For a pianist of secure international class, Welshman Llyr Williams does not make himself scarce in the Principality.

And that’s our good fortune, the latest slice of which he bestowed in a captivating performance of Mozart’s Piano Concerto No 24 in C minor with an orchestra whose lot it is to be mainly subterranean.

Much has been written of Williams’s rigour and refinement, especially in 18th-century repertoire, where his self-absorption is not likely to find him at odds with agitated accompanying players.

Luckily for him and for us, his focus in this dark work instinctively took in what was happening around him without his having to make a show of being involved with conductor and orchestra.

On this occasion such intuition was easy to divine, so that other virtues were on display, not least the way he turned the cadenzas into little stand-alone miniatures.

Away from the theatre pit and above ground, the WNO orchestra must be the most assertive of its kind in Britain, especially with new music director Lother Koenigs in charge.

Pride of possession obviously makes music taken from operas its strong point, as in this salt-tanged and expansive version of the Four Sea Interludes from Britten’s Peter Grimes. (When will WNO revive one of its fine Britten productions?) The playing in Brahms’s Second Symphony was vaguely operatic, its easygoing character disturbed by undercurrents, the lyrical yearning and propulsion finally breaking out in a noisy climax that had the punters ecstatic. Well, there were lots of WNO supporters in the audience.