Set against the moving backdrop of Polish composer Henryk Gorecki’s Symphony No. 3, known as the Symphony of Sorrowful Songs, Crystal Pite’s Light of Passage made its debut at the Royal Ballet in 2022. This exceptional Canadian choreographer’s poignant triptych is now gracing the main stage once again until mid-March, captivating audiences with its emotional depth and powerful themes.

The work, much like its beautifully measured score, is divided into three distinct sections. The first segment, titled Flight Pattern, originally premiered in 2017 and was influenced by Pite’s reflections on the refugee crisis. Lasting 30 minutes and featuring 36 dancers, this piece earned an Olivier award, highlighting its remarkable execution and Pite’s skillful crowd management.

The staging is elegantly simple. Dancers in long coats form three lines, swaying, bending, and turning in front of Jay Gower Taylor’s imposing set of dark, shifting walls. As this human mass shuffles, their movements crescendo into dynamic bursts of supportive collapse and stylized panic, interspersed with striking sculptural moments.

The choreography evolves into a profound and complex exploration of shared suffering and resilience. On opening night, performers Kristen McNally and Marcelino Sambé delivered standout performances as the primary leads.

Following an interlude is Covenant, a brief yet powerful appeal for children’s rights and protections featuring six enthusiastic young dancers from the Royal Ballet’s school. An 18-member adult ensemble clad in black acts as a living, interactive playground, lifting and guiding the children or serving as a climbing structure.

The themes of grief, loss, and death dominate the final section, Passage. This 20-minute conclusion offers notable roles to two dancers from the Company of Elders at Sadler’s Wells, with Isidora Barbara Joseph (forceful) and Christopher Havell (delicate) making a strong impression, accompanied by 36 dancers in white.

Visually striking elements, particularly the evolving digital projections by Gower Taylor and the lighting by Tom Visser, enhance the experience, although this segment may be deemed the evening’s least compelling. Nevertheless, guest conductor Zoi Tsokanou excels in her interpretation of Gorecki’s music, complemented by soprano Francesca Chiejina’s impressive vocal performance. ★★★★ 90 min Royal Opera House, until March 12.