Everyone’s doing Weinberg now, or so it seems. The Polish-born composer who became a close friend of Shostakovich was born 100 years ago, and there’s plenty of his music to go round.

Floating Islands: Guitar music by Axel Borup-Jørgensen Frederik Munk Larsen (guitar) (OUR Recordings)

Semyon Bychkov was a surprising choice to take over the Czech Philharmonic last year, a conductor with few obvious connections to Czech music. But on the strength of this visit to the Proms, they make a good team. Bychkov communicates fluently with the players, conveying power and passion, and detail too, but without any overt theatrics at the podium.

Returning to Edinburgh International Festival, Berlin's Komische Oper brought Barrie Kosky’s sumptuous production of Eugene Onegin to the Edinburgh Festival Theatre. It’s a production that isn’t trying to do anything overly clever or convey a layered meaning; it’s simple in its grandeur in that it looks beautiful, sounds beautiful, and is faithful to Tchaikovsky’s music and Pushkin’s story.

Little has changed about Pärnu, with its concentric rings of eight-mile sandy beach and dunes, wooded gardens and wooden old town, in the five years I've been going there. It came as a bit of a shock to find that voters in the region favoured the far right, which now has an unwelcome white-supremacist father and son in an otherwise progressive parliament; but the town in July is full of Tallinn folk heading south to Estonia's "summer capital".

Perhaps those who came for the Argerich touch and left at the interval of this instant-sellout Prom were satisfied. After all, the legendary Argentinian pianist gave us some vintage minutes of her silk-spinning mercurialism.

This concert from the BBC Symphony Orchestra marked the first performance of composer Mieczysław Weinberg at the Proms, an important milestone in the recent surge of interest of his music. When Weinberg, a Russian composer of Jewish descent and Polish birth, died in 1996, he was little known in the West, and had fallen from favour in a post-Communist Russia that associated his music with its Soviet past.

Ben Gernon is only 30 (and looks about ten years younger) but has been Principal Guest Conductor of the BBC Philharmonic since 2017. He really impressed in last night’s Prom but, after an exciting overture, things fell away a bit with an under-nourished Rachmaninov concerto and an enjoyable if not faultless second half of Tchaikovsky.

Secrets, and the voluptuous, sensory pleasures they conceal, may unite Wolf-Ferrari’s Il segreto di Susanna and Tchaikovsky’s Iolanta, but far more divides two works that make awkward bedfellows in Opera Holland Park’s latest double-bill.

It’s the saddest music in the world: the quiet heartbeat and falling melody with which Tchaikovsky opens his opera Eugene Onegin. Imagine a whole society, a whole lifetime of solitude, longing and disillusion, evoked in a single bass note and a few bars of tearstained violin. And then imagine it sustained over three acts. Is there another 19th century opera score that matches music to drama so simply, and yet so unerringly?