought forth an immaculate display of refined and robust classical technique. Anastasya Matvienko’s Giselle was delivered with a lustrous sheen, impressive technical control and a creditable transformation from innocent peasant girl to tragic wraith. Their performances were complemented by a fine corps de ballet of Wilis, well attuned to the dramatic purpose of Adam’s music.

“Balanchine was a true genius, a unique voice in ballet, and more than that, in the history of the arts,” said Damian Woetzel, Vail International Dance Festival Artistic Director. “He created ballets which will live forever, and the variety and depth of his gift is showcased by the range of works being presented this year in Vail by Pacific Northwest Ballet.”

The evening’s program will feature performances of “Concerto Barocco,” with music by Johann Sebastian Bach; “Tchaikovsky Pas de Deux,” with music by Peter Tchaikovsky and “Agon,” with music by Igor Stravinsky, with whom Balanchine collaborated extensively throughout his career.

Part II, "In the Middle, Somewhat Elevated," has been performed as a separate work by many companies. Without narrative trappings, it reinforces Forsythe's position as the father of extreme ballet. Nine superb dancers led by Aki Saito, Claire Pascal, and Wim Vanlessen wrench themselves into moves that shatter classical harmony and proportion. Their casual manner and the way they join and walk away from patterns contrasts with their severity of attack and a virtuosity that burns like dry ice. The Czar would definitely be amazed.

But as Zhao brings the National Ballet of China to London's prestigious Covent Garden this week, she also recognises that the cultural revolution ensured the country quickly became aware of ballet, a benefit that is still felt today.

For ballet to maintain its popularity, amid rampant consumerism and competition from new forms of entertainment, it must reinvent itself and rely not only on Western influences but also Chinese traditions. "The reason ballet in China now is very popular is because of the film 'The Red Detachment'," Zhao said, referring to the film version of the propagandist Chinese ballet "Red Detachment of Women", one of only a handful of plays, operas and ballets allowed from 1966 to 1976

Many will disagree but for my tuppence National Ballet of China lacks the emotional connection that converts ballet from a pretty thing into a serious one. The troupe has some lovely dancers, neat bodied and fine boned. They seem willing disciples of ballet's demands, which are considerable, yet they seem light years from its themes. The ballerina Wang Qimin has a gorgeous line, and the sweetest of feet (if erratic arms), yet there was little in her acting that hinted at the Swan Queen's plight.