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How did larger Romantic orchestras become stronger partners for concerto soloists?

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caricature of Antonio Vivaldi — concerto Caricature of Antonio Vivaldi, pen and ink on paper by Pier Leone Ghezzi, 1723; in the Codex Ottoboni, Vatican Library, Rome. The inscription below the drawing reads, “Il Prete rosso Compositore di Musica che fece L'opera a Capranica del 1723” (“The red priest, composer of music who made the opera at Capranica [College in Rome] of 1723”).

During the Romantic era, the orchestra evolved from providing simple accompaniment into a powerful, resourceful partner—and sometimes a superior adversary—to the concerto soloist. This transformation was driven by several key developments:1

Expanded Instrumentation: Orchestras grew significantly in size and scope, incorporating a greater variety of instruments and more discriminating orchestration techniques. Composers began utilizing larger forces to express complex musical ideas, moving beyond the thin support typical of earlier composer-performers.12
Resourceful Orchestration: Composers with a wider instrumental perspective, such as Hector Berlioz, Franz Liszt, and Richard Strauss, exploited the orchestra's technical possibilities to create rich, coloristic textures. Works like Berlioz’s Harold en Italie and Liszt’s Piano Concerto No. 1 exemplify this shift toward a more balanced, complex dialogue between the soloist and the ensemble.12
Technical Advancements: Mechanical improvements to wind and string instruments allowed for greater virtuosity, enabling the orchestra to match the technical demands placed on the soloist. Simultaneously, the piano evolved into the modern "concert grand," allowing it to hold its own against the increasingly powerful orchestral sound.12