This is a tricky one to review. Gergiev’s reading of arguably the greatest classical ballet ever written has been tailored very specifically to the Mariinsky Theatre’s performing version of the score. In other words, to the dancing. Doubtless Gergiev has himself conducted it in the theatre. So the priorities, in terms of tempi, temper and overall musical attitude, are very much those of narrative fluidity and classical grace. The word “classical” colours the whole reading; poise and restraint become the watchwords with the rear of the orchestra – brass and percussion – generally quite subdued. Up front, the Mariinsky strings are collectively and soloistically exquisite with passages like the “White Swan” pas d’action tracing every flutter of the dancers’ long limbs from one position to the next. The national dances of Act 2 also ignite in ways which emphasise their alien character. The Mazurka is an exuberant splash of colour.

Otherwise “the world’s most electrifying conductor” (to quote the sticker on the sleeve) is not much in evidence. For those of us accustomed to a more symphonic approach to the score – for concert hall or CD presentation – the dramatic high-spots here sound curiously underpowered. With Gergiev and his orchestra so preoccupied with the mobility of the footwork, the Imperial splendour and spectacle are by necessity somewhat reined in. I personally want more breadth for the big moments, more by way of exclamation and punctuation and rhythmic uplift from the brass and percussion; even the foreshortened climax of the ballet, where the major key transformation of the great “swan” theme sounds more minor than in its minor incarnation, proves less than overwhelming.

A generous “highlights” disc gives you more than two-thirds of the score, should you prefer that option, but for the purposes of home listening I would go for the complete score stunningly realised by Michael Tilson Thomas and the LSO on Sony.