Getting the event off to a flying start was the overture to Glinka’s opera Ruslan and Ludmilla. A successful choice to initially energise the atmosphere, this piece rocketed out at a brisk pace.

In this way the concert was given an exciting opening from one of the fathers of traditional Russian music. TMO’s track record of excellence in delivery of dramatic musical moments with directness and solid character continued here.

This well-structured concert concluded with a Shostakovich symphony. In this way the programme was bookended by a favourite of traditional nineteenth century Russia and the daring, different Shostakovich who was often out of favour with the twentienth-century Soviet regime.

Following on from a stellar performance with TMO one year ago of the Tchaikovsky Piano Concerto, Benjamin Kopp collaborated successfully once more with the orchestra in a finely detailed communication of the Rachmaninoff Piano Concerto No 2 in C minor Op 18.

This concerto’s expressive opening features a ponderous moment for soloist alone. Kopp’s pianism, including a virtuosic exploration of the instrument’s softer spectrum, rose to the occasion for this opening. The captivating stillness of the second movement  from piano and TMO was also a beautiful feature of the performance in this regard.

His playing continued with intense clarity and an intelligent rendering of his part in Rachmaninoff’s Romantic gesturing.  He also played with breathtaking steely strength in louder moments of contrasting bravura.

Kopp’s ensemble playing against the lush tones from TMO’s large forces was finely balanced and never over indulgent. Both the orchestra and soloist tastefully paid great attention to Romantic freedoms of symphonic shape and musical gesture.  They maximised  opportunities for diversity of colour and shape but the Romanticism was never exaggerated or was tempted to go erratically untidy or awry.

Sarah-Grace Williams led the orchestra at a well chosen pace and with smooth contour as it played the famous third movement side theme. This created a freshness in the familiar music for the assembled audience that was enhanced in each repeat and eloquent exchange with the soloist.

Following interval the flow of the Russian narrative was broken, but only paused momentarily for a world premiere of a commissioned work for piccolo trumpet and orchestra, written by Australian composer Jim Coyle.

This luscious and imaginative work, The Bright Seraphim, shimmered with atmospheric accompaniment from the capable orchestra in the first movement. TMO devoured the rhythmic complexities in the final movement to energetically  and sympathetically support the soloist.

The work allowed performer Anthony Heinrichs, who also commissioned it, to demonstrate the range and capabilities of the piccolo trumpet. This evocative performance provided the programme of Russian landmark compositions with an interlude of local music as well as the thrill of a world premiere.

The concert concluded with a return to the Russian orchestral canon and previous narrative.  Shostakovich’s  Symphony No 9 in E  flat Major, Op 70 was one of the definite  highlights of the night. TMO succeeded in interpreting this unique and good-humoured gem of the composer’s genius by engaging its signature clarity, integrity, poetry and poise.

Featured wind and string soloists throughout this work combined with a tight orchestral band to deliver, clean crisp textures which were often narrow and needing to sound deceptively simple. At all times the colourful and lighter side of Shostakovich’s outlook was convincingly conveyed.

The  Symphony’s Largo movement was sublimely unhurried and the composer’s ability to be at times lilting and whimsical but with pain not too far from the surface was poignantly portrayed.

TMO’s next Met concert, Sumptuous Strings will take place on July 15 at Sydney Congress Hall, 140 Elizabeth Street, city.