It is hard to believe that it is half a century since Nikolaus Harnoncourt formed his authentic instrument ensemble, the Concentus Musicus Wien, and did so much to kick-start the period performance movement. Today, as ever, he is a musician's musician.

This Creation was not the revelation some might have been hoping for; for all its energy and detail, it came across as a conventional interpretation. But it was still proof of the enduring vibrancy of Harnoncourt's work with this group.

Here in London, it seemed a shame not to have the work sung in the well-loved English version. But, given the German-speaking soloists and choir, Die Schöpfung it was. Based on Milton once removed, The Creation describes the story of Genesis through the words of three archangels and chorus, with part three largely given over to an adoring pre-apple dialogue between Adam and Eve.

Harnoncourt missed no chance to demonstrate this, making us wait for and then savour every one of the storm, rain, hail and snow effects before drawing out a glorious sunrise. The lower strings described a rather perky Leviathan during the marine passages; the lion's roar was a rasping honk from the trombones.

The standard of the singing did not quite match that of the playing, although the three soloists blended well as a trio. The most characterful was the supple baritone, Christian Gerhaher. However, the tenor, Herbert Lippert, lost focus after a promising start and seemed small for the venue. Sibylla Rubens, stepping in for an indisposed Dorothea Röschmann, sang with a sparkling soprano that needed only a little more tonal variety.

Slower, quieter passages brought some slightly ragged singing from the Arnold Schoenberg Choir. But in the punchier choruses, it came into its own, relishing the contrasts in volume and falling in with Harnoncourt's graceful cadences and taking the thumping, triumphal edge off the end of these numbers.

The orchestra was excellent: the consistently shapely string phrasing, healthy-sounding brass and wonderfully deadpan contributions from the fortepiano. The ensemble played with a depth of tone that belied its size.