Bach and breakdancing were made for each other. Any notions that this collaboration between the Orchestra Of The Age Of Enlightenment and choreographer Kim Brandstrup rested on incongruous novelty are swiftly disabused as soon as the 13 performers (a mix of professionals and young talent) hit the stage. Brandstrup has captured every phrase, melody and beat of Johann Sebastian Bach’s music (and the pieces chosen are all Bach bangers) and channelled it into the bodies of some superb dancers. They lean into the groove of the first movement of the ‘Double Violin Concerto’, assertive stomps adding percussion to the tripping rhythms. Then, in the second movement we see breakdancing’s breathtaking eloquence in rippling, serpentine arcs of limbs.

The locks and pops characteristic of hip hop meld perfectly with Bach’s staccato bass lines while his fluid descants are carved out by helicopter legs and body undulations. When the troupe start pulsing in staggered sequences to the ‘Brandenburg Concerto No 3’ it’s like watching master clockwork in action. Ellie Wintour’s set, a semi-circle of mirror slices, replicates their movements like a kaleidoscope. But the most strikingly beautiful moments are when cellist Andrew Skidmore plays Bach’s solo cello suites and, in turn, solo dancers perform as if in conversation with him. Two virtuosic disciplines collide in fireworks.

Breaking Bach reviewed at Usher Hall; main picture: Tommy Ga-Ken Wan.