Whatever the Royal Scottish National Orchestra's reasons for giving only two performances of its all-Wagner programme (most likely mundane ones involving expense and availability of artists and venues), the decision to bring it to Dundee - and not to Edinburgh in addition to its Glasgow home base - was surely influenced by the knowledge of how the programme would sound in the Caird Hall.

To say, as conductor Paul Daniel did in his introduction, that there aren't too many places on the planet quite like this one in which to perform Wagner, is scarcely an exaggeration. The Caird's cavernous interior gives it easily the best acoustic of any orchestral concert venue in Scotland, something of which Daniel took full advantage, whether in the turbulent intensity of the Flying Dutchman overture or the long, slow sweep of the Good Friday music from Parsifal. Seldom have the RSNO strings sounded as radiant, the brass and woodwind as well balanced and blended - powerful but never raucous, despite the occasional fluff.

If there was a drawback, it was that it focused the attention on the luminosity of the orchestral sound rather than on the evening's intended star, soprano Jane Eaglen. She, for her part, sang a trio of Wagnerian heroines (Sieglinde, Isolde and Brünnhilde) with the requisite vocal power and intensity, although her Isolde was not entirely successful, her voice lacking the radiance and sometimes the volume required.

It was in the Immolation Scene, prefaced by the orchestral Siegfried's Rhine Journey and death - Götterdämmerung distilled to its very essence - that Eaglen came into her own, her Brünnhilde dramatically vivid as well as majestically sung; but here again, the RSNO and Daniel threatened to steal the show with the magically evocative closing bars of the opera.