This world premiere of his latest work, storm, rose, tiger, was a substantial piece that showed flashes of brilliance and some oddly confounding moments. Based on a Borges short story, The Circular Ruins, in which a magician brings life to, and destroys, a man he has conjured in his dreams, Suckling's work comes in deliberate bursts of inspiration. Its meandering aesthetic is defined by periods of purposefulness infuriatingly interrupted by sustained notes and the occasional string meltdown, as if Suckling is bringing into orchestral life the nightmare of the creative process.