quarter of the drama and flair shown by this performance on the opening n ight of the Bermuda Festival, I would have become a professional musician -- or at least an accomplished triangle player.

Because the fact of the matter is that the Philadelphia Virtuosi Chamber Orchestra and the Ethos Percussion Group made the audience not only tap their feet, but left them with broad grins on their faces -- an unusual feat for an orchestra.

And it was obvious that the unusual marriage of string and percussion was as fun for the musicians as it was for us.

This is no quiet the classical music of tinkling sweet sounds, but a boom and blast that vibrates through your feet to reach your teeth.

And it touched almost everyone in the audience. As the petite pianist Gabriela Imreh leant across the huge grand piano, you could feel the 200-strong crowd pulled along with her out of their seats.

She explained the work she was about to perform and said laughing: "One pianist said the middle of this piece is like making love in public -- those are his words, not mine.'' And as she gets going with an ocean of violins, two cellos, a double base and the most startling array of enormous and tiny percussion instruments, you see what she means.

She is tackling Memphisto Waltz by Franz List. It has been specially rearranged by her composer/conductor husband Daniel Spalding, becoming a breathtaking piece.

The star pianist, dressed in a spectacular satin and sequined dress like the true showman she is, tells the audience about the piece and how it is the story of Faust and Memphisto -- the devil.

On a walk they see and hear some peasants having a party in the distance and decide to join in. As Faust goes to dance with one of the women, the devil picks up the violin and starts playing, whipping the party into a frenzy. At one point Memphisto puts down his violin and goes off into the woods with one of the ladies to seduce her.

She added: "And I'll stop right there because it is getting a bit racy.'' In one movement the high notes of the piano are echoed in a startling fashion by those of the three xylophones around the stage, which is crammed with musicians to bursting point.

And as the music stops for a second, you know that the devil has put down his violin, and picked up his lady.

And it is the next heart-stopping passionate sequence she described as making love in public. And the audience is mesmerised by Imreh's hands on the piano, and the music takes over the Ruth Seaton James Centre.

Percussion concertos by great composers are conspicuous by their absence. So what Daniel Spalding has done, is worked on some of the great composer's works to produce new classics.

The concert opens with an amusing and witty interpretation of Carmen. The sweetness of the violins is contrasted by a pop-goes-the-weas el irreverence from the percussion team.

And the grand finale of the Sabre Dance from Gayaneh Ballet by Aram Khachaturian, guaranteed the musicians a well deserved encore and several curtain calls.

It is the best and most imaginative use of a tambourine and triangle I, and the rest of the audience have ever seen.