Coming from the most famous dance company and leading choreographer in Israel, it registered as blackly ironic that the one moment of unfettered dance impulse and elevated feeling in the work was a response to Germanic bombast that looked like the company marching into a firing squad. But this image didn’t engender more than an intellectual afterthought. Carefully thought out and rehearsed, “Hora” was cold and didn’t add up. Themes from Sibelius and Ives followed the Wagnerian segment; but had the various sections of “Hora” been taken apart, thrown into a dice cup, and then rolled back together in any of a dozen other sequences, it would have made no difference at all to how you perceived or appreciated this work. No organic connection between this music, these dancers and steps, and ultimately the audience had come into being.