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.

For many years, first as a punter then latterly as a reviewer, I have sat in the section of the Royal Albert Hall stalls near stage right, under the BBC Radio broadcast box, knowing that that is where they sit the composers being premiered at the Proms. This means, among other things, that you have to be discreet in voicing opinions about new pieces, and to avoid staring too pointedly.

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.

This delectable Prom hid behind the title "To Soothe the Aching Heart" the failsafe concept of a programme of the world’s favourite opera extracts, plus some. Take six British opera stars – three sopranos, two tenors and a mezzo – and assign them the business of comforting us all.

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.

In this most atypical Proms season this was actually an archetypal Proms programme: a world premiere: a neglected masterpiece and a good solid 19^th-century symphony for those put off a bit by the first two. But this American-themed programme never felt run of the mill. There was a palpable energy in the hall, for both audience and orchestra, to be in the same space again.

In a normal year, the National Youth Orchestra of Great Britain descends mob-handed on the Royal Albert Hall for a Prom that complements the sheer quality of the young musicians’ work with joyful, raucous, roof-raising quantity. I recall a Turangalîla symphony in the other Olympic season of 2012 that rocked all Kensington with its heaven-storming, gold-medal exuberance. This summer, with caution still the proper watchword, the NYO has built its admirable “Hope Exchange” programme into a series of steps into the musical future.