Baritone Babatunde Akinboboye layered in rapping in an aria from Mozart’s “Così Fan Tutte” Sunday in “Rooted: Hip Hop Choreographers’ Evening” at the Ordway Center. (Provided/The Minnesota Star Tribune)

A boundless vitality permeated the Ordway Center on Sunday and the venue shook with energy.

Since 2009, Maia Maiden Productions has produced "Rooted" as a way to celebrate the African roots of hip-hop dance and the innovations that continually evolve in the community. This year, Maiden expanded the "Rooted" performance into a multiday festival that culminated with the "Hip Hop Choreographers' Evening" at the St. Paul performing arts center.

Going by her stage name Rah Fyah, Maiden was a skillful host. She and DJ Digie, who capably handled the soundtrack and transitions throughout the many different styles, had an easy banter that helped keep the show buzzing.

Titambe Dance Ensemble led things off with Ghanaian rhythms, promenading onto the stage with four drummers and a dancer bearing fans. The five performers also all sang beautifully together. Titambe closed its set with a second song featuring two dancers, with one playing a whistle and dancing at the same time.

"Rooted" acted as a sendoff for Dance City, a competition dance troupe headed to the Starpower National Talent Competition in Las Vegas this month. With somersaults, cartwheels, precise synchronicity and a bit of booty shaking, the group looked like they were ready to take Nevada by storm.

Babatunde Akinboboye's hip-hop opera mashup was a special treat. The Nigerian American baritone performs with opera companies around the country, and has gained a following on the internet for his rap opera, aka hip-hopera. Singing an aria from Mozart's "Così Fan Tutte" with a hip-hop beat underneath, Babatunde then marvelously layered in rapping into his version of the dark classic, to the delight of the crowd.

The 612 Crew, who perform at Timberwolves games, impressed. Shifting tempos and directions with ease, the group moved in unison, while also sharing solo moments where individual dancers could shine.

Local group Kulava also seemed tight. The Hmong ensemble's dance style held a relaxed stance with a lot of bent knees and smooth movements, even as they were all in sync with one another.

Some of the most special moments in the show came when a solo performer improvised, and other dancers joined in the moves. Judith McCarty's solo in the second act was especially magical. It was as if the moves by the French, Congolese and Cape Town-raised choreographer were so infectious that fellow performers had no choice but to join in.

That kind of energy defined the evening as a whole. At intermission, audience members went onstage and began dancing with DJ Digie. It offered the sign of a good show — one that invited people watching to want to participate themselves.