The Sleeping Beauty is the standard by which we judge classical ballet companies. The reasons are many, but in a nutshell Beauty is one of the biggest and most difficult ballets to stage, and if you can get it right, no one doubts your artistic credentials.

By getting it right I don't just mean tip-top designs and proper dancing, although these do matter as anyone who has seen a second-rate production will know.

Getting it right also means dancers who reveal not only the ballet's prettiness but also its paradox. Beauty is a thing of fairytale splendour, the story of a princess who sleeps for 100 years and is awoken by the kiss of a prince.

It has cracking tunes and fab dancing, yet it's also a reminder that the romantic harmony we want is the thing we don't have.

You hear it in the music, and see it in the best dancers who phrase the steps with both innocence and longing. Tamara Rojo is undoubtedly one of the best. She was almost perfect as Princess Aurora, both a young girl and an unattainable ideal.

Federico Bonelli's Prince Florimund was not far behind, although his is a less complex role. Much of the time he only has to walk around looking aristocratic, with a little romantic yearning on the side. Bonelli does this a treat, plus his leaps and spins are pretty faultless.

However, Beauty is the ballerina's ballet and you can't peel from Rojo.

Even the excellent Marianela Nunez as the Lilac Fairy and the precise Sarah Lamb in the Bluebird pas de deux couldn't dim her appeal.

This Sleeping Beauty dates from 2006 when company director Monica Mason commissioned a new production to mark the Royal's 75th anniversary.

It is based on the 1946 production that Royal Ballet founder Ninette de Valois, Russian big-wig Nicholas Sergeyev, and designer Oliver Messel created.

Together they made a new British tradition from an old Russian one, and this incarnation looks wonderful. Which is just as well, as the economics don't bear thinking about.

• In rep until 6 May. Information: 020 7304 4000. www.roh.org.uk.