Astutely timed to follow on directly from Covent Garden's Ring cycles, the London Symphony Orchestra's programme under Marin Alsop included a piece that literally starts where Götterdämmerung ends. The premise of Christopher Rouse's Der Gerettete Alberich (Alberich Saved) is the survival of the evil dwarf who sets Wagner's vast epic in motion with his theft of gold from the depths of the Rhine; he is not present during the culminating cataclysm when Valhalla burns and the river overflows, presaging the creation of a new world order minus the controlling gods.

Rouse begins this percussion concerto with the soaring, redemptive final bars of Wagner's opera before the soloist - here the virtuoso Evelyn Glennie, for whom the piece was written - scrapes menacingly on a guiro, a rasping reminder that Alberich is alive and undefeated. Thereafter, Glennie personified Alberich musically, applying herself to a vast assemblage of percussion instruments spread around the platform in what was a tour de force carried off with unerring precision and vitality.

For a composer to measure himself against a giant like Wagner, however, is rarely a good idea. The best parts of Rouse's piece are when he sticks closest to the themes from the Ring that delineate Alberich or his equally malevolent son, Hagen. The remainder is fun, especially when delivered with Glennie's zest, but insubstantial.

This concert formed the opening of the LSO's Amériques series, focusing on 20th-century music from the US. Alsop began with the Symphonic Dances from West Side Story by her former mentor, Leonard Bernstein. The sound world was suitably brash, though the rhythms needed more bite and the melodies more sexiness. After the interval, the wide-open textures of Copland's Third Symphony suited her better, though she could not prevent the work's demotic rhetoric falling into blowsy rodomontade.

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