Mahler’s Fifth Symphony is a repertoire piece nowadays, probably as familiar to as many listeners as to orchestral players, which means you look for something distinctive in any performance to identify its essential quality against all the others.

Changes from the artists originally advertised can bring some happy discoveries. Sir Mark Elder, though present in the audience to hear last night’s Hallé performance at the Bridgewater Hall, was still recovering from surgery and so did not conduct it, as he’d planned to when the season was announced. Instead, the Hallé Youth Orchestra’s music director (and noted choral director) Ellie Slorach took the baton for the first work in the programme – Weinberg’s Rhapsody on Moldavian Themes.

Second performances are even more valuable than premieres, composers say, when it comes to launching a piece into the world. Spare a thought, then, for Jan Ladislav Dussek, who has had to wait over two centuries for this prize to be awarded to his Mass in G – really, a Missa solemnis – of a scale to rival Beethoven’s example.

Any festival would be proud and honoured to end with the great Elisabeth Leonskaja playing the last three Beethoven piano sonatas. Here the Everest was swiftly scaled as the tenth concert of a packed Wigmore Hall weekend.

Newly arrived from a much-lauded stint at the Sherman Theatre, Cardiff, Rachel O'Riordan has undertaken to make "work of scale by women" during her time as artistic director of the Lyric. What better place to start than with Ibsen's once-shocking heroine, her story reimagined by prolific playwright Tanika Gupta?

Albertopolis! The Royal Albert Hall, the Albert Memorial and countless Albert Squares, Roads and Streets all commemorate Britain’s uncrowned king. In this mesmerising biography, novelist and historian A. N. Wilson’s admiration and affection for Prince Albert – who spent 22 years as Victoria’s husband – make for an irresistible and informative read.

It may sound perverse to say it, but Albert was the perfect twenty-first century prince. Thrust into the heart of the British monarchy he was simultaneously an oppressed outsider who – despite his reputation as the most handsome prince in Europe (not least when wearing white cashmere pantaloons) – struggled to make his voice and intelligence heard.  

Once more, gondolieri! Gilbert and Sullivan's The Gondoliers leaps into life to the sound of a saltarello: a blaze of Mediterranean sunshine and good natured exuberance that sweeps you some 20 minutes into Act One on the same unbroken surge of sparkling dance and ensemble song. To say that there’s nothing quite like it in all of G&S is to ignore the fact that there’s nothing quite like it in all of 19th century European operetta.

So many second-rate Italian operas with good bits have been served up by Opera Holland Park and glitzier UK companies; despite best intentions and fine execution, none of the works by Mascagni, Zandonai, Alfano, Leoni, Ponchielli or Giordano has really flown. There are, at least, three composers close to grownups Verdi and Puccini: Leoncavallo, Wolf-Ferrari and Cilea, whose Adriana Lecouvreur now seems to have found its rightful place in the mainstream repertoire.

Like Hamlet and both parts of Goethe's Faust, with which it shares the highest peak of poetic drama, Ibsen's Peer Gynt is very long, timeless enough to resonate in a contemporary setting and sufficiently ambiguous in its mythic treatment of the