The performers of Alvin Ailey American Dance Theater, appearing at Boston's Wang Theater last Saturday, seemed not merely to dance to the evening's musical selections, but also to produce the sound itself through sheer grace. The choreography celebrated each individual's contribution to the corporeal orchestra, resulting in an intricate symphony of movement.The opening act, set to Igor Stravinsky's "The Firebird Suite," channeled that composition's auditory evocation of a beast of mysterious beauty and danger. The dancers became vessels of dolor, fury and triumph, never betraying a hint of effort or artifice.

When appearing as an ensemble in "Firebird," as well as in such pieces as "I Been 'Buked" and "Rocka My Soul in the Bosom of Abraham," the dancers interacted with kaleidoscopic symmetry. Even when uniformed in brown or shrouded in gray light, their movements radiated vivid dynamism and harmony.

The Solo and duet pieces were even more impressive, reveling in the potency of individual expression and romantic love. Ebony Haswell and Matthew Rushing, the two dancers in the spare, sublime "Unfold," brought new tenderness to a piercing Leontyne Price aria. Rushing, meanwhile, fairly gleamed across the stage in his plaintive solos as the title creature in "Firebird." "Fix Me Jesus," featuring Alicia J. Graf and Jamar Roberts, was the evening's most acrobatic number, but the dancers wielded their physical power with an organic unity that was sinuous and never defiant.

According to program notes, Alvin Ailey American Dance Theater has received a permanent endowment to fund all performances of "Revelations." It's easy to see how the suite would rouse such an enthusiastic commitment. Based on the traditional spirituals mentioned above, the choreography gives physical expression to the simultaneous transcendence and humility inspired by religion. The costumes and lighting work beautifully in the service of the production, invoking earth, water and fire in divine natural accord.

The troupe mined aesthetic value from the quotidian as well as the miraculous, with "The Groove to Nobody's Business," a series of subway scenes set to the music of Ray Charles and Brandon McCune. The dancers lurched and bounced around the stage, occasionally flouting the conventions of their setting with sudden jubilant fluidity. Though the piece's premise demands less symbolism than the program's other works, the choreography incorporates the same theme of complex patterns that honor the beauty of the individual.

To the audience's delight, the dancers gave their bows in character, a flourish that demonstrated the company's cultivation of the individual voice within its keen vision of orderly brilliance.