*** The 23rd annual Bermuda Festival opened last night with a sparkling performance -- and a world premiere -- from Canada's internationally acclaimed, and oldest company, The Royal Winnipeg Ballet.

Famed for its mix of classical and contemporary works by some of the world's leading choreographers, the Bermuda programme offered six short pieces, beautifully danced, that reflect this company's extraordinarily eclectic repertoire.

Balanchine's `Tarantella', based on the popular folk dance of southern Italy, provided a frothy curtain-raiser. Bearing tambourines aloft, principal dancer Suzanne Rubio, in red and white be-ribboned tutu, and David Lucas gave a high-spirited and musical account of this happiest of pas de deux.

The world premiere was `La Soif', choreographed by former company member Nina Menon and her first work to enter the Royal Winnipeg repertoire. Set to music by Henryk Gorecki, this was a fluidly composed, enigmatically themed work for four dancers; modern in idiom but danced on point, a couple (Gail Stefanek and Matthew Johnson) whose relationship is unremittingly intense seem to glance, somewhat wistfully, back to a simpler, younger and altogether happier time (Tara Birtwhistle and Johnny Wright). It was convincingly danced, Birtwhistle in particular displaying exquisitely pensive port de bras .

Brahms' `Concerto for Violin and Orchestra in D major' provided the music for American choreographer David Berkey's `Sentinel', fairly unusual choreographically, in that it is set for a quartet of male soloists. Clad in white shirts and pants, this abstract work has a generational theme, exploring how collective knowledge and passed on and perpetuated. Its considerable choreographic interest lies in the juxtaposition of restrained athleticism and the lyricism of the score, the quality of which was splendidly and, at times, sternly demonstrated by Paul De Strooper, Johnny Wright, Matthew Johnson and Joseph Schnell. This piece certainly serves to underline the disciplined strength of this company's male dancers.

The `Pas De Deux Romantique', choreographed by well-known English choreographer Jack Carter (who, incidentally, brought a group here from London's Festival Ballet back in the 1960s), illustrates his mastery of the classical idiom. In this case, he has moved back to the very roots of ballet, that of the Romantic period, and this charming work echoes the joie de vivre style of Bournonville, legendary Danish choreographer and one-time partner of Taglioni. Tamara Hoffmann, clad in a `Giselle'-length costume, gave a vivaciously effortless account of this deceptively difficult piece while her partner, Arionel P. Vargas displayed exuberant ballon and near-impeccable footwork in this marvellously evocative work.

By far the most impressive ballet of the evening's offering was Frederick Ashton's `Five Brahms Waltzes in a Manner of Isadora Duncan'. This Shakespeare of the dance is at his witty best in this utterly delightful evocation of the essentially untrained dancer who, with her notions of freedom and Greek-inspired dances of antiquity, revolutionised the world of dance.

Originally created for Canadian Royal Ballet principal Lynn Seymour (who has staged this version for the Royal Winnipeg), the title role was brilliantly danced on this occasion by the gifted Suzanne Rubio. In an extended solo performed to the oh-so-rare live music accompaniment (Ross Houston on the grand piano), this was an almost eerie summoning-up of La Isadora, for whom passion and bare-foot Greek postures was all, the ubiquitous chiffon scarf hurled and furled like an heroic banner as she skipped, ran and swooned in showers of rose petals.

There was yet another change of mood as the company, in dramatic black and scarlet garb, gathered onstage for the sophisticated two/four staccato rhythms of South America in the brilliant Dutch choreographer Hans Van Manen's Five Tango. Led by Tara Birtwhistle and Arionel P. Vargas, who displayed a fine understanding of the tango's trademark flick of the head and wrist, elegantly extended legs and crisp body turns. The five couples explored the many moods of this dance that was originally brought to Argentina by slaves -- there was even a male pas de deux as two men took a turn around the `dance floor'.

Altogether, an impressive display of razor-sharp technique, providing a celebratory finale for this very fine Canadian company.

PATRICIA CALNAN PERFECTION -- Suzanne Rubio, who last night danced "Tarantella'' and "Five Brahms Waltzes'' in the Royal Winnipeg Ballet's opening programme.

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