Nominally, this was a programme of three symphonies. The first, though, sounded like music re-cut and pasted from a very British film and the second was a suite, albeit impressively reworked, from an opera.

Two nights after the Scottish Chamber Orchestra had brought the first great E flat major symphony to the Proms – Mozart’s 39th – a serendipitous change of programme on Tuesday gave us the second: Haydn’s “Drumroll”. An equally serendipitous change of conductor saw Ben Gernon get the evening off to a deceptively simple start: no fancy-dan cadenza from the BBC Philharmonic’s timpanist, just enough of a flourish to get everyone’s attention as Haydn probably had in mind.

The Proms are back, even if they don’t yet feel remotely normal. With audiences timid about mass events, and about a third of the arena roped off to protect a TV camera mounted on something vaguely resembling a diplodocus, yesterday’s seemed less of a Prom than – well, a decent concert on a wet Monday night.

Did absence from Albert’s colosseum from early September 2019 until now and a roof-raising finale hoodwink many of us into thinking Dalia Stasevska’s interpretation of Sibelius’s Second Symphony among the greats? Having listened to it again on the BBC Radio 3 iPlayer this morning, I'm convinced not; this was the real deal.

The Royal Albert Hall – 150 years old this year and with a commemorative £5 coin to prove it – is a great  space for many kinds of spectacle but has done few favours for ballet. I make an exception for Derek Deane’s in-the-round Swan Lake, if only on the grounds of its having been seen by 750,000 people many of whom might never have set foot in an actual theatre.

The Aurora Orchestra’s trademark expertise in playing symphonies from memory arguably reached new heights this week as they tackled Beethoven’s Seventh, first in performances with a live audience and then, yesterday, in an empty Royal Albert Hall for what’s left of the Proms. 

Unlike the other two Proms I’ve reviewed this season, last night’s by the Philharmonia did not have any bells and whistles when it came to the staging, nor did it explore the edges of the repertoire.

In what would have been the year her father, the legendary sitar player Ravi Shankar turned 100, sitarist and composer Anoushka Shankar pays tribute to him and builds on his legacy in this online Prom. The pre-recorded first half saw Shankar collaborate with electronic producer, composer and performer Gold Panda for a half hour long continuous piece, Variations.

In a year of absences and separations, here was another one we had to bear. Built around a programme of Baroque double concertos, last night’s Prom should have brought Nicola Benedetti and Alina Ibragimova together in a violin super-duo that promised marvels.

In reviewing Sunday night’s LSO Prom I was impressed by the innovative and exciting programming and that was also a hallmark of Tuesday’s Prom, although this was more true to form for the London Sinfonietta.