The Royal Ballet's triumphant 2006 restaging of The Sleeping Beauty - based on its landmark postwar production - is going to be a welcome sight at Covent Garden for years to come. As staged so immaculately by Monica Mason and Christopher Newton (after Ninette de Valois and Nicholas Sergeyev), it's a gorgeous, rapturously classical spectacle, brimming with the opulence of the French court and sparkling with the magic of fairydust. Who can resist its grand 19th-century Russian traditions filtered so lovingly through the refinements of 20th-century English sensibilities? The designs (Oliver Messel's 1946 originals with additions from Peter Farmer) are ravishing, albeit the sets more than the costumes.

There are seven casts in total for this revival, although it's hard to imagine the Royal Ballet dancing it better than on Monday night. Throughout every layer of this ballet - from character artists to Aurora and her Prince - the company danced with a radiant sense of presentation and respect for the choreography (mostly Petipa, but with additions from Ashton, Dowell and Wheeldon).

Aurora's friends were utterly delightful; the Fairies were models of poise and grace; from the principals it was a lesson in impeccable classical dancing. And the ROH Orchestra supported the whole wondrous affair with fine playing under the baton of guest conductor Valeriy Ovsyanikov, a man who has Tchaikovsky's greatest ballet score in his blood.

Credit must go to Alexander Agadzhanov, who coached the superb star pairing of Tamara Rojo and Federico Bonelli at the head of Monday's cast. As Princess Aurora, Rojo's composure and command of the stage are complete, her dancing exceptionally creamy and precise, all of it beautifully unhurried and decorated with pleasing musical flourishes. In the Rose Adagio she lingered tantalisingly over the balances (as if enjoying the prospect of each potential suitor) and somehow Ovsyanikov kept the orchestra from coming to a complete halt as Rojo stretched the music to breaking point.

Bonelli, who is noble to the core, is the perfect fairytale Prince. His dancing is as effortlessly strong as it is winningly handsome. And with a heart bursting with love for his Princess, Bonelli's Florimund gave the Vision scene and Aurora's awakening a rare human relevance.

As the Lilac Fairy, Marianela Nuñez is the ballet's good luck charm, and lucky is any Sleeping Beauty that has her in its cast. She shimmered with luminous beneficence, wielding her magic wand with tremendous joy, while showing that with every gracious step she takes she is a princess in her own right.

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