Musical fireworks had been flagged up for this concert.

The reality was an even greater wealth of experience for the 100-plus audience drawn from a radius of over 60 miles.

London-based Dina made a glittering entrance and promptly launched into a piece of music not often heard in public performances, - because it is so difficult.

No one, without considerable musical knowledge, would have guessed. Schumann was probably inspired by Paganini to write this Toccata; the result in Dina’s hands sounded orchestral and just flowed.

Dina had immediate rapport with the audience, relating how Martha Argerich had been asked how she ‘warmed up’ for a concert and had replied ‘That’s it’ [the Toccata!].

She also recalled her unusual experience at her first appearance in Newton Abbot. She was accompanying a violinist whose string broke, and she was left stranded on stage. How inclusive we felt that NADSA concerts get talked about in the London professional music circuit.

A casual aside to the audience was ‘Another set of variations,- I like variations’: and indeed we had variations from Beethoven, Bach, Schumann and debatably Liszt. Variations present opportunities galore to weave subtleties into a familiar fabric.

Faced with 32 variations from Beethoven alone, I had wondered whether I might succumb to counting them off. No such thought crossed my mind. I was fascinated by the wealth of diversity in composition and delivery.

After such virtuosity, Chopin’s Nocturne in F Op15/1, was a complete contrast. The serenity of the first simplistic theme was heart-melting. The thunderous second theme soon abated and we were returned to peace.

For me, Chopin is the touchstone for a pianist: can they reach my heart? Well obviously Dina did. Chopin’s Nocturne in E flat Op 9/2 is surely one of his most familiar pieces and hackneyed renditions abound; however, Dina’s tempo was possibly slightly upped, giving it a sparkle of new life.

Saint-Saens’ Mazurkas are less well known than Chopin’s and it was wonderful to hear two. Watching, as well as listening, the light-hearted spirit of dance was truly with us.

The Bach-Busoni Chaconne variations should have a particular mention, for here we had huge contrast of touch and style: Bach might have been amazed and Busoni delighted.

Chopin’s Fantaisie-Impromptu in C sharp minor is very familiar and hugely emotive for me; such a treat to hear it played so beautifully with all the grace, flow and sparkle it deserves.

Liszt’s Hungarian Rhapsody No 12 provided a suitably flamboyant finale to this programme. Of course there was an encore. Dina played the ‘Legend of the Dombra’ by N.Mendypalier, the impromptu piece that had won our hearts in 2016 [whilst the violinist was replacing his string].

One was left in awe after this concert. 

With Dina’s undoubted technical ability, engaging personality and refreshing lack of affectation, she really ‘has it all’. To quote another member of the audience ‘I am absolutely brimming over with the brilliance and breathtaking musicality of Dina’s playing’. 

Dina returns to NADSA on February 19 with Clarinetist Peter Cigleris: our great good fortune!