German composer Carl Orff (1895-1982) probably never dreamed that the opening segment of his cantata Carmina Burana, called “O Fortuna,” would forever be inscribed in the annals of the history of movie trailers. But that’s what’s happened with this oft-referenced, rhythmically pulsating and intensely dramatic blend of choral voices and orchestra, which seems to pop up constantly in promos for occult and/or omen-conscious flicks. (You’ll recognize it when you hear it, for sure.) In fact, it makes for fabulous dance music, too, as does the rest of Orff’s opus, which is the centerpiece of Nashville Ballet’s final program of the 2010-11 season. The ballet debuted the piece--featuring artistic director Paul Vasterling’s original choreography--in 2009, but this version looks bigger and better. Vasterling’s company of 30 strong almost gets overshadowed by various production elements, which include medieval poetry, more than 200 singers (among them, three featured guest vocalists and the Nashville Children’s Choir), plus the Nashville Symphony Orchestra spilling out of the Jackson Hall orchestra pit. But no sweat: The dancing is first-rate--a fully expressive group effort that is, by turns, lyrical, genuinely humorous and gratifyingly physical, with notable work by diva extraordinaire Sadie Harris and relatively newer faces such as Kayla Rowser and Krissy Johnson. The conclusion is nothing if not stirring. The performance opens with Claude Debussy’s Afternoon of a Faun, with sinuous and sensual choreography by the late Salvatore Aiello, based on the great Vaslav Nijinsky’s 1912 original. Brendon LaPier dances the title character surrounded by four fluttering nymphs. Through May 1 at TPAC’s Jackson Hall.