Portugal’s choreography takes the dancers to the very limits of physical possibility, and often incorporates the “beat” of the Bach in entirely startling ways. Rarely have I seen a dense collection of movements parallel a score so closely. A single note emphatically played, and a foot might strike out like a momentary afterthought, or an arrow-straight body suddenly crumple. Portugal expands even small, inconspicuous gestures into something much bigger, continually making instinctive and fluid transitions from one movement into another