Reviews: Petrushka

Classical composer Frédéric Chopin is known as a Romantic, but it's his almost mathematical complexity that gives his music brilliance. The layers of filigree, melody and harmony form overlapping patterns that create a scintillating surface with an undertow of driving bass lines.

Pianist Louis Lortie performed Chopin's Concerto No. 1 in E Minor with both poetry and power. He played torrents of notes with ease, used rubato with eloquence and exploded with devilish left hand trills and pounding rhythms.

Despite the best efforts of Canadian conductor Jean-Marie Zeitouni and players, Chopin's orchestration sounded somewhat pale. The Rondo à la Krakowiak in the last movement was the only time the orchestra and piano meshed as true partners.

In Stravinsky's puppet tale Petrushka the orchestra was dazzling, with Zeitouni delighting in every detail. From the first moment of murmuring woodwinds the room was filled with radiant sound. Each section had an ear-catching treat, from clouds of harp, celesta and glockenspiel to growls from the contrabassoon. The large brass section played as one with thrilling intonation and timing.

Principal flute player Megan Sterling impersonated the magician of the story with a beguiling solo. Stravinsky's mathematical side consists of quick changes in meter and tempo which were all handled with ease by Zeitouni. Like Chopin, Stravinsky is fiercely complex, holding together layers of clashing notes and offset rhythms with simple folk-like tunes.