Considering how utterly spoiled we are in London, both with homegrown dance companies and visiting companies, it's rare to see a company which completely surpasses most of the shows we've seen in the past year or more. And given that this is Sydney Dance Company's first visit to London in around 20 years, it is a testament to Rafael Bonachela's three years as Artistic Director of the company that its work is of such a high standard.


It may have been a postmodernist statement which resulted in an absence of programmes or printed information: only a solitary stand by the doors had a minimum of information about both pieces. In the afterparty, the immediate topic of conversation was the name of the composer (Rafael Bonachela's regular collaborator Ezio Bosso), followed by the costume and lighting designers, with the assurance that all details would be revealed on the company's website.


The first piece, 6 Breaths, was inspired by the act of breathing, although this wasn't necessarily evident. The piece opened with an initial projection of waves and surf, followed by pieces forming the sculpture of a head. Later in the piece, we saw that the statue was of a couple, gazing intently at each other, before slowly disintegrating. In the background, we could make out individual dancers in pools of light; as the projection ended, this was developed further so that we could only see brief glimpses as the dancers stretched, walked, or interacted with each other, with only fleeting snapshots of duets.


What's immediately evident is the quality of the dancers: ranging in age between 24 and 34, their technical ability is of a very high standard, and the grace of their movements is a beauty to watch. Also very evident is the dancers' joy and energy, which adds extra layers of enjoyment to the evening.


6 Breaths is a very technical work, at times reminiscent of Jiri Kylián, alternating between group sections for up to 12 dancers, and dynamic duets and solos. While much of the choreography was unshowy, it reminded us that you don't need to show off to impress, if your dancers are good enough - and Sydney Dance Company's dancers certainly are.


LANDforms was the second piece of the evening, opening with a sensual solo by one of the female dancers, and in direct contrast to 6 Breaths, LANDforms was essentially a showcase for the company's dancers at their best, tailored to their individual strengths: one of the more unforgettable moments was a solo by Chen Wen; it was impossible to stop watching him, even after he was joined on stage by other dancers.


Much of LANDforms was performed through solos and duets, with very physical and dynamic partnerwork, and more creative choreography for group sequences than in 6 Breaths.


Although LANDforms is 50 minutes long, the audience is torn between not wanting it to end, and you also feel that the company doesn't want the piece to end, either. And it is such an exquisitely beautiful piece that the only solution is to see it more than once, not least because it's one of the most beautiful works of contemporary dance performed this year.


If anything, we can grumble that Sydney Dance Company is only performing for three days, because it means that we can't see their work again and again and again. Although there's a rumour that they may return next year, we need them to take up long-term residence in London so that we can see them more frequently, and so that they can inspire London's dancers and choreographers.


It was curious that over at Sadler's Wells, it was the opening night of Wayne McGregor's latest collaboration, yet Rafael Bonachela showed us how to push dancers' flexibility and dexterity and yet create works of undeniable beauty. Cancel your plans and get one of the last few tickets for this show!