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This two-part work set to an assortment of J.S. Bach's music is uneven. Duato's concept for the first half, which is the more satisfying, was quite original, with the dancers impersonating various musical instruments in the orchestra. There are some interesting, light-hearted sketches. A woman in the beginning represented a cello and danced a witty pas de deux, set to a Bach cello suite, with Alejandro Alvarez who impersonated the composer Bach in the whole ballet. Later another female dancer depicted a violin in her solo. One of the best choreographed dances was an expressive pas de deux full of long flowing lines, beautifully danced by Joel Toledo and Tamako Akiyama on the first night.

There were also some vivid ensemble dances which were full of high spirits, including a rousing fencing dance for the male dancers whose swords were represented by the bows of the string instruments. Another dance for Alvarez and three women made effective use of shadowplay which was theatrically presented.

The less satisfactory second half revolved round the theme of death and was heavier and more serious in tone. Not unexpectedly the dancing gradually grew more desperate and grim, enhanced by the black costumes and some very dark lighting effects. A 'death' figure was prominent in this second act who frequently danced with Alvarez's Bach figure. The several relentlessly gloomy pas de deux became repetitive after a while. This second half suffered from longueur, and finally ended with Bach's death.

Fortunately there was a brighter, sinuous solo towards the end for Duato himself who danced it marvellously. Compania Nacional de Danza's dancers, who are wholly in tune with Duato's choreographic style, are strong technicians and have an admirable incisiveness in their dancing.

The diverse second programme offered more interesting choreography than the first. The first ballet "Txalaparta" is set to very lively Basque percussive music, and makes a good start. This energetic piece has seven couples who are divided into duets, trios and ensembles etc. The fluid style of the movements, not at all typical of Duato's work, curiously reminded me of Trisha Brown's choreography. Heads wriggle, and the arms rotate and follow through the legwork. The full-bodied dancing is fresh and quite exhilarating.

The second piece "Castrati" (male singers with soprano voices) is for a male ensemble. The theme is about the group choosing a victim to be sacrificed, with overtones of "The Rite of Spring". The male dancers often danced gracefully like women, though the choreography also included some dynamic jumps. At the climax the castration of the victim was symbolised by his blood-stained hands, and the ballet ended with a shower of white sand raining from above.

The last piece was the most conventional in the programme, though it provided a suitably exciting end to the evening. "Arenal", created by Duato much earlier in his career in 1988 and accompanied by the passionate Spanish songs of Maria del Mar Bonnet, clearly showed Duato's influence by Jiri Kylian. As in some of Kylian's work, there is a community of dancers with a bleak landscape in the background. Dominating the ballet is a black-clad female soloist, danced by Yolanda Martin, whose sombre solos contrast well with the brighter and more vivid dances by the group. The pas de deux for Tamako Akiyama and Alejandro Alvarez was full of lifts, followed by a trio and quartet. The company was again superb throughout this second programme.

(A part of this review first appeared in the South China Morning Post.)