In the first of its two Bermuda Festival performances, the Moscow Chamber Orchestra once again reaffirmed its position as one of the world's finest ensembles.

Under the baton of its wonderful director, Constantine Orbelian, it was as if there was a virtuoso on every seat, so absolutely together were the musicians, and such was the purity of their playing.

Technical brilliance is one thing — and this they had in abundance — but when that is fused with such a profound passion for the music, the listener becomes the beneficiary of a superlative experience.

And so it proved at City Hall, when the Russians presented a programme of works by Grieg, Vitaly, Paganini, Glazunov and Tchaikovsky, with violinist Alexander Sitkovetsky and Italian saxophonist Federico Mondelici as the soloists.

Written especially for string orchestra, Grieg's Holberg Suite, Op. 40 was a lovely opening choice, and set the tone for all that followed. From the lively, fast-paced opening passages of the 'Praeludium' to the pizzicato notes of the closing 'Rigaudon', this five-part work (four of them dances) was largely evocative of a joyous summer's day, with all the variances in colour and warmth associated therewith.

Young Russian violinist Alexander Sitkovetsky is immensely talented and brought to his performance a stunning combination of brilliant musicianship, extraordinary passion, and understanding. Small wonder that Lord Yehudi Menuhin, a co-founder of the Bermuda Festival, took him under his wing at an early age, and set him on a path which is destined to be strewn with success.

Mr. Sitkovetsky's performance of Vitaly's 'Chaconne for Violin and Orchestra' was compelling in its coloration and texture. The interspersing of playfulness and rich emotion in this work was superbly conveyed, leaving his audience delighted. As wonderful as this performance was, however, it was the violinist's reading of Paganini's 'Variations on One String on a Theme by Rossini', which followed, which really confirmed his brilliance.

This work, inspired by the premi[LCgrave-e]re of Rossi's opera 'Moses in Egypt', is played exclusively on the G string which, like the demands of so many of Paganin's works, is notoriously difficult to accomplish, and requires virtuosic technique to be performed well.

Yet Mr. Sitkovetsky sailed through it with breathtaking ease. A work rich in the range and complexity of its sound, its rhythms and moods ever changing, the young violinist's performance positively fizzed with excitement and beauty. Small wonder, then, that maestro Orbelian, who is dedicated to encouraging young musicians, rewarded him with a tender kiss on the cheek.

Three curtain calls later, Mr. Sitkovetsky rewarded his elated audience with Kreisler's 'Lou's Sorrow' as an encore.

The opportunity to enjoy Glazunov's 'Concerto for Saxophone and Orchestra' was a rare one, made even more special because the soloist, Federico Mondelci, is regarded as one of the leading saxophonists of his generation, and an innovator of instrumental technique.

Written in 1936, this four-part work is filled with colour and excitement. Sometimes dreamlike and haunting, at others sparkling and playful, the constant shifting between these qualities made for a fascinating musical journey. As the soloist, Mr. Mondelici was masterful. The combination of superb breath control and dazzling technique meant that each note was polished to perfection and precisely delivered. Seamlessly travelling from the lowest to the highest registers, his soaring performance shone as brightly as the instrument itself.

Tchaikovsky's 'Serenade for Strings', which brought the programme to a close, is a glorious work which never fails to stir and enrich the soul. In a yet another beautifully wrought performance, the renowned Moscow Chamber Orchestra once more reaffirmed its reputation for excellence, and ensemble playing at its finest.

At the end of such a fulfilling programme, the gift of two encores was very generous, but apparently anticipated and well planned for.

"For the first of our two encores we would like to play...," Mr. Oberlin wryly began. 'Luchinushka', a Russian folk song, evoked images of a wintry forest, while the longer 'Libertano' by Piazzola, which followed, included the surprise return of Mr. Mondelici. To the steady, repetitive rhythm of the cellos and double bass, this famous piece set the seal on a concert for which no superlative would be inapt.

http://www.bermudafestival.com