When the Festival Hall first closed for renovation in 2005, the prospect of London's orchestras camping out for two seasons in the Queen Elizabeth Hall next door was anticipated rather fearfully. In fact, the results have been remarkable - a tribute both to the flexibility and intelligence of the orchestras themselves, and to the tolerance of the often underappreciated acoustics of the QEH itself.

Certainly if the Philharmonia can perform Francesca da Rimini so successfully there, it can get away with just about anything. Tchaikovsky's Dantean fantasia can sound frenetic, congested and overblown in a much bigger hall, but this performance under Ilan Volkov never threatened the eardrums. Everything was perfectly scaled: the whirling strings depicting the circles of hell were full of detail; the clarinet solo of Francesca's narration beautifully unfolded - though even Volkov could not quite disguise the fact that the central reflective section goes on a bit too long.

With Debussy's La Mer at the other end of the programme there was no shortage of opportunities to relish complex orchestral textures, but Sibelius's Fourth Symphony provided a different kind of test. Volkov presented it unflinchingly, as a musical landscape bleaker and more unforgiving than any Sibelius depicted in his tone poems, and one criss-crossed with paths towards a modernism that troubled him deeply. There was no spare flesh on this torso, no unnecessary rhetoric, and here that expressive economy was realised perfectly.

Then for something completely different, Simon Trpceski was the soloist in Rachmaninov's Paganini Rhapsody. Trpceski is already a real favourite with London audiences - his smiling, relaxed platform manner must have something to do with that, but it is largely due surely to his astonishingly pianism, which manages at the same time to be brilliant without being flashy and vivid without a trace of attention-seeking. He really is a star.

· Repeated tomorrow at The Hexagon, Reading. Box office: 0118 960 6060.