"What is it about Mozart?" asked Sviatoslav Richter in 1982. "Is there a pianist alive who really manages to play him well?...Haydn is infinitely less difficult to play (he's almost easy, in fact).

Assuming the world holds together that long, there will be something we can rely on annually all the way to 2041, the 250th anniversary of Mozart's death: among the celebrations each year, a Wigmore Hall concert like this one, placing Amadeus among the other composers of his time, great and small(er).

Switch off for a phrase or two and it’s easy to miss the point in a Haydn symphony that makes each one of them odd and unique. In No. 74, played last night with understated class by the English Chamber Orchestra, that point occurs in the first movement, at the end of the second theme. All has gone just as you’d expect.

No great innovations in this Seraglio – as ETO are styling Mozart’s early Singspiel (its full title in translation is The Abduction from the Seraglio – but a traditional staging that makes the most of all the work’s characters and quirks.

Manchester Camerata’s series of in-concert recordings featuring Mozart piano concertos with Jean-Efflam Bavouzet is well under way now, and this programme, like others before it, included a couple of his opera overtures too. Why so?

Kasper Holten left a mixed bag of productions behind at Royal Opera when he left in 2017, but the best of them - though not all my colleagues on The Arts Desk have agreed - is this Don Giovanni, now back for its latest revival.

Described as a "performer-led re-devising’"of Mozart’s 1787 opera Don Giovanni - a tale of an arrogant and ruthless lothario who seduced countess women - Don Jo certainly played around with many of the norms we encounter in both sexual relationships and in the operatic genre.

Can we go back to an older Glyndebourne-at-the-Proms vintage, where the chosen production was merely sketched out with variations suited to the venue, and performed in whatever evening dress might be appropriate?

Not every Prom has to push musical boundaries or bust concert conventions. On the face of it, last night’s programme from the BBC National Orchestra of Wales (and National Chorus of Wales) stuck to a thoroughly traditional recipe. Two familiar 19th-century orchestral warhorses cantered out for the first half, followed by a beloved choral blockbuster delivered by massive forces who engendered a big, hearty, hall-filling – dare I say Victorian? – sound.

Die Zauberflöte rarely attracts the plain cooks of the operatic world. Mozart’s farewell opera chucks so many highly-spiced ingredients into its outlandish pot – pantomime and parable, burlesque and ritual – that many productions opt for one show-off recipe that promises to unify all its flavours into a single, spectacular dish.