Powerful. Precise. Poised. The programme offered by Pascal Rioult's dance company for the 2010 Bermuda Festival on Friday and Saturday night was an interesting combination of classical music and modern dance, exquisitely presented.

In a post performance chat, choreographer Mr. Rioult explained that he had been raised with classic music, and that though 'modern', the construction of his choreography is classical in form, so the choice of classical music for his choreography is not out of character.

The programme consisted of three pieces, the first 'Views of the Fleeting World', an interpretation of Bach's 'The Art of Fugue'. A fugue, according to the Oxford Companion to Music, is " 'literally 'flight' or 'escape' …a composition in which three or more voices … enter imitatively one after the other, each 'giving chase' to the preceding voice.

Mr. Rioult's choreography, according to the very helpful programme notes, "celebrates beauty and humanity in art, as in life" and was dedicated to the memory of Harriet and Gordon Greenfield and "their belief in the transforming power of the performing arts".

Against a shifting background of abstract art, the dance follows nine movements, each exploring an element of nature, featuring wind and rain, sunshine and moonlight. The opening piece entitled 'Orchard' created an impression of the slow awakening of day. Following the fugal idea of a theme carried from voice to voice, the movement travelled from one dancer to the whole company, each of the eight dancers featured as a solo, following his or her own melody to create a symphony of movement. In the pause between movements, there was the sound of wind, a prelude to the 'Gathering Storm', danced by the company, male and female, in red skirts that flared fan-like with the arabesques, the movements controlled and powerful in their simplicity. The androgynous costuming was very effective. Crickets and other night sounds introduced 'Dusk' an intensely emotional pas de deux performed by Marianna Tsartolia and Michael Spencer Phillips.

Jane Soto, in silver, danced the solo 'Sudden Rain' against a simmering backdrop, the lighting creating the effect of a sudden squall. Distant thunder, and the hooting of a lone owl set the stage for 'Night Ride', in which the grey-clad company appeared like salamanders brought out by the damp and were harnessed by a solo dancer in vivid red. 'Summer Wind' was a more light-hearted piece, a reprise of an earlier dance, which led into 'Moonlight', comprising almost entirely floor work, conveying the impression of creatures rising from marshy ground. 'Flowing River' concluded the work, climaxing in a swirl of red.

The ephemeral nature of the natural world, one dance flowing into the next, was emphasised by the sound effects between the movements and the ever-present, ever-changing backdrop. The effect, however, was somewhat spoiled by the audience's habit of clapping after every movement rather than waiting until the end of the whole piece to show their appreciation.

The second half of the programme featured two works, 'Les Noces' to the music of Igor Stravinsky of the same name, and a physical interpretation of Ravel's 'Bolero'. 'Les Noces' (The Wedding), explored all the emotions of a bride and groom and the bridal party as they prepare for a wedding: the fussing over the dress, the sexual innuendos, the haunting suspicion that life will never be the same again childhood innocence and freedom are past. The dancers' interpretation of the challenging music was technically flawless.

The evening ended with an exquisite interpretation of Ravel's repetitious, incremental ballet against a Cubist backdrop that, through clever lighting, shifted during the course of the piece. The angular nature of the image was reflected in the angular movements of the company to create a machine-like dance. The dynamic, compelling piece demanded a great deal of the dancers, who took the spotlight in turn, in a relentless crescendo of music and movement. Power and control were displayed in great measure, and the audience responded with enthusiastic applause.

An interesting and challenging programme, interpreted by very helpful programme notes, was presented beautifully by master dancers every bit as graceful and athletic as figure-skaters or ice-dancers in another arena. What a shame they can't be given a gold medal as well.