The lightness of tone set by the overture is reflected in Liñares’ performance, much of it on pointe, as she enters the fantastical world conjured up for her by the magician Drosselmeyer, danced by Max Maslen.

The production’s choreography is remarkable, moving from the serene to the unexpected and back again. With agitated leaps and jerky movements, the jack-in-the-box and clockwork dolls that Drosselmeyer introduces add just the right touch of malice to the decorous Edwardian party, foreshadowing the fight between rats and soldiers that follows. The battle between them is dramatic and the sense of menace knowingly developed when Clara’s robe is torn from her shoulders by the rats.

By contrast, the snow scene to which she is transported is of a gentler mode. Yu Kurihara, as the Snow Fairy, performs jetés as light as a feather, whilst her attendants conjure up snow-laden branches swaying gently in the wind. Clara’s first encounter with the Prince, beautifully danced by soloist Yasiel Hodelín Bello, adds to the effect as he transports effortlessly her across the stage.

In Sir Peter Wright’s telling of The Nutcracker, Act II’s dances from different countries have become set pieces. Of these, the Arabian dance is a real stand-out, the dancers’ graceful postures and sensuous movements complemented by silver and grey costuming crafted into simple lines around their upper-bodies and loose flowing fabric below.

Act II’s delivery of the Waltz of the Flowers is another highlight, with Miki Mizutani’s performance of the Rose Fairy spell-binding, and the ensemble work of her consorts and flowers impressive.

The grande pas de deux by Céline Gittens as the Sugar Plum Fairy and Yasiel Hodelín Bello as the Prince is the evening’s culmination. Her pirouettes are stunning whilst his dancing is fluid and expressive. Again, the choreography holds surprises. Beautifully controlled movements are interjected by sudden angular movements in the first part whilst the pair’s mirroring of each other in the fourth part is moving and magical. Drosselmeyer and the corps de ballet provide an unexpected interlude before the fifth.

Staging fully captures the spirit of Christmas. The Stahlbaum’s Edwardian drawing room is deeply red and sumptuous. Set off by the enormous Christmas tree, depth is created by the presence of a banqueting table, bedecked with an extravagant candelabra. A window reveals the snowy landscape outside. Later on, we witness the falling snow.

The technical skills deployed to announce Drosselmeyer’s entrance by a firework, to create giant rats that skid across the stage, and to re-connect the broken head and torso of Clara’s beloved nutcracker toy, are full of wizardry. Transformation of the Christmas tree into a forest is breathtaking, as is Clara’s Act II entrance on a giant white bird flying across the stage.

Costumes, rich in colour and texture, add a further dimension. The stunning red and black dress, complete with bustle, worn by Clara’s mother, performed by Daria Stanciulescu, is displayed to full effect in her elegant dance as she welcomes guests to her house, whilst tutus and shirts glitter and shimmer throughout the second act.

Sofia Liñares’ presence on stage throughout the whole brings a coherence to the piece, the staging is exceptional and the presence of children is joyful. As a regular in the BRB’s annual calendar, this year’s version of The Nutcracker is a Christmas treat for all.

Students were from the Elmhurst Ballet School and the Royal Ballet School. Choreography was by Peter Wright, Lev Ivanov and Vincent Redmon. Production was by Peter Wright. Designs were by John Macfarlane and lighting design was by David Finn. Tchaikovsky’s music was performed by the Royal Ballet Sinfonia and the conductor was Thomas Jung.