Everyone must be wishing the Bolshoi Ballet a swift return to company health after the tragic events of this year, as well as a return to physical health by their horribly injured artistic director - in the circumstances it’s heroic that they have got to London at all, let alone in such good performing order as they showed last night. Many of us will be wishing they had got themselves a worthy production of Swan Lake too, but they haven’t, and so the first night of their three-week visit to Covent Garden was not the glowing triumph it should be in the film script.

So last night the Royal Ballet’s first couple, at shockingly short notice, gave their last performance with the company, in MacMillan’s Mayerling, a terrifying, piteous experience that I know I’ll never see surpassed. Johan Kobborg and Alina Cojocaru have blessed this millennium, both artists who used the lightness of their natural physical abilities to tear into dark emotional places, and who last night tore the Royal Opera House’s sell-out crowd apart. Kobborg the Light-of-foot, Cojocaru the Light-of-heart, dancing away in the blackest, bleakest ballet of all.

General booking for the Bolshoi Ballet's Covent Garden season this summer opens on Tuesday (9 April), and the company has at last announced its intended casting. However, it should always be borne in mind that, as Les Ballets Trockadero de Monte Carlo habitually announce before every performance, "in accordance with strict Russian tradition, there may be changes".

It’s not often you go to a ballet to watch a history lesson unfold, but Laurencia, the 1939 Soviet ballet choreographed by Vakhtang Chabukiani, gives us exactly that, and a gripping one under the froth and fun.

If you want virtuosity, there’s only one place to be in London right now, and that’s watching the Mikhailovsky’s fine production of that demented old warhorse, Don Quixote, with Natalia Osipova and Ivan Vasiliev in the leads.

When the Bolshoi’s wunderkinder, Natalia Osipova and Ivan Vasiliev, suddenly left the company two years ago, the dance world played endless guessing-games as to where they would end up. It was like Claude Rains in Casablanca: round up the usual suspects. The last company anyone expected, however, was the Mikhailovsky, St Petersburg’s junior company to its senior world-class sister, the Mariinsky.

The Royal Ballet's 2013-14 season will open with Carlos Acosta's much-anticipated production of the virtuoso comic 19th-century ballet Don Quixote, the first of a traditional classical-looking year with modest openings for new work. Prime among those will be a cheeringly ambitious full-length story-ballet by Christopher Wheeldon based on Shakespeare's The Winter's Tale, a plot whose themes of jealousy in marriage and the abandonment of a child promise to push the generally abstract choreographer into a new dimension.

Genius does not mean having no influences. Monotones, one of the very greatest of Frederick Ashton's ballets, is heavily influenced by other works: by George Balanchine’s Theme and Variations and Apollo, by Marius Petipa’s La Bayadère. And it in turn has influenced other great works: Kenneth MacMillan’s searing Gloria would not exist without this unearthly, moon-calm vision.

Despite the horror of the acid attack on their director Sergei Filin last week, the Bolshoi Ballet has confirmed its programme for its three-week Royal Opera House season from 29 July to 17 August. Filin's name remains at the head of the page as artistic director, though it is not yet known whether he will be able to come.

Marking the 50th anniversary of the Moscow company's first Covent Garden tour with the veteran promoter Victor Hochhauser, the season is as conventional as usual, with brief glimpses of two shows that will have ballet aficionados scrambling for tickets.

The worldwide success of John Cranko’s 1960s version of Tchaikovsky’s opera, in turn an adaptation of Pushkin’s verse-drama, might have taken even the choreographer by surprise. Tchaikovsky himself worried that “Pushkin’s exquisite texture will be vulgarized if it is transferred to the stage”, and added, “How delighted I am to be rid of Ethiopian princesses, Pharaohs, poisonings, all the conventional stuff.”