Silicon Valley Ballet radiant in mixed bill

Junna Ige and Maykel Solas opened with the “Diana and Acteon Pas des Deux,” a classical showstopper with a triumphant score by Cesare Pugni.

Carreño, a thrilling Acteon while a principal dancer with American Ballet Theatre, adapted the choreography by Petipa and Vaganova to his own Cuban style - huge leaps for a newly finessed Solas, grand arabesques and balances for Ige, who danced with refinement and the confidence of the huntress.

The six men and six women devoured the Finnish choreographer’s postmodern take on neoclassicism, set to Philip Glass’ ubiquitous “Tirol” piano concerto and excerpts from Mozart’s sparkling Symphony No. 28.

The pounding New Age piano of Keith Jarrett’s “Köln Concert” drives this relentlessly cheerful contemporary ballet, with its color-spectrum projections and costumes, jaunty jogs in place and audience-facing smiles.

The notorious audience-participation finale was a scream, thanks to the dancers’ split-second timing and generosity toward their amateur partners, who stole the spotlight like pros.

Carreño is in the home stretch of a three-year contract; if he stays on, this company, and the regional performing arts community, stand to profit handsomely.