George Balanchine’s 1941 masterpiece Concerto Barocco, set to J. S. Bach’s Concerto in D minor for Two Violins, has brought a lot of people to ballet. “It’s one of the reasons I became a choreographer,” says Lincoln Jones, director of the American Contemporary Ballet. “You don’t have to ‘get’ ballet to see Barocco,” he adds. “It’s like a film in that it matches image to music, but a film created by two of the greatest artists of all time.” The company’s June program in Los Angeles pairs Concerto Barocco with a new ballet by Jones, who’s chosen music from the same era. For dynamic rhythm and curving, soaring lines, it’s hard to beat the Baroque. —Laura Jacobs