Since the HK Phil does not open 'officially' until this weekend and the sounds of La Scala were still in the memory, blaming the orchestra for seeming a little rusty might be out of place. But Yip Wing-sie can be a persuasive conductor with the right music. She still can drag the occasional Baroque work, and hardly digs new ground with more solemn composers. Yet when it comes to flash and filigree, she wields a mighty baton. Nothing was flashier than three of the four French-Spanish works this weekend. All had Spanish themes, all were written by French composers (either by birth, education or residence), three of whom had Spanish ancestry. That out of the way, these were flashy works indeed. The first half of the programme showed more dross than gold, but the orchestra soon warmed to their task. The opening Chabrier Espana should be both racy in colour and distinguished in form. The HK Phil sounded heavy, flat, going through the paces. This was not unskillful playing, but Spanish beat was buried somewhere in the tapestry. Young Canadian violinist James Ehnes played a pretty violin in the Lalo Symphonie Espagnole. His lean tone hardly complemented the orchestra for the first two movements. But through that rarely played Habernera, he began to brighten up. By the end, he was almost inspired enough for Lalo's almost incidental dazzling fingerwork. For the final work, a suite from DeFalla's Three Cornered Hat, both orchestra and conductor had come fiercely alive. But the Ravel Rapsodie Espagnole was the first honest test of the Phil's sensitivity, and their first chair players were delightful. The solos by horns (English and French) were both ravishing, the clarinet and bassoon duos smooth, and duet of first chair violin and cello first-class in themselves - hopefully showing the path for the season to come. Hong Kong Philharmonic, James Ehnes, violin, Yip Wing-sie, conductor. City Hall Concert Hall, Friday