At last, it seems, one venerable British institution will be emulating what Scandinavian and Czech set-ups have been managing over the past month: live performances from an audience-less venue, though in sound only. In quickly reorganised scheduling along with BBC Radio 3, the Wigmore Hall features a host of its top regular artists in June lunchtime concerts.

Six weeks ago, the Ernst von Siemens Music Foundation announced that it the winner of its prestigious and extremely valuable main annual prize for 2020 "to a composer, performer, or scholar who has made outstanding contributions to the world of music" will be the viola player Tabea Zimmermann. She commented to an interviewer that what mattered to her most was neither well-paid concert appearances nor playing in large halls, but rather to be involved in things that are interesting for what she called their "Inhalt".

"All true spiritual art has always been RADICAL art": thus spake the oracular Georges Lentz, composer of the pitch-black odyssey for electric guitar that took everyone by surprise last night. In that vein, why not add that all the greatest performers always push the boundaries, and that 28-year-old Sean Shibe, though included by the sponsors of this concert among "emerging talent", is already in their select company.

When Macedonian pianist Simon Trpčeski first bounced on to the concert scene, he seemed part will-o-the-wisp, part jack-in-the-box, a real personality of coruscating brilliance.

Startlingly high levels of expression and focused fire made this rich concert worthy of the dedicatee who radiated those qualities, Jacqueline du Pré.

Leif Ove Andsnes’s long-term partnership with the Mahler Chamber Orchestra has already yielded rich fruit, and the Mozart quartets and trio he performed last night with members of the top-notch nomad band proved just as succulent. However, I would hardly have been alone in leaving the Wigmore Hall with my strongest impressions stirred by the single solo work that the versatile Norwegian master-pianist allowed himself.

In a week when my colleague Jessica Duchen was delighted by the Kaleidoscope Chamber Collective, last night’s concert, also at Wigmore Hall, by Michael Collins and London Winds showed that chamber music with winds need not be the poor relation of that with strings. Rather the concerts make a persuasive case that wind instruments can be as engaging, virtuosic and poetic, and the repertoire – if less voluminous – as varied and versatile.

Nobody could deny that this was a weekend when we needed cheering up. The place for that was the Wigmore Hall, which played host to a recently formed “shape-shifting” ensemble of superb young soloists. The Kaleidoscope Chamber Collective was launched in 2017 by the violinist Elena Urioste and pianist Tom Poster (incidentally, they got married last summer).

Not even the unengaged or terminally weary could have dozed through this. Pianists have often commented how the Wigmore Steinway is too big for the hall, and most adjust accordingly. Not 27-year-old Italian Beatrice Rana, but not in the bad way of interpreters who simply bash (there was a young Ukrainian here recently who did just that).

Wigmore Hall audiences don’t usually roar. But when a star soprano who has already made her mark at the world’s major opera houses pays a visit, they do.