When producing Cinderella, the main question is: sweet or sour?  That Prokofiev score is splendid, but it's no walk in a candy shop; in Act I the stepsisters have passages so scraping, spiky and dissonant that sugar-coating would seem to be out of the question. On the other hand, there's a Nutcracker-like family audience at the ready for pretty productions which skim lightly over the whole neglect and cruelty thing – but that leaves you with a story so bland that even Disney had to invent singing mice to perk it up.

Prokofiev milestones stood proudly at the ends of the New Year’s first three major UK concert programmes.

The National Youth Orchestra of Great Britain’s standard of playing is consistently impressive, so much so that it’s easy to forget that the ensemble is effectively reconstituted from scratch each autumn. Last night’s fresh incarnation, deftly conducted by Nicholas Collon, sounded as if they’d been playing together for decades, though without any sense of complacency which that might bring. When you’ve 163 teenagers squeezed onto a stage, the worry is that the details will get lost in a blurry soup of sound. But no; this account of Prokofiev’s Fifth Symphony was immaculate.

Roger Doyle: Time Machine (Heresy Records)

Why play a very substantial act of ballet music in concert? In the case of Aurora’s wedding entertainment from Tchaikovsky’s The Sleeping Beauty, there are at least three good reasons. It embraces the most inventive and unorthodox of divertissements in any ballet – the one in The Nutcracker comes a close second – and a symphony orchestra deserves the chance to perform at least a substantial chunk of what Stravinsky called Tchaikovsky’s chef d’oeuvre.

Prokofiev: Symphonies 4 (Op.47) & 5, Dreams Bournemouth Symphony Orchestra/Kiril Karabits (Onyx)

Gergiev’s programme for this concert raised eyebrows when the Proms were announced: all five Prokofiev piano concertos, presented in chronological order, over the course of a long evening. As it turned out, he had some good reasons for his plan. The three Russian pianists he lined up – Daniil Trifonov (Concertos 1 and 3), Sergei Babayan (2 and 5), and Alexei Volodin (4) – had between them the talent to carry any programme.

Christopher Wheeldon is the purveyor of pretty. You can perfectly well see why San Francisco Ballet, who commissioned a new full-length work from Wheeldon in 2012, got cold feet at the prospect of tackling the difficult, Britten-scored Prince of the Pagodas, and steered Wheeldon instead towards Cinderella, with its ready-made audience of little girls in blue sparkly dresses and splendid Prokofiev score.

Hans Gál: Symphonies 1-4 Orchestra of the Swan/Kenneth Woods (Avie)

It was as a violin soloist with the Scottish Chamber Orchestra that Joseph Swensen first appeared, in the mid-1980s, on the Scottish musical scene. He went on to become the orchestra’s principal conductor – a long and fruitful collaboration that lasted from 1996 to 2005.