Romeo & Juliet, Boston Ballet, Boston Opera House, through April 8. 617-695-6955 or bostonballet.org

Also in repertory-Parts in Suite, Boston Ballet, Boston Opera House, through April 7. 617-695-6955 or bostonballet.org)

"Romeo & Juliet" is arguably the greatest love tragedy, one that John Cranko's 1962 ballet version captures in both story and spirit. Cranko's rich conception ranges from the humor of Mercutio, Benvolio and Romeo toying with Juliet's Nurse and attending the Capulet ball as masked mysterious figures to Juliet's emotional abuse by her domineering parents and the vulnerability and sad fate of the title lovers.

At the same time, the masterful dance storyteller vividly depicts the bustling life of the townspeople-especially the street vendors and a carnival with eye-catching clowns. Boston Ballet is doing full justice to this narrative classic in an exquisitely danced revival at the Opera House

Dance buffs and Boston Ballet Fans will find that Jane Bourne's staging and Gabriel Heine's conducting are as masterful as the ballet itself. Bourne brings grace and flair to the first act Capulet ball and fires up the townspeople's rousing second act tarantella and carnival clowning. Heine sharply captures the haunting passages as well as the soaring ones in Prokofiev's exquisite music.

In solo, pas de deux, trio and ensemble, soloists, principals and the full corps demonstrate the kind of high caliber technique and strong synchronization that distinguish the likes of American Ballet Theatre and New York City Ballet.

Opening night Paulo Arrais as Romeo and Misa Kuranaga as Juliet (casts alternate through the run) danced with both great heart and technique as the ill-fated lovers. Arrais had all of Romeo's spirit and adventurous nature-in his electrifying turns and leaps and in Three Musketeers-like sequences with Isaac Akiba's Benvolio and Derek Dunn's Mercutio. Kuranaga found Juliet's early diffidence a, her ongoing vulnerability and her blossoming wit Romeo. Their pas de deux moments were exquisitely moving in their earnestness, and Arrais lifted Kuranaga handily and impressively high. Akiba displayed the right protectiveness as Benvolio tried to keep Romeo from retaliating against Tybalt for killing Mercutio. Dunn captured Mercutio's signature mischief with a trio of townswomen and danced with striking playfulness even as Romeo's witty friend moved closer and closer to death. The trio perfectly fulfilled Cranko's dance combinations.

Maria Alvarez was a standout as aloof Lady Capulet, especially when she displayed over-the-top grief for Tybalt-going so far as to cling to her dead kinsman and reject any consolation. Pavel Gurevich captured Lord Capulet's easygoing demeanor at the ball and his rigidity and mean-spirited manner with Juliet. Eris Nezha caught Tybalt's volatility and dangerous arrogance. Florimond Lorieux danced with the right combination of formality and tenderness as unrequited suitor Paris. Elizabeth Olds had the right variety of emotions and moves as Nurse supported romance-embracing Juliet. Lawrence Rines demonstrated singular agility and engaging expressiveness as Carnival King.

Boston Ballet introduced the pleasures of Cranko's "Romeo & Juliet" to Hub dance buffs in 2008. The company's meteoric rise under the smartly demanding guidance of artistic director Mikko Nissinen makes the current revival a landmark event and dance magic to treasure.