Greedy Mariss Jansons, hogging two of the world's great orchestras. Given that he is also in charge of the Concertgebouw, some would regard the Bavarian Radio Symphony Orchestra as his number two band. But it never seems that way.
The Bavarians are a very different ensemble, with a leaner, lighter sound than their Dutch colleagues; a sound characterised less by a meticulously created blend and more by individual colour from the wind and brass soloists. There was plenty of that in Beethoven's Eroica Symphony, which unfolded in an easy flow, growing in the second movement into a march of almost fierce funereal solemnity. That tension didn't quite find equal release in the remaining two movements, though, which seemed a touch contained and careful.
After the interval, however, the orchestra was in its element. First came Strauss, whose Four Last Songs centred on an outstanding performance from the rising German soprano Anja Harteros, a magnetic presence at the centre of all that instrumental turbulence. Her fresh-sounding soprano glinted above even the thickest orchestral textures, communicating the songs with sincerity and understated wonder; even her breathing seemed part of the expression.
Then there was Ravel, whose second Daphnis and Chloe suite brought Jansons back into flamboyant mode and provided a glittering showcase for his players, who conjured an almost otherworldly haze before allowing us to bask in the glow of a musical sunrise that the whole evening seemed to have been preparing for.
The second encore was a rarity especially prepared for British audiences - Wild Bears, a movement from Elgar's Wand of Youth suite. It was a rambunctious, careering, good-humoured send-off. For now at least, Jansons seems more than capable of keeping two orchestras happy at the top.
