Chopin year is next year, but this recital by the Argentinian pianist Ingrid Fliter, a specialist in the composer, gave a taste of what is to come. Her programme was preceded by an announcement alerting the audience to the fact that with a temperature and flu-like symptoms, she had to curtail her programme. In the event, we lost just a couple of the complete set of waltzes that would have formed the second half.

Fliter's approach to Chopin is on the grand scale and founded on a comprehensively excellent technique; even with illness to contend with, there was scarcely a wrong note all evening. The majority of her chosen pieces were essentially miniatures floating melodies over accompaniments of varying complexity, and throughout she gave a buoyant profile to the melodic line. Her limitation came in a lack of attention to some of the inner parts that not only flesh out Chopin's textures but should also have a life of their own, and a need for more intimacy to contrast with the extrovert grandeur of her playing.

In the first half, the military summons of the Polonaise in F sharp minor was thrilling. Yet while the Barcarolle was commandingly delivered, it needed more languor and sensuousness. The nocturnes (B major Op 9 No 3 and D flat major) felt genuinely improvisatory, however their sense of structure – the other crucial side to Chopin's coin – was less clear.

Fliter's playing of the waltzes was very special. Some of these – the A flat Op 42, or the Grande Valse Brillante Op 18 – are showpieces, managed here with superb bravura. But she was at her finest in the heartfelt, interior world of the little A and E minor examples published after Chopin's death, which were flawlessly realised.