Now that you've found her, never let her go. I hope that’s the mantra among players of the Chineke! Orchestra and their Artistic and Executive Director Chi-chi Nwanoku – leading the double basses last night – after this Prom with Panamanian-American conductor Kalena Bovell. With her dancing spirit and focused stick technique regularly at the helm, this team could develop the real musical character that has eluded them under less dynamic and personable figures.

Simon Rattle and the LSO marked the 50th anniversary of Stravinsky’s death with a concert of three “symphonies”. In fact, the programme had little to say about Stravinsky’s relationship with symphonic form: his early E flat Symphony was omitted, and the Symphonies of Wind Instruments, the opening work, is not a symphony in any accepted sense. The programme was rather an opportunity to hear some of Stravinsky’s more obscure orchestral works.

A gem in Edinburgh International Festival’s classical music programming has always been the Queen’s Hall series. Hosting some of the finest chamber musicians on the international stage, that venue has seen countless incredible, more intimate performances over the years.

The Edinburgh International Festival has returned this year, with a programme of socially distanced events held almost completely outdoors.

I was looking forward to this Prom by the Manchester Collective, an exciting young group founded in 2016, which has quickly established a reputation for innovative presentation of contemporary repertoire.

There is much to love about the latest Voces8 Live from London online festival. It goes beyond having a purely choral line-up, embracing instrumental music for the first time, while maintaining its focus on vocal performances of the highest standard.

What does it mean to be Classical? It’s the question award-winning Icelandic pianist Víkingur Ólafsson has consistently asked in a career that has collided music from Bach to Debussy, presenting them as part of a single conversation and continuum. Here, in a striking BBC Proms debut, he continued to probe and challenge, with a little help from the Philharmonia Orchestra and Paavo Järvi.

We finished with a pure Hollywood moment when John Gilhooly – as Chair of the Royal Philharmonic Society – popped up after the warm applause to announce that the Society had awarded its gold medal to Vladimir Jurowski. Oddly, Covid rules meant that the actual handover took place backstage.

It’s nobody’s fault, but – try as they might – the BBC Proms can often feel rather middle-aged. Whether it’s the lumbering albatross of a building, the ushers in their dated, casino waistcoats or the tone of zealous jollity (Have fun! But silently and according to the rules!), it somehow all adds up to a lack of freshness, spontaneity. Thank goodness for Aurora Orchestra.

To excel at one massive Brahms piano concerto in a standard concert hall is cause enough for celebration. To master two over one evening in a very unorthodox space – namely, below the roof of Peckham’s former multi-storey car park – brings the performer close to recreative genius.