VANCOUVER, British Columbia – You get to see plenty of North America when you are a professional hockey player. Justin Brazeau, the newest member of the Minnesota Wild, didn’t know he would be seeing most of it in one day.

Late Thursday, when his former team – the Boston Bruins – had a game in Raleigh, N.C., versus the Carolina Hurricanes, Brazeau was held out, as a trade was in the works. When the Bruins had come to an agreement with Wild general manager Bill Guerin that would bring the hulking winger to the State of Hockey in exchange for Jakub Lauko, Marat Khusnutdinov and a late round draft pick, Minnesota’s team services folks began making hasty arrangements to get Brazeau to Vancouver from the other side of the continent.

With the Bruins in full “fire sale” mode, jettisoning players like Charlie Coyle (to Colorado) and Brad Marchand (to Florida), Brazeau admitted an inkling that he might be switching jersey colors, as well.

“I kind of had a feeling something might be coming in,” said Brazeau, following his Wild debut in a 3-1 loss to the Canucks on Friday night. “Obviously you’re never fully ready for it, but yeah, I kind of had a feeling something was gonna happen the last couple of days, so just trying to be ready for anything, mentally ready for that, and I just kind of go with the flow of it.”

His Friday began at 8 a.m. ET (5 a.m. on the West Coast) with a flight from Raleigh to Denver. After a layover of a few hours where he tried to catch up on all of the trade news to see where his former Bruins teammates were headed, Brazeau flew from Denver to Vancouver, arriving at the team hotel a few hours before they went to Rogers Arena and grabbing some food. He tried to sleep as much as possible on the planes.

On the ice, Brazeau played nine shifts on the team’s fourth line, getting a bit more than seven minutes of ice time. He admitted that adjusting to a new team and a new system, with travel-weary legs, was a challenge. But his new coach liked what was displayed in that small sample size.

“I give him a lot of credit. Obviously emotional for him. He gets traded and he’s got a lot of travel, and came in and showed in,” Wild coach John Hynes said postgame. “I think he’s got good hockey sense, he gets to the net. I like that line in general and brings some good size, brought some physicality to the game. So, it’s nice. I thought under the circumstances that he had, I give him a lot of credit. I thought he showed up to play for our team tonight in a strong way.”

Originally from the lakes country of Ontario, north of Toronto, Brazeau said his only previous relationship on the Wild is veteran forward Marcus Foligno, who is from the same region, and is an occasional guest on a podcast hosted by a few of Brazeau’s friends. But Foligno and all of his new teammates made an effort to welcome the new guy to the Wild.

“The guys are great, welcoming me in when I got here and making me feel really comfortable, so it was good,” he said.

After a long day of travel and a frustrating result on the ice, a welcoming smile and handshake still go a long way.

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Two sumptuous works of poetry sourced the music in the first half of the Minnesota Orchestra’s latest concert, while the music itself became the poetry after intermission. In a program conducted by music director Thomas Søndergård and featuring soprano Julia Bullock, the orchestra delivered a ravishing evening of imagery and dynamism.

Starting out with the relatively obscure “Lamia” Symphonic Poem for Orchestra by Dorothy Howell, based on a John Keats poem, the evening moved to Benjamin Britten’s “Les Illuminations,” Opus 19 bringing Arthur Rimbaud’s extravagant symbolist poetry to life. Then the orchestra performed Gustav Mahler’s Symphony No. 1 in D Major, “Titan.” In its original form, Mahler named the work a Symphonic poem, and the work carried forward that poetic label — ripe with imagery and surprises.

Howell’s “Lamia” was first performed in 1919. The poem inspiring it centers on a serpent who convinces the God Hermes to turn her into a human. In the Minnesota Orchestra’s performance, Howell’s music slithered. The work was full of revelations, from whimsical moments to heroic jaunts, dancing castanets and hallucinatory visions. Following Lamia’s journey from snake to bride to ether, the music was dizzyingly seductive.

Julia Bullock did her own translations for the supertitles of “Les Illuminations,” allowing the audience to follow along on Rimbaud’s outlandish poetry. From mystical cities to Bacchanalian romps, the poetry was vivid and subversive.

“I alone have the key to this savage parade,” Bullock sang numerous times in the song cycle. In the music, Rimbaud’s prose poem lyrics grappled with the artist’s role in making sense of the universe, even at its most surreal.

A Grammy award-winner for her album “Waiting in the Dark,” which she made with her husband, Christian Reif, Bullock demonstrated her majestic voice with the Minnesota Orchestra. Her tone was cozy and enveloping, as she employed use of the space in her body to resonate to the max. Bullock easily handled the moody and dramatic lyrics, and demonstrated her significant range in the work.

After intermission, Søndergård led the orchestra through a formidable presentation of Mahler’s first symphony. The orchestra previously recorded with former director Osmo Vanska in 2019, and before that, were the first orchestra ever to record the First Symphony in 1940, under the direction of Dimitri Mitropoulos.

Brass instruments get some of the showiest moments in the piece, from off-stage playing to dramatic moments where they stood up to play. There was perhaps a stray note here or there coming from the brass section, but their power and showiness made up for it.

The first movement painted a lush pastoral scene, ending in a huge explosion of sound, bursting with speed and momentum. The second movement featured a robust dancing rhythm, similarly wildly flourishing at the end of the movement.

In the third movement, “Feierlich und gemessen, ohne zu schleppen,” Mahler drew on the children’s tune “Frère Jacques,” which moves around the orchestra as a round. After that, the composer shifted into the sound of an Eastern European folk song. The third movement ended in a hushed whisper, followed by a startling jolt.

Fireworks awaited for the last movement, “Stürmisch bewegt,” as the orchestra shared its tremendous weight and sweeping drama.

Next up

What: Erin Keefe Plays Beethoven

When: 11 a.m. Thursday, March 13, 8 p.m. Friday, March 14

Where: Orchestra Hall, 1111 Nicollet Mall, Mpls.

Tickets: $36-$110

Capsule: Following a tremendous concert with music director Thomas Søndergård and soprano Julia Bullock, the Minnesota Orchestra next features concertmaster Erin Keefe.