Although the idea of starting the first concert of the 21st century with the sunrise introduction from Richard Strauss' Also Sprach Zarathustra sounds clichéd, the opportunity to hear the work isn't. And in fact, it makes quite an impression. Nevermind the couple of untidy entries, the overall effect was majestic and powerful. By the time the SSO reached the third fanfare, it was quite evident that we were in for an interesting night, for the orchestra was in excellent and full-bodied voice. Too bad the organ will never rise to higher heights - the pedals were acceptable at best, but hardly stunning; the final bars anticlimactic for the sheer lack of volume and body.

The world of the "Otherworldsmen" (or sometimes "backworldsmen") could have begun with a more mysterious, even more menacing atmosphere. The devotion passages were done, however, with much passion. Through to "Of Joys and Passions", the SSO impressed with their togetherness, producing a very rich overall picture with spectacular climaxes. Conductor and orchestra performed with much conviction of expression in vivid colours, including leader Souptel whose lyrical and aristocratic solo in "The Dance Song" exemplified the high level of professionalism tonight.

Having said that, it was slightly disappointing but rather humorous when the head of the hammer used for the bells in the finale flew off and had to be quickly replaced, this time with a better one (the former used was inaudible). An imperfect performance then, but still, very well-prepared and satisfyingly musical.

The young violinist here, Yuuki Wong (b.1982 - pictured right), is going to be someone to watch in the future. Suffice to say, he is an extremely fine musician. Rarely have I ever heard anyone of such a young age play with such maturity of expression, total control and beauty of intonation. Nevermind the fast movements: the high passion of the Lento alone displayed the soloist's fully developed stage presence, as he delivered the lyric theme in humane (as opposed to merely technical) dimensions.

Elsewhere, the magnificent opening by the orchestra served as a fine pedestal to Mr Wong's richly seasoned tone and style, as he strode sonically from the stage in confident and dignified violin voice, in a fully-fledged Mendelssohnian sound. His pacing throughout the work was dedicatedly untiring, and virtually perfectly poised in both fast movements.

That the concerto was written by a Richard Strauss at the same age (18 years) seems to bear complete testimony to the work's youthful energy, something which Yuuki Wong matched flawlessly with his smooth fingerwork and fluid bowstrokes. The SSO accompanied the appropriately vivacious and brilliant tone of Mr Wong in the finale, as, completely unfazed, soloist and orchestra completed the effectively and easily flawless account. Truly, this mature young man has lots of potential, and the audience responded with corresponding enthusiasm.

Shui Lan himself was in a very relaxed mood, and that often simply means he is in total control. Which he was. It is interesting to see how his flamboyant style, which we first encountered (in his capacity as MD) in 1997, has not remained on stage as time passed. The Shui Lan of most recent years is a highly responsive and professional musician, with a conducting style both technically accurate and pleasantly natural. He conducts the music's pulse very well, and is confident enough in his musicians to occasionally leave the curves and the rubatos to them. Such was the melodious account of the night's encore, Johann Strauss Jr's Emperor Waltz, which saw both musicians onstage and at least one person in the audience smiling with pleasure at such musicality.

The Dance of the Seven Veils then, saw crisp and detailed playing - orchestra and conductor showcasing Strauss' brilliant, multi-cultural orchestration. Warm colours tinted the crisp cool atmosphere, as sinewy breaths of strings swum through sultry and langorous currents. The togetherness and unity of the SSO tonight was simply terribly impressive; and with this married to high drama and voluptious energy, the performance was as tone-poetic as one could wish for.

CHIA HAN-LEON was the guy lugging the Lego Dark Side Developer Kit in the concert hall. I got it at 20% discount from Metro.

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"I may not be a first-rate composer, but I am a first-class second-rate composer!"

- Richard Strauss, 1947