FEW concerts at Sage Gatehead could have been as eagerly anticipated.

Not only was it the start of new classical season, but also Lars Vogt’s first appearance as Royal Northern Sinfonia’s musical director designate. And a capacity audience turned out to welcome him.

The acclaimed concert pianist, who has appeared with RNS before, said at a pre-concert talk that he hoped their connection would show. And show it did.

From the arresting opening chord of Beethoven’s Egmont Overture, Vogt’s style was direct, engaging, as he moulded a magnificently account, crackling with energy.

Violinist Alissa Margulis gave a refined account of Brahms’ sweeping Violin Concerto, with seamless and sensitive support from the RNS. Her extended solo in the first movement soared to the heavens. One of the highlights came from oboist Steven Hudson in the opening of the slow movement.

Vogt had a steady hand on the ebb and flow of the work, maintaining an energetic momentum throughout, with Margulis hurtling headlong to a thrilling climax.

Vogt’s self-declared passion for Beethoven radiated from his rendering of the Sixth Symphony “Pastoral”. He gave the players rein to express themselves, nudging them here, cajoling them there and at time crouching down to their level to exhort them to greater heights.

There magic touches aplenty. The call of the cuckoo, led by flautist Juliette Bausor, bassoonist Stephen Reay’s witty three- note motif and burnished brass from the horns under Peter Francomb.

The depiction of the storm was a tour de force, from the pitter patter of rain on the strings, to the ominous rumbling of storm clouds from the cellos and cataclysmic thunderclaps of the timpani. The Shepherd’s Song cut to the emotional core.

The applause was warm and sustained. It was an exciting beginning to the musical partnership, with a promise of great things to come.