The great romantic masterpieces of late-19th century composition need the great symphony orchestras of today, a synergy wondrously demonstrated by the London Philharmonic Orchestra at the Brighton Dome. Wagner, Bruch and Tchaikovsky demand a colourful range of tonal effects, total dynamic control and the ability to produce a magnificently powerful sound. They got it.

The programme opened with the focused dreaminess of Wagner’s Siegfried Idyll, all elongated phrases and chromatic harmony, peace before the storm of the celebrated Violin Concerto by Max Bruch.

Enter the Russian-Dutch violinist Liza Ferschtman whose dramatic platform appearance perfectly suited a superbly passionate performance. Her playing was authoritative, decisive, virtuostic and brave.

Maestro Joseph Swensen drew the full palette of surcharged emotion from the Tchaikovsky Fifth Symphony. His expansive and lyrical gestures commanded the utmost romantic expression from this music, irresistibly Russian with a melodic backdrop of ballet yet simultaneously sorrowful and plangent.

Among the brilliance of all the players, the horn section and the timpanist had moments of particular glory but the palm goes to conductor Joseph Swensen and soloist Liza Ferschtman for unforgettable musical and visual drama – and for two reasons to attend live symphony concerts.