Since Dumas’ book appeared in 1848, it’s been adapted for many genres – from the writer’s own play in 1852 and Verdi’s glorious opera, La Traviata in 1853 through numerous films, notably Camille in 1936, starring Greta Garbo.

Ballet is no exception and any choreographer who tackles the story has to compete with two modern classics: John Neumeier’s 1978 version and Frederick Ashton’s one-act masterpiece Marguerite and Armand, created in 1963 for Fonteyn and Nureyev.

If not in that league, Caniparoli’s version has established itself in the repertoire of several respected companies and his choreography is smooth and well-crafted, the high points being the love duets. Yet somehow the ballet fails to move as it should.

Ironically the music, lovely in itself, is largely to blame – Chopin’s gossamer melodies are too delicate for a story of such extreme emotions. Two sung portions of the score (beautifully performed by baritone Albert Lim and soprano Louise Kwong Lai-ling), work better but even these convey melancholy rather than high drama.

Act 3 is the strongest section and Gautier’s death scene is effectively imagined, although it’s hard to see why Caniparoli has changed the ending.

In other versions, Duval returns to Gautier and she has one final moment of joy before she dies in his arms. Here she sees him only in her dreams and expires alone, which is far less poignant. Overall, characters and their relationships are underdeveloped – there’s a lot of focus on virtuoso dancing and too little on narrative depth, although this may develop more later in the run, which continues until 13 November with a total of three casts.

First cast for Gautier was senior ballerina Jin Yao, who celebrates 20 years on stage next year and has been a pillar of the company since 2004. The ballet was selected in part as a star vehicle for Jin, who looked stunningly beautiful and danced with her customary technical excellence.

That said, it’s not the ideal role to showcase her talents – in particular, the duets require a lyricism which isn’t one of her strengths (in contrast Liu Miaomiao, who danced Gautier in a dream sequence, had just the right melting quality of movement).

Lucas Jerkander was a fine Duval, with vivid acting and heroic partnering. The troupe’s wonderful ensemble of male soloists shone in Acts 1 and 2, led by Li Lin, Shen Jie, Xia Jun, Shunsuke Arimizu and Leung Chun-long. Gao Ge had fun as Gautier’s bitchy rival Olympe, and Dong Ruixue was a delightful Nichette.

It was a pleasure to see Lindzay Chan, a legend of local ballet, back on stage as a splendidly over-the-top Prudence – if only the company had invited a similarly experienced artist to perform Duval’s father, instead of casting a very young dancer in a very unconvincing grey wig.

Until November 13

Lady of the Camellias

Hong Kong Ballet

Reviewed: November 4