Upon seeing eight ballet dancers standing in fifth position, it may seem that one has happened on a school demonstration. And although Concerto Barocco was born inside SAB’s studios, it has since evolved into what is the epitome of a Balanchine ballet. The simplicity of production – blue-lit background, white-clad dancers – is an astute decision as this allows the audience to truly appreciate the marriage of Balanchine and Bach. Teresa Reichlen embodies the beautiful voice of Kurt Nikkanen‘s violin especially during the melancholic strings of the second movement; it is then when Russell Janzen seamlessly partners her in a series of double en dehors piqué turns which extend oh-so-luxuriously to à la seconde. Abi Stafford as the ballerina to 2nd violin Arturo Delmoni is dynamic in her execution of grand jétes, and the corps of women (who, by the way, are on the stage for the entire 20-minute piece) are delightfully in control of their formations, timing, and iconic jumps on pointe.