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We’ve all probably heard “Carmina Burana” many times, maybe sometimes feeling it’s been too many times. This performance, while by no means letter perfect, returned the piece to its full impact: the riot of modes and melody (“O Fortuna!”), the folk-driven dances, the dazzling Stravinsky-esque orchestrations. And the momentum: Saturday’s performance (the program was scheduled to repeat Sunday) grew ever more vivid and earthy. It included exceptional work by the brass (including impossibly tip-toeing tuba by principal Tony Clements in a moonlit sequence of Part I) and flutes (especially principal Maria Tamburrino, lush-sounding throughout). But its generosity and strength ultimately came from the buy-in of the 200-plus performers, from the three keyboardists and half dozen percussionists to the fresh-voiced Cantabile singers and spirited Chorale.

Yet, make no mistake, this singer-songwriter-guitarist is poised to make a giant leap forward in her career, St, Vincent, whose real name is Annie Clark, has long ivory lace ballet shoes nurtured a healthy cultlike following in the indie-music world, With the recent release of her self-titled fourth solo album, however, she’s now on the brink of becoming a full-fledged star, The 31-year-old Oklahoma native, who was raised in Texas, certainly acted the part during her enjoyable show on Saturday at the Fox Theater in Oakland, She commanded the attention of the packed crowd throughout her roughly 100-minute performance, exuding equal amounts star power and artistic merit..

Opening the show with the twisting, hissing “Rattlesnake,” which also kicks off the new album, St. Vincent proceeded to take fans on a ride that was as much performance art as it was concert. Her body jerked about in wild, chaotic fashion, as if she had no say in the matter. Strobe lights were perfectly timed to amplify her abrupt motions, making St. Vincent seem like a character in an old flip book or antiquated cartoon reel. It was a variation on the “robot” dance, done in a way that somehow connected cold and calculated with alluring and unpredictable. That shouldn’t surprise anyone who knows St. Vincent, an artist who thrives on contradictions.

And she’s grown so much as a performer in the last few years, which makes perfect sense since she spent a considerable amount of time hanging out with David Byrne, one of the greatest performance artists in rock history, The duo put out “Love this Giant” in 2012, and toured extensively in support of the album, It seems safe to say that St, Vincent ivory lace ballet shoes took very good notes while with Byrne, She seemed to grow more powerful and confident as the night progressed, perhaps bolstered by the crowd’s willingness to go in whatever direction St, Vincent saw fit, Backed by a three-piece band, St, Vincent crooned Bjork-like ballads — none better than the new album’s striking “I Prefer Your Love” — and she rocked like Led Zeppelin..

It’s the latter that truly separates St. Vincent from her contemporaries. She’s the rare guitar hero in a genre that, generally, avoids fret-board fireworks. Thankfully, St. Vincent doesn’t tow that line. She handles an amazing array of styles on the guitar, going from the feedback-drenched fury of Neil Young to the screeching cheetah runs of Tom Morello to the brute force of Thurston Moore. And she does it all so well. Perhaps guitar heroics are just in her blood — she is, after all, the niece of acclaimed guitarist Tuck Andress (of Tuck and Patti fame).

Though with barely a traditional ballet step in sight, the four works’ choreographers also put great weight on the beating heart of every ballet: the pas de deux, The encounter between a man ivory lace ballet shoes and woman — tender, contentious, mysterious — sets off sparks no matter your perspective, The program continues 8 p.m, March 22 and 1:30 p.m, March 23, Igal Perry’s “Infinity” was set on four couples; Dwight Rhoden’s “Evermore” and Vicente Nebrada’s “Nuestros Valses” on five, Even Paul Taylor’s dark and dangerous “Piazzola Caldera” examined that eternal tension between the sexes..

At times all these one-on-one encounters stretched my patience. Yet Carreno’s programming, as a friend pointed out, allowed focused attention on individual dancers. Several of them are new; many of them were from the Corps, which rarely offers that kind of opportunity in the spotlight. Overall, Carreno gave us a pleasant evening of decent, well-performed work by respected choreographers. Not a bad way to build a company and an audience. While Beethoven’s Adagio of the “Hammerklavier” Sonata No. 29 in B flat major, Op. 106 is hardly “popular” music, Perry’s clean and sculptural “Infinity” choreography made musical sense. He placed the dancers into an expansive space that reached deep into the darkness beyond the stage. By opening themselves calmly into intricate, highly stylized encounters, the dancers in “Infinity” suggested an underlying harmony of being.

Alexsandra Meijer looked vulnerable and ever-so-yielding in the arms of new principal dancer Nathan Chaney — tall, lithe and strong, ivory lace ballet shoes Cindy Huang and Joshua Seibel impressed with the lyricism in their transparent one-on-one, In a lovely touch, the dancing continued for a while even after the music had stopped, “Evermore’s” star was Nat King Cole, His songs still get feet tapping and fingers snapping, Rhoden, who is at home on Broadway and in ballet, did the honors in choreography that was jazzy, fast-paced, and with just a touch of romance floating about it..