The Northern Sinfonia’s latest concert at the Sage Gateshead took its title from Mozart’s overture to the Magic Flute; a work that did not quite seem to take off under principal conductor Mario Venzago.

The evening stepped up a gear when the sinfonia’s principal flute Juliette Bausor gave a simply spellbinding account of Ibert’s Flute Concerto.

The opening movement, with its daring runs, was keenly articulated. Bausor’s delivery was not only flawless, but had every scintillating note cast in sparkling relief as she took her instrument to the limits of its range.

She enjoyed a witty repartee with the orchestra with a lovely exchange with the bassoon. The contrasting slow movement was played with a heartfelt conviction, with its long lines lovingly shaped.

The last movement was breathtaking in every sense, with its jazzy inflexions given thrilling twists.

In interview given earlier to BBC’s Radio 3, Bausor said the challenging work had a special place in her heart, having studied it while training in Paris. She did it full justice.

The following work was by Schoeck, a Swiss compatriot of Venzago, who has languished in obscurity for many years.

The illuminating programme notes reveal how he was pilloried by the press for unwisely associating briefly with the Third Reich during the war - naive at best, though he may have been.

Venzago made a good case for his Sommenacht, which remains the most played of his neglected works. The evening was rounded off with Dvorak’s Seventh Symphony. Venzago set a blistering pace in the outer movements – perhaps a tad too driven – with the magic flute of Bausor back in action within the ranks.