This year is the 50th anniversary of Prokofiev's death, and this concert, part of the Prokofiev 2003 project, presented his Symphony No 1 in D, which he nicknamed the "Classical". Prokofiev orchestrated this symphony for a scoring of instruments that would have been the typical full symphonic orchestra of the late 18th century. Cristian Mandeal's performance with the Hallé made the most of Prokofiev's versatile deployment of these forces, and communicated an affectionate elegance that was better than mere Haydnesque parody.

The charming Larghetto sounded like a Haydn movement compounded with The Nutcracker, while the witty Gavotta featured Mozartian melodic turns with a distinctively colourful Russian harmonisation. Mandeal's tasteful direction demonstrated that Prokofiev possessed an innate understanding of the classical style: even if the overall effect of the Symphony seemed emotionally superfluous, the performance of it was infectiously charismatic.

In Beethoven's Piano Concerto No 4 in G, the Hallé was lively and neat without needing to be forced, and Mandeal allowed the music to breathe. Soloist Paul Lewis played the long piano explorations in the first movement mellifluously. And in the central Andante con moto, his playing was sentimental and lyrical, in direct opposition to the interruptive, jagged thrusts of the strings. He was captivatingly fluent in the concluding Rondo, and the final cadenza rippled through a microcosm of emotions and dynamics. Mandeal nurtured a performance that was lovely, profound and Romantic.

Brahms described his Symphony No 1 in C minor as "long and not exactly amiable". Yet Mandeal's warm reading was very persuasive. The opening twisted with a grimace of suppressed emotion, and Mandeal unfolded Brahms's tense textures without undue pressure. The final extensive movement was simply wonderful: magisterial and enchanting, like a long, difficult journey from suffering and struggle to optimism and resolution.

· Further performance on Sunday. Box office: 0161-907 9000