As an interpreter of Bach's solo keyboard music, the discipline and finesse of Angela Hewitt is incontestable. One might, then, have expected an inspiring collaboration when Hewitt took on the role of soloist/director with the Britten Sinfonia but, in this concert, the result was decidedly bland.

Part of the joy of performances directed from the keyboard is that real connections are made. That didn't happen here. Hewitt's direction amounted to putting the players under starter's orders and getting them off: there was an occasional toss of the head and wave of the arms - the biographical note mentions her ballet training - and a bit of added theatricality towards the final cadence. It was no more, and sometimes less, than one gets from Hewitt when there is a conductor on the podium.

Bach's Concerto in F is a transposition of his Brandenburg No 4, but the perfect balance of solo violin and two flutes works less well when the violin line is given to the keyboard, even with a practitioner of the polished fluency of Hewitt.

Mozart's Concerto in E flat K449 was just as fluent, but seemed to reproduce something set up in rehearsal, with no obvious spark to lift the experience out of the ordinary. Hewitt looked heavenward more often than at her fellow players, with barely a glance at the cellos, who looked distinctly marooned on their raised platform.

So, after the interval, the energy and immediacy of Mozart's Symphony in A K201, directed from the violin by the sinfonia's Pauline Lowbury, was welcome. This was vivid playing, with the oboes and horns brightly articulate.

The intrinsic beauty of Bach's Concerto in D minor could not fail to beguile, in particular the wonderful chromatic colour of its slow movement. But the rapport between pianist and musicians appeared no greater than before and, when Hewitt offered a solo encore, obliging the sinfonia to retreat in deference, there was a distinct feeling that, yet again, she had missed the point.