NEW YORK, NY.- What sets a cultural capital apart is not just the quality of its music-making, but also the quantity and variety. No American symphonic ensemble, for example, is better than the Cleveland Orchestra, but it stands largely alone at home. Few big groups travel to Cleveland the way they do to New York.

Or did. The city’s performing arts landscape has blossomed again following long pandemic closures, but virus surges, visa issues, quarantine requirements and financial concerns have meant that orchestral tours — usually the meat of Carnegie Hall’s season — are still slumbering, almost two years later.

But tours, too, are slowly reawakening. The marquee offering comes later this month, when the mighty Vienna Philharmonic comes to Carnegie for a three-night stand. A landmark arrived Monday evening, however, when the Royal Philharmonic Orchestra of London became the first international orchestra to appear at the hall since the Orchestre Révolutionnaire et Romantique on Feb. 24, 2020.

The Royal Philharmonic, with a solidly spirited concert under its new music director, Vasily Petrenko, also celebrated its own milestones: its 75th season and its first appearance at Carnegie in 25 years. (If you want to talk about a real cultural capital, the group, founded by conductor Thomas Beecham in 1946, is one of at least five major orchestras based in London.)

The program was standard issue: the Four Sea Interludes from Britten’s opera “Peter Grimes,” Elgar’s Cello Concerto and Holst’s mammoth suite “The Planets” — British composers, all. There is, in an era of thoroughly internationalized ensembles, something quaint and a little silly about the notion of touring with your country’s repertory.

Particularly when the works are, like these, chestnuts done all the time. I endorse British ensembles advocating British music, but “The Planets” is hardly in need of advocacy, and the Royal Philharmonic, for all its liveliness, didn’t sound in it much different from, say, the New York Philharmonic would have. The number of orchestras with actual sonic or interpretive idiosyncrasies in music of their compatriots is by now almost or actually zero.

But with Petrenko a tall, animated presence on the podium — bouncing up and down, shimmying and hypnotically curling the long fingers of his left hand, witchlike — it was a pleasant evening. From the Britten on, the orchestra’s winds and brasses were particularly mellow and secure, sounding dewy in Holst’s “Venus” and adding to the bronzed ominousness of “Saturn” and the sensual hush of “Neptune,” which also featured the offstage voices of Musica Sacra, under Kent Tritle.

Cellist Kian Soltani, the soloist in the Elgar, played with buttery understatement and intimacy, and considerable wit in the Lento. It speaks to his collegiality that his encore included five of the orchestra’s cellists in his arrangement of an excerpt from Shostakovich’s film score for “The Gadfly.” At the end of the concert, the full ensemble’s encore also abandoned Britain for Russia, with a cheerful rendition of the “Dance of the Tumblers” from Rimsky-Korsakov’s “The Snow Maiden.”

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Royal Philharmonic Orchestra

Performed on Monday at Carnegie Hall, Manhattan.

This article originally appeared in The New York Times.