Four of Johann Sebastian Bach's sons became eminent musicians. The youngest, Johann Christian Bach, settled in England and is known as the London Bach. Despite the major influence he exercised over the nine-year-old Mozart, who came to know him and his music well during his London visit in 1764-5, JC Bach's own works are rarely performed. So it was enterprising of conductor Ian Page and his Classical Opera Company to offer an entire programme of them at the Wigmore.

Bach composed operas for Italy, Mannheim and Paris as well as London, where the bulk of them were received with considerable approval. Judging from the extracts offered here, they are founded on the elegant "galant" style that Bach had learned in Italy and of which he became an admired exponent.

Mozart began by emulating Bach's Italianate lyricism, simple flowing accompaniments and formal balance, later easily outstripping his mentor's technical skills and emotional depth. Yet in the best, such as Arsinda's determined solo from La Clemenza di Scipione and Oriane's remorse-driven scene from Amadis des Gaules, Bach's writing has a dramatic impetus that fairly bowls the listener along. Sopranos Sophie Bevan and Susan Gritton brought out its qualities, the former with her creamy tone, the latter with keen textual attack.

Elsewhere, Page and his players demonstrated a fine sensitivity to tempo and balance in two of Bach's symphonies. The stormy G minor work, whose daring gestures confound expectations, was a delight. A harpsichord concerto written for Queen Charlotte, neatly played by Steven Devine, closed with variations on God Save the Queen. Linking this well-designed programme together perfectly were Michael Maloney's readings from contemporary accounts.