[In the Rossini/Respighi] Petrenko has the idiosyncratic fun of a true ballet master...Petrushka, though, remains the selling-point. If not quite the most vivid throughout, it too has original approaches – a clearly articulated speediness, in particular, to the beginning and end of the scene in the Moor’s room.

Once he comes to grips with the primal, eerie side of Petrushka, Petrenko’s dramatic shaping of color and mood is quite arresting. I suppose he was aiming to contrast the innocent jollity of the fair with the sinister goings on among the marionettes. [Rossini] His reading is refreshing without being cloying, precious, or dainty. Respighi’s deft orchestration even has some dramatic flourishes and popping champagne corks.

The juxtaposition of these two works seems more apt the more I think about it. The upbeat optimism of the Boutique perfectly offsets Petrushka, and the result is an album that takes the listener on a journey from a world tinged with the sinister into one of sweetness and light – with the players audibly responding to, and musically capturing, both outlooks.