The French choreographer Angelin Preljocaj is not only prolific but rangy. His dozens of works include plotless dances shaped by chance operations à la John Cage, bold takes on conventional story ballets, and muscular reworkings of the radical Ballets Russes repertory. But even across this range, two things stand out. First is the use Preljocaj makes of the dance mass (as the director of one of France’s enviable choreographic institutes, he has the luxury of a large company at his disposal). We feel the people’s volume and force. Second is his capacity to conceive staples of Catholic worship in persuasive modern terms. Requiem(s), Preljocaj’s latest, depends on both these gifts. —Apollinaire Scherr