Initial signs weren’t promising. A quick scan of the cast list revealed the total absence of established stars. Indeed, thanks to injury and visa hiccups, not a single principal dancer was on hand to launch the Kirov Ballet’s UK tour. Add to that rows of empty seats in the Lowry stalls and prospects for a dispiriting evening loomed. But never underestimate the Kirov. Such is the resilience of St Petersburg’s great company that, despite the disadvantages, it managed to produce a captivating show.

The opening attraction was the three-act abstract ballet Jewels, and perhaps it was the lack of title recognition (rather than high ticket prices) that kept audiences away. If so, they have only themselves to blame, for Balanchine’s 1967 creation is a dazzling stylistic potpourri of pure dance.

Emeralds, the opening section set to Fauré, is a homage to 19th-century French ballet and the Kirov performed it with flair and elegance and just a hint of ghostly pallor, as if this were a riff on the second act of Giselle. Olesya Novikova, who led the first cast, enjoyed the delicate feel of the choreography, yet somehow managed to imbue its perfumed romance with a sweetly seductive aroma. Unfortunately her partner, Maxim Zuzin, like most of the men on display, was too tentative to be deserving of her charms.

Rubies, set to Stravinsky, is Balanchine’s nod to the dynamic attack and jazzy exuberance he brought to 20th-century classicism. Again, Novikova stole the show at every turn with her sassy jumps and playful pirouettes. Despite the speed and complexity of the dance she didn’t put a foot wrong.

By now it was obvious that this young dancer is a star in the making. She has luscious extensions that invite admiration, a strong and supple technique and an extremely beguiling and natural manner on stage. As the second Rubies female Ekaterina Kondaurova gave us a predatory Broadway showgirl determined to outdance her rivals, and if looks could kill, she certainly directed one at Novikova. It’s good to know that haughty Russian manners are not a thing of the past.

Diamonds, the final section set to Tchaikovsky, is Balanchine’s tribute to the Imperial style of his Russian youth and the one closest to the Kirov’s true nature. Perhaps recognising its debt to Swan Lake, the company couldn’t help storifying it. The bendy-bodied Viktoria Tereshkina gave us her Odette, a performance of elegant froideur and soulful lyrical absorption.

Evgeny Ivanchenko played along, her adoring Siegfried. The corps de ballet offered a shimmering array of white tutus in motion, a spectacular sight and a fitting climax to a great evening. The omens for Don Quixote, which opens tonight, are excellent.

Box office: 0870 7875793, to Sat. Birmingham Hippodrome, May 20-24 2008

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