By the oversimplified logic of classical music programming, the fact that Esa-Pekka Salonen is Finnish means he should have something to say about Sibelius, and as he has waited so long to say it - he will be 50 next year - it should be good. Halfway through his first Sibelius cycle, with his own LA Philharmonic, things do not seem quite so clear.

Heard in Los Angeles a fortnight ago, now brought to London and Paris, this four-concert mini-festival is not only about Sibelius; it is also about LA, and Salonen himself. The first programme included Salonen's own Wing on Wing, an indulgent homage to the orchestra's new Frank Gehry-designed home. It seemed less than relevant away from the hall that inspired it, though the duetting high sopranos either side of the auditorium wove a beguiling web. The next night, Steven Stucky's Radical Light, written especially for the series, conjured up glowing, teeming sounds but did not push them, or us, very far.

And the Sibelius itself? The curtain-raiser, a breakneck account of Lemminkainen's Return that sounded as though the Finnish hero were riding Champion the Wonder Horse, did not promise much subtlety.

In the Second Symphony, Salonen tended to hurtle through the ambiguous moments; the Fourth climaxed in a muscular slow movement but the finale lacked granite; the single-movement Seventh showcased much beautiful playing, but again, lacked the stark extremes of colour that define this music's immense scope. Only in the encore, Finlandia, did the orchestra surprise us with its forcefulness; the players had finally brought us the elemental spark that this music had needed all along.

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