IF ever a classical ballet could be said to embody the eternal optimism of the human condition then it must surely be this age-old tale based on the premise that everything – with a little help from the fates, of course – will eventually come right in the end.

It can surely be no coincidence that Ninette de Valois’ production of this emotion-drenched work at the Royal Opera House came about in 1946, the first year of peace after the Second World War.

When all seems lost and the odds are stacked against you, do not lose hope. When happiness appears to be out of reach, bide your time… and when the forces ranged against you look invincible, fight your corner.

Yes indeed. And there must have been many people who saw the Covent Garden performances all those years ago who quickly realised that the 1946 version designed by Oliver Messel was nothing less than a choreographed metaphor symbolising the blood, sweat and tears of the previous six years.

However, we must move to the present. Sir Peter Wright’s fabulous production carries on the great tradition first established by Serge Diaghilev’s lavish piece in 1921 and explodes cross the Birmingham Hippodrome stage in a riot of colour and movement.

King Florestan (Jonathan Payn) and his Queen (Yijing Zhang) have invited all the fairies to be godmothers at the christening of Princess Aurora (Nao Sakuma). That is, all except one – Carabosse, who has been missed off the guest list.

Now, there’s just no reasoning with a fairy that’s gone to the bad, and so the innocent child is cursed. One day the princess will prick her finger on a spindle and die.

Marion Tait as the fairy in question was never darker than this… she is the personification of mischief, a high priestess of malice, blacker than the blackest pit in Christendom.

And as for her demonic entourage, they must surely have been tutored by Pirates of the Caribbean’s Johnny Depp with Keith Richards as consultant.

However, the kind Lilac Fairy (Jenna Roberts) tempers the curse so the princess will instead fall asleep for 100 years. All she will need is a passing handsome prince who will obligingly give her a big smacker on the lips and everything will then be sorted.

And guess who’s going to do that? Why, it’s BRB golden boy Chi Cao as Prince Florimund, who’s more than willing to do his duty and awaken the fair Nao, who, despite a century of slumber, can perform a pas des deux at the drop of a tutu’s hem.

And needless to say, the couple win not only each other’s hearts but also those of everyone who beholds the unearthly chemistry that has always made their dancing so disturbingly unique.

Tchaikovsky’s score follows the protagonists’ fortunes closely, clinging like shadows to their every move, machination or misfortune. And much of the original choreography by Marius Petipa is retained, embellishing every turn and twist of this most ancient of folk tales.

Of course, the best bit has been saved until last. The wedding celebrations blend with Philip Prowse’s stunning designs and Mark Jonathan’s evocative lighting to produce a kaleidoscope for the senses, and all swept along by Koen Kessels’ girls and boys doing sterling work in the orchestra pit, the veritable engine room that powers this great ship.

Sleeping Beauty is an absolute must, a feast for body and soul, an invigorating tonic that’s guaranteed to banish all those early autumn blues.

And although not exactly a once-in-a-hundred years opportunity it’s certainly something along those lines. It runs until Saturday (October 12).