Sequenza Italiana might best be described as a night of extravagant music. Dazzling technical show-pieces, dramatic facial expressions and physical theatre from guest director and cellist Giovanni Sollima and sparkling intellectual engagement in the works by Berio, Scelsi and Sollima by the ensemble. It was an adrenalin-fuelled evening for leader Satu Vanska as she piloted the Australian Chamber Orchestra through an exacting program and gave one of her finest performances to date.

The music was nicely balanced to provide patrons with familiar classical repertoire seasoned with piquant flavours from great contemporary works. Monteverdi's Lamento della ninfa, adapted for strings, introduced the idea of a single melodic line opening and developing into different strands – a concept magnificently amplified in the dazzling Sequenza VIII for Solo Violin and Sequenza XIVb for solo double bass. What a privilege to hear such vital, urgent musical questing – now a conversation, now an argument, now a solo self-examination – played so expertly. The ACO realised Berio's exploration of sound possibilities through intense mental and physical effort, delivering all the composer could ask for.

Sollima's version of Leo's Cello Concerto No.3 in D minor thrust us back into the early18th century, with four conventional movements in melancholy D minor. As a soloist, Sollima is theatrical and the audience appreciated his efforts. The interplay between Maxime Bibeau and the solo cello created some beautiful sonorities and the ensemble supported the soloist and effected the tantalising tempo changes skilfully.

Vanska gave us Paganini's Introduction and Variations on Dal tuo stellate soglio with all the power and seductive romance of the master himself, carefully manipulating the tempo and working her vibrato at the perfect speed. These passages contrasted superbly with the dazzling harmonics and tight-rope-walking upper register finger work. The piece only succeeds if the personality of the performer embraces the humour in the work – the seductive game of slow, soulful outpourings followed by almost ridiculous high speed runs to impossibly high pitches, and this Vanska achieved.

Rossini's Une Larme once again allowed Sollima to rinse the ears with liquid, tender phrases, which were a stark contrast to the wonderful, unpredictable intervals of Bibeau's mesmerising interpretation of Scelsi's C'est bien la nuit. Double bass and soloist appeared like two creatures entwined, singing a strange new language. Sollima's own work, Fecit Neap. 17, provided a brilliant climax to the evening. The cellist entered while playing the opening theme and the ensemble joined in animated conversation with the soloist with a captivating combination of classical form and original harmonic progressions. Rhythmic drive and rich harmonic textures exploring every possible way of bringing sound from the cello make the work entrancing. Like its composer, Fecit Neap. 17 will not be easily forgotten.