Charles Dutoit the Maestro HK Philharmonic Orchestra Cultural Centre Concert Hall Reviewed: June 29 Stravinsky's Violin Concerto - the only work remaining from this concert's original programme - was performed with cool authority by Chantal Juillet. The middle two movements sing, the outer ones dance, and the first can do either. Juillet and conductor Charles Dutoit settled for a steady tempo, toning down the virtuosic effects but producing highly elegant playing that chattered and bounced happily. Soloist and orchestra intertwined their conversational and tutti roles with colour and rhythmic vitality, making a strong case for the work to feature more regularly in rep. Dutoit gave Ravel's Mother Goose Suite just the right intimacy, creating a doll's-house atmosphere that shimmered and sparkled but never raised its voice. The oboe and cor anglais solos in Tom Thumb had to push their way through the string sound. Otherwise, issues of clarity were conspicuous by their absence. The final bars of Beauty and the Beast provided one of several captivating moments. The last movement of Rimsky-Korsakov's Scheherazade had waves of sound framed by a razor-edged articulation that was at times quite breathtaking. Performing such a well-known piece persuades some directors to develop the familiar narrative into a sharper take on the dramatic images. This was where the maestro stopped short.