There was a rainbow over the Royal Festival Hall as I crossed one of the Hungerford foot bridges for the first time in six months. The lights and noises inside did not betray the augury. Was it the sheer hallucinatory pleasure of being within the auditorium with a handful of other spectators watching and hearing a full orchestra after what felt like a lifetime?

Even bigger things have happened to Sheku Kanneh-Mason since I last saw him performing alongside his contemporaries in the Fantasia Orchestra – That Royal Wedding, for instance, and a Decca contract. Yet it looks like he will always have the wisdom to hurry slowly.

It may be only six and a half months since many of us saw a production of Beethoven’s Fidelio in the opera house, but that was another world, and this post-lockdown admittance to Garsington Opera’s spacious, award-winning pavilion with its impressive acoustic was always going to be something extraordinary.

An early hero of lockdown, livestreaming from his Berlin home in terrible sound at first, Igor Levit is a supreme example of how adaptable musicians can survive in times like these.

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. 

Blessed are the players and musical organisations who adapt and innovate, for they shall inhabit the post-lockdown landscape. And while we appreciate the difficulties any orchestra faces in terms of re-opening logistics and costs, livestreams have their limit.

The BBC Scottish Symphony Orchestra’s Prom was a sombre contribution to an otherwise upbeat season. The mood was reflective – looking back on lockdown. The concert was given at City Halls, Glasgow, where the privations of social distancing were also more keenly felt than in the Albert Hall.

So the bubble of reactionary brouhaha over the Last Night of the Proms quickly burst: there can be no argument about singing “Land of Hope and Glory” or “Rule, Britannia!” when they’re to be presented in their original Proms forms (Elgar’s Pomp and Circumstance March No.

Beethoven: Symphonies 1-9 Pittsburgh Symphony Orchestra/William Steinberg (DG)

The Fidelio Orchestra Café is where you go for electric-shock and deep immersion therapy from the greatest of musicians.