Critics (including this one) casually refer to John Wilson’s Sinfonia of London as an all-star outfit, an army made up of generals. This week I was able to see, and hear, exactly what that means. A few days ago, in Scotland, I marvelled at flautist Adam Walker’s agility and versatility in his outstanding performances with the Kaleidoscope Chamber Collective at the Lammermuir Festival.

My final visit to the Proms for this year was a Sunday double-header of the RPO playing Respighi, Milhaud and Vaughan Williams at 11am and an evening concert of the BBC Symphony Orchestra and massed choirs in Gipps, Grieg and Bliss.

Every year, the Royal Albert Hall proves complicit in the magic of the quietest utterances if, as Barenboim put it, you let the audience come to you and don’t try too hard. Pekka Kuusisto is the ultimate communicator, the ideal guide for the Norwegian Chamber Orchestra. Stitching "classical" string music with numbers from a Sámi singer, Katarina Barruk, though, didn’t quite come off.

Many Londoners would already have experienced the musicality incarnate of Peter Whelan and his Irish Baroque Orchestra. A smaller ensemble rocked two of Irish National Opera’s Vivaldi specials in the Linbury Theatre – one a major award winner – and the best Messiah I’ve ever heard in the Wigmore Hall. Their first Prom was pure celebration, and how they filled the Royal Albert Hall, both collectively and solo-wise, in the revised Dublin version of Alexander’s Feast.

One door closes, and another one opens. A lot. It’s extraordinary what value those two simple additions to the Royal Albert Hall stage lent to Glyndebourne’s performance of The Marriage of Figaro at the Proms.

Does the orchestra that sways together play together? Quite apart from their (reliably gorgeous) sound, the tight-packed strings of the Gewandhausorchester Leipzig made quite a sight at the Proms as they collectively surged through key passages of Dvořák and Sibelius as if staging a succession of seated Mexican waves. 

How often is an orchestral concert perfect in every texture, every instrumental entry, every phrase? Wednesday's Phiharmonia Prom struck sound-spectrum gold, but its chief conductor, Santtu Matias Rouvali, could do with more humanity. My colleague Rachel Halliburton found his fellow Finn Klaus Mäkelä challenging in Mahler’s Fifth on Saturday night, but on Sunday afternoon neither he nor his fellow musicians put a foot wrong; indeed, feet hardly seemed to touch the ground.

Klaus Mäkelä teased out all the fragility and the sense of impending mortality in Mahler’s Fifth Symphony, revealing a vision that was as intricate as it was quietly luminous. Famously Mahler almost died from an intestinal haemorrhage in the year that he started composing the work, and the Royal Concertgebouw Orchestra’s sensitive, nuanced performance conveyed his heightened awareness of a world that could suddenly disappear without warning.

Pianist Bruce Liu wasn’t the only star soloist last night, though he certainly had the most notes to play. Attention was riveted by at least five Philharmonia members and their maverick principal conductor Santtu-Matias Rouvali as percussionist in a joyful Prom.

At first, I had my doubts about Puccini’s Suor Angelica in this concert performance at the Proms with Sir Antonio Pappano and his London Symphony Orchestra.