Award-winning Mexican-American violinist Elena Urioste will make her debut with the Orchestra of Opera North in Exotic Homelands at Huddersfield Town Hall.

The concert on Thursday, November 30 gathers a colourful selection of works by Britten, Mozart and Elgar which share a common thread of stylistic experimentation – sometimes playful, sometimes audacious.

Scottish conductor Garry Walker returns to the Orchestra of Opera North following critical acclaim at the helm of the company’s Billy Budd last autumn.

The evening will open with the wit and rhythm of Britten’s Soirées musicales, five sparkling orchestrations of Rossini, each named after a traditional dance.

Former BBC New Generation Artist Elena Urioste will join the orchestra for Mozart’s Violin Concerto No. 5, a tour de force for the soloist, and a stunning showcase for the composer’s mastery of an incredible variety of musical styles by the age of just 19.

Full of unexpected changes and challenges to convention, it takes its nickname – the Turkish – from the thrilling final movement which shifts to a minor mode and features cellos and basses playing coll’ arco al roverscio, (“with the wood of the bow”) to produce percussive sound.

Elena said: “At odds with my personality – often highly intense, uber-romantic, and driven – Mozart’s Violin Concerto No. 5 has always been one of my very favourite pieces to play. Perhaps because this music is so unabashedly lyrical, warm, and – dare I say – romantic (at least within the confines of a classical framework), I have always felt a real connection to this work despite the majority of my concerto preferences dating from a much later period.

“I can’t imagine that Mozart would have minded the soloist pouring his or her heart and soul into this work: the music is so filled with light and lyricism, the harmonies so lush and forward-looking, and the switches in mood so mercurial that it’s impossible not to throw caution to the wind and play this music with complete abandon.”

To close, Elgar’s Symphony No. 1 in A flat is an iconic work in the symphonic repertoire and features yet more surprises.

Following a glorious opening with one of Elgar’s “big tunes”, the abrupt switch in tempo and key, from A flat to D minor, has been the subject of much speculation. Was it intended to represent the two sides of the composer’s personality - the fêted public figure versus the highly-strung private self - or was it a rebellion against received wisdom? The great conductor Sir Adrian Boult suggested that it was because someone bet Elgar that he could not write a symphony in two keys at once.