GATESHEAD-BORN composer and conductor John Wilson, who has made a name for himself on the international stage with his treatment of scores for the big screen and light music, returned to his hometown to direct The Northern Sinfonia, pictured below on the roof of the Sage.

His latest concert at The Sage opened with a breezy account of Eric Coates’ Dancing Nights; a work replete with melodic themes, delivered with a buoyant lilt – and setting the scene for an exquisite rendition of Ravel’s Ma Mere l’Oye (Mother Goose).

Wilson handled the impressionist score with a deft hand, laying out the colours of his orchestral palette with a playful simplicity. The work features beautiful music for the flute, with lines borne aloft with fine control by principal flautist Juliette Bausor, backed by the consummate playing of second flute Clare Robson, who also doubled on the piccolo.

The percussion section, including Ed Cervenka, Jan Bradley and Sophie Hastings, played with scintillating flair.

Among many highlights were swirling strings in a sprightly Danse du Rouet and the conversation between Beauty and the Beast, played by a gruff contrabassoon and deep double bass. The last sustained chord hinted at the music of Vaughan Williams, who, as it happens, took lessons from the composer.

The orchestra went on to perform William’s Symphony No 5, with Wilson magically with Wilson magically moulding the subtle fluctuations of its long sinuous phrases.

The whole night ended on a note of utter tranquillity.

As an added bonus, the sinfonia held the first of its Spotlight performances, with the audience invited back to sample the individual talents of its players, who performed Dvorak’s Tenth String Quartet.