Watching Birmingham Royal Ballet’s Swan Lake feels like stepping back in time. Driven by the original Ivanov and Petipa choreography (recreated in 1981 for the company by Peter Wright), it is precise in its classical integrity, sumptuous in its design and executed with astonishing precision by an impeccable corps de ballet.

Philip Prowse’s design invites us into a world of tromp l’oeil backdrops, huge columns, tumbling ivy and castle windows as high as skyscrapers. It’s medieval via the 19th century via the 1980s: and it’s dazzling. Never before have I seen a stage effect given a round of applause, but this is what happens at the start of the third act (no spoilers). Prowse’s costumes are works of art: palettes, waterfalls and sprays of textures, both stiff and liquid, that move to create different effects on the dancers’ bodies. 

There are several standout stars here, not least Céline Gittens as Odette/Odile, Brandon Lawrence as the heartsore, yearning Siegfried, and his flashy friend Benno, danced with showstopping panache by Riku Ito. But the cygnet ensemble is also a star entity itself; a tight pack display of showmanship, baby-swan grace and, when it wants, a touch of menace. 

The rigour to authenticity, however, does put into stark light the ballet’s shortcomings, or its shallowness in parts. As with Tchaikovsky’s Nutcracker, huge swathes of Swan Lake are given over to a glorified talent show, as a line-up of potential wives are presented to Siegfried. Contemporary choreographers have worked to bring meaning or narrative to these sections. While a classical take provides a showcase for fine dancing, its fizzy, crowd-pleasing tone doesn’t reach the same depths as the storytelling segments. 

The scenes at the lake, by contrast, are pure poetry. Gitten is an absolute virtuoso in her craft, who can conjure up a swan’s elegance and its uncanny animal qualities with a single stretch of her wrist. Her duets with Lawrence are outstanding. They show us that resurrecting tradition does not only make for museum pieces; the original ballet knew its power. 

Birmingham Royal Ballet: Swan Lake, Festival Theatre, Edinburgh, until Saturday 1 April.