How far should we expect virtuoso musicians to forgo technical excellence in favour of emotional intensity?

Alexander Romanovsky’s performance of Shostakovich’s Piano Concerto No 2 on Saturday evening was flawless, but perhaps a little too controlled.

The Ukrainian pianist’s recordings for Decca showcase a polished talent and the same poise was evident throughout his interpretation of this buoyant, almost breezy, piece.

What was missing was any hint of irony. The composer’s relationship with the Soviet authorities was complicated to put it mildly and he was adept and hiding his subversive attitude behind a cheerful mask.

Western audiences like to think of Russian composers as particularly tortured souls. Shostakovich’s battles with the censors are seen as a sort of mirror to Tchaikovsky’s inner turmoil.

There was no doubting the passionate sincerity of the BSO’s performance of the Fifth Symphony – particularly the superb horns in the slow movement.

Under the baton of Julian Kuerti, the orchestra produced a stirring finale which had the audience in two-thirds full venue stamping their feet in appreciation.

No ambiguity was needed for Alexander Borodin’s Overture To Prince Igor which began the evening – this was Russian imperialism in full flow.

You almost expected to emerge from the concert hall to find a couple of Putin’s warships parked on the Old Steine.