Opening with Rachmaninov’s Piano Concerto no. 2 in C minor, Op.18, Inbal kept the orchestra in sync with Macedonian pianist Simon Trpčeski, whose approach was loose and easy, happy to do the accompanying as orchestral strings sang the big tune, and coming in from the cold for solo flourishes. There was neither coming on strong nor gilding the lily, and there were moments in the first movement when the orchestra almost drowned out the piano. No such worries in the Adagio sostenuto central slow movement, when the piano’s solo line sang out unabated, in a gradual unwinding that climaxed in a brilliant solo cadenza. The strings accompanying piano chords at its denouement provided the concerto’s most sublime moment. The finale was a thrilling white knuckle ride. Trpčeski’s treatment of the big melody was initially subdued and the intention was to work its way to a glorious apotheosis, before which a central fugato section was negotiated with the skill of a high-wire act.

The close was predictably splashy, drawing a chorus of cheers, followed by two vastly varied encores. The Precipitato finale from Prokofiev’s Seventh Sonata was devastating in its drive, contrasted with Rachmaninov’s serene Vocalise, Op.34 no.14, with guest concertmaster David Coucheron on violin. The latter was dedicated to the memory of Hans Sørensen, the former SSO Director of Artistic Planning who passed away unexpectedly in January, and a plea for world peace.