Pianist Joanna MacGregor can be counted on to do things with panache. In her second year as artistic director, the determination to breathe radical spirit into Bath's international music festival was nowhere more apparent than in this first of her two recitals.

In the opening half, her sequence of 10 preludes and fugues, interleaving Bach and Shostakovich, was inspirational. MacGregor's artistry as an interpreter of Bach has long been recognised, but her juxtaposition of iconic Bach with Shostakovich pieces, representing homage to the master yet bearing his unmistakable imprint, underlined the breadth of her vision.

Effectively creating a whole new structure, MacGregor's sequence reflected different moods and tempos, but also respected the patterns of the composers' originals. While the influence of Bach resonating through the Shostakovich was predictable, it was MacGregor's instinct to bring out the playful and jazzy facets in Bach and the anguished majesty in Shostakovich that proved both challenging and rewarding.

The 20th-century South American composers much championed by MacGregor offered a seemingly tangential second half, but in fact, the harmonies so often echoed Bach that it worked brilliantly. The frenzy of Egberto Gismonti and the soulful seduction of Afro-sambas by Lobo, Jobim and Powell were equally compelling. George Gershwin's Songbook, arrangements of 16 of his most famous songs, was a clever parallel to the Bach-Shostakovich set. The dynamism of MacGregor's musicianship was manifest here, but she trumped it all in an encore. Her own arrangement of Piazzolla's Libertango began with hand-dampened pounding in the bass and rocketed off from there. Sheer bravura.

· The Bath festival continues until June 2. Box office: 01225 463362