When Marianela Nuñez joined The Royal Ballet in 1998, she quickly established a flair for the characterful roles, often the gutsier girls such as Lise in La Fille mal Gardée and Swanhilda in Coppelia. It wasn’t until later that she developed into the traditional ballerina roles, such as Odette and Odile in Swan Lake and now the lead in Giselle.

Her debut last night was unexpected because while her Act I was good, it was her Act II that shone. This is the ghostly white scene when Giselle’s spirit appears to Albrecht, only instead of vengeance she shows her faithless lover an ethereal forgiveness.

It needs an airy detachment and physical lightness, as well as a mood of sustained regret. Nuñez caught this exactly. Unsurprisingly, her diamond technique sailed her through the dancing but it was her phrasing of the steps, and the gentleness of her acting that convinced you of her sorrow.

Carlos Acosta was an able Albrecht, although perhaps not on his top form. However, the corps were excellent in Act II and Gary Avis was a convincing Hilarion, Giselle’s hapless suitor whose exposure of Albrecht’s deceit dooms them all.
In rep until 26 May. Information: 020 7304 4000, www.roh.org.uk.