Consumed by guilt, Albrecht visits her grave at night to find that she has become one of the Wilis, ghosts of women who died for love and exact retribution on men who stray into their realm by making them dance until they die. In a supreme expression of selfless love, Giselle defies Myrthe, the merciless Queen of the Wilis, and succeeds in saving Albrecht, but she must part from him forever at the break of dawn.

Zhang has made a strong impression since joining the troupe in 2010 and Giselle confirmed that she is a major talent. So confident and complete was her performance that it was hard to believe she had never danced the role before.

Touching in her innocence at the beginning, heart-wrenching in her mad scene and sadly, serenely loving in Act 2, this was an immaculate interpretation. Her dancing was equally good: musical, fluid and full of the lightness and speed the role demands. The way that she paced Act 2 to build the dancing to a climax was remarkable in its maturity.

However, the biggest revelation was Kostyantyn Keshyshev's Albrecht.

His performance was thought out in every detail, convincing and deeply moving in the transition from vain, selfish seducer to grieving, repentant lover. He partnered well and produced some fine dancing, notably his series of entrechat six in Act 2. This is the best thing Keshyshev has done with the company and a major breakthrough for him.

Liu Yiuyao brought an icy, implacable beauty to Myrthe, her dancing distinguished by magnificent arms and musicality. Chen Qing gave a powerful portrayal of Hilarion, whose jealousy of Albrecht is the catalyst of Giselle's death, and Li Yiran brought dignity and tenderness to the role of Giselle's mother.