It might seem like a cheap comment to describe the WNO Orchestra's concert performances as invested with an operatic zip.

But it's true. From Bach's Brandenburg Concerto No. 3 to Beethoven's Seventh Symphony, its energy and histrionic flair were relentless.

In Bartok's Second Piano Concerto, the goings-on with soloist Peter Donohoe were driven by an instinct for eruptive dramatic effect, and the central movement's nocturne resembled an intermezzo separating two gigantic wodges of activity.

However, one shouldn't get too carried away with analogies. The Bach piece, nominally led from the harpsichord by WNO stalwart Anthony Negus, danced along as a slick chamber ensemble rather than a concerto in which the instruments, however fleetingly, aspire to solo status.

The only concession to the period-music movement was in the decorum of having the players stand in a semi-circle about Mr Negus, who had his back to the audience and the sound of his instrument somewhat stifled.

The tendency for the piano part to be embedded in Bartok's orchestration is fully achieved in Kurtag's haunting Quasi una fantasia, in which groups of musicians are dotted about the hall while pride of place on stage is given to the Steinway (Mr Donohoe again) and kettle-drums (Patrick King).

Mr King, the orchestra’s timpani principal, seemed omnipresent, punctuating the Bartok piece emphatically and driving the Beethoven almost with abandon. He proved with Kurtag that more - drums, that is - can be delicately less.

Lothar Koenigs conducted throughout with thought and feeling. It is to him thanks must be given for a concert - all too rare in these parts - that combined traditional with contemporary in such a compelling way and proved how virtuosic and lively the WNO players can be outside the opera house as well as in the pit. For the time being, it's his orchestra, and he convincingly demonstrated pride of ownership.