The London Philharmonic Orchestra’s selection of Mendelssohn and Strauss’ Shakespeare inspired pieces, twinned with pieces by Stravinsky and Khachaturian was absolutely sublime.

The orchestra began with Mendelssohn’s Overture from A Midsummers Nights Dream. Managing to faultlessly exhibit what is already a very theatrical piece from the start, they transported us through Shakespeare’s ethereal world. From the first bar, the flutes brought us ever so gracefully and delicately into the fairy realm. Not only did they set the scene of the play but set the standard for the night, as the woodwinds were superb throughout all of the evening’s pieces.

In the first half Mendelssohn was followed with Khachaturian’s Violin Concerto, which had a similar feel, segueing between gentle and impassioned. The piece vividly carried the audience through sadness, excitement, and intrigue, much like A Midsummer Night’s Dream. The soloist, Kristof Barati had many thrilling responses with the woodwinds in the first movement, another example of their wonderful consistency in performance.

In the second half we encountered more Shakespeare with Strauss’s Macbeth, a majestic and emotive piece perfectly reflecting the drama of the play itself. The piece switches through two different moods: a turbulent march and a swell of torment. Yet again, the woodwind brought us through tension, to a much gentler mood, and back again, all the while capturing the betrayal, relief, and mystery, that is characteristic of the play.

It is obvious to see why it was paired with Stravisnky’s The Firebird, the final piece of the evening, which equalled, and at times bested, the tension and feeling of the Strauss before it. All seven movements were exceptional, particularly the final three which were truly outstanding and the highlight of the evening. The conductor, Andres Orozco-Estrada, who was vivacious throughout, energetically thrust us into the Infernal Dance of King Kaschei and his Subjects with great gusto and feeling, setting the enthusiastic tone for each and every one of the instrumentalists. Things dialled down for the penultimate movement (Lullaby) as the harpist was free to flourish, easing the audience into false sense of security and ready to rest, before we were unexpectedly jolted back into a world of excitement with the jubilant fanfare of the Finale.