There are things you expect from a concert conducted by Pierre Boulez, like impeccable attention to detail and laser-like clarity. But his performance of Stravinsky's Rite of Spring with the London Symphony Orchestra had something else: a sense of raw emotion released. It was a uniquely convincing take on the piece, a revelation of Boulez's uncanny power in this repertoire.

Without ever losing their technical cool, the LSO players communicated the expressive extremity of Stravinsky's music. Even the opening bassoon solo - virtuosically difficult for its time, but nowadays sometimes sounding like a hollow technical exercise - had an eerie frailty. Bassoonist Rachel Gough's performance was a vivid evocation of the rarefied atmosphere of the whole piece. Each of the famous moments in the work, like the thunderous string chords early in the first part, or the otherworldly textures at the opening of the second, sounded shockingly new in the LSO's performance.

Never has the musical layering of the piece been so clear. But instead of losing the magic of the music, Boulez's illumination of the way Stravinsky piles rhythms on top of one another enhanced the energetic abandon of the work. The final Sacrificial Dance built to an unbearable pitch of tension and rhythmic power, a pagan intensity realised with impeccable sophistication.

The whole programme created connections between Stravinsky's work and music by Boulez and Bartok. Boulez's Livre Pour Cordes, a revision of an early string quartet, exploded the original four parts into a dense web of interlocking lines and layers. For all the abstraction of the structure, the way that each part seemed to reflect and distort every other line, it was the sensuality of Boulez's performance that was most startling.

Next to Stravinsky's masterpiece, the folk melodies of Bartok's Third Piano Concerto sounded cool and genteel, but the piece was given a luminous performance by Hélène Grimaud.