How does Mozart do it? His music can provoke deep emotions even in the unlikeliest operatic situations, if well done, and present circumstances stirred them up all the more on Sunday afternoon. Those flirtatious ladies flouncing around the prone prince in the first musical number of The Magic Flute – no overture here – only had to sing “although it breaks my heart in two/I have to bid farewell to you/until we meet again" for another tearful turn of the screw.

Whatever happens next – and even in Tier 3 the Royal Liverpool Phlharmonic goes on playing to carefully distanced audiences – this will be remembered by all participants as a day of dazzling brilliance, its bright autumn light matched by so much of the music in a morning service and four concerts ending nine hours later.

Wonderful as the livestreamed Proms are for players working together again and for viewers/listeners who wouldn’t be able to get to the Royal Albert Hall even if they could be admitted, I’d sacrifice them all for one evening of live musical communication like this.

Horn player Sarah Willis joined the Berlin Philharmonic in 2001. She juggles her position with spells of teaching, interviewing soloists and conductors for the Berlin Philharmonic's Digital Concert Hall and hosting an online series of Horn Hangouts, interviews with musicians streamed live on her website and archived on YouTube.

Of course, we just had to end with a midsummer Winterreise. The Wigmore Hall’s month of lockdown concerts for BBC Radio 3 had begun with a legendary elegy – the Chaconne from Bach’s D minor Partita, written according to musical folklore in memory of his first wife, with which Stephen Hough so gravely, beautifully, broke the pandemic silence on 1 June.

Franck: Psyché, Le Chasseur maudit, Les Éolides RCS Voices, Royal Scottish National Orchestra/Jean-Luc Tingaud (Naxos)

Franck by Franck: Symphony in D Minor, Ce qu’on entend sur la montagne Orchestre Philharmonique de Radio France/Mikko Franck (Alpha Classics)

"Touch her and you die," sings Masetto in telling Don Giovanni to keep away from his Zerlina. There's certainly trouble, though not instant death, when fingers briefly meet. Mozart's dark comedy has much in Da Ponte's text about hands-on business but only a few points where it's actually seen; love and sex don't really happen, though there are two skirmishes, one fatal.

Only the birds will be singing at country opera houses around the UK this summer. Glyndebourne seems over-optimistic in declaring that it might be able to launch in July; other companies with shorter seasons have made the regretful but right decisions to call it a year.

So Susanna and Figaro got married on Saturday, just before the entire Almaviva household and its home, the London Coliseum, went into quarantine.

Christopher Gunning: Symphonies 2, 10 & 12 BBC National Orchestra of Wales/Kenneth Woods (Signum)