Hugh Masekela used to give advice for concerts like this one: “If you haven’t got tickets, turn yourself into a cockroach.” Every seat for Aurora Orchestra’s Beethoven’s Ninth by Heart Prom had already sold out on the first morning when season booking opened back in May, and the queue for returns at the Royal Albert Hall last night must have had well over a hundred people in it.

Bach’s St John Passion came into the world just three centuries ago, in Leipzig at Easter 1724. This year’s Proms shower of manna from musical heaven continued with a consummately polished, sensitive and – ultimately – very moving birthday performance by Masaaki Suzuki and his Bach Collegium Japan.

This year’s Proms programme initially gave rise to some now-customary sneers about predictability, banality and dumbing down. Well, it all depends on where you sit, and what you hear. And my seats have witnessed one absolute humdinger after another. Last night, Sir Antonio Pappano and his London Symphony Orchestra and Chorus partnered with three exceptional soloists to deliver Benjamin Britten’s War Requiem with a commitment, intensity and, above all, ferocious attention to detail that made it an occasion to remember, and to celebrate. 

People hold lots of different opinions about the European Union, but there’s really only one acceptable opinion to be held about the European Union Youth Orchestra; namely, that they’re brilliant. Their visit to the Edinburgh International Festival consisted of two hour-long concerts, but the hundred musicians, aged 18-26, hailing from 27 countries, crammed more artistry and brilliance into those two concerts than some orchestras manage in a season.

My three Proms so far this year have all featured regional BBC orchestras conducted by women, all excellent, and it surely reflects well on the Proms management that they have done so much to address this gender imbalance in recent years. In last night’s Prom 36 the BBC Scottish Symphony Orchestra were led by the New Zealander Gemma New, who navigated a programme of Mozart, Mendelssohn and Bonis with élan, good humour and a gorgeous black frock coat.

When you stop to think about it, Schwanengesang is a pretty ridiculous thing. Schubert’s final song cycle was famously put together by his publishers after his death, and so it’s barely a cycle at all. Therefore, unlike Die schöne Müllerin and Winterreise, there’s no story and, even worse, the lurches in mood between the songs are so extreme that they can become absurd.

This Prom by the BBC National Orchestra of Wales and Nil Venditti featured a first half of Welsh composers, including the belated Proms debut of Karl Jenkins at the age of 80. It’s a sign of how Proms programming has evolved over the last 30 years that either of them gets a look-in and, even if I had some mixed feelings about their pieces, it can only be a good thing that they are now being heard in this festival.

Founded by Daniel Barenboim and Edward Said, the West-Eastern Divan Orchestra first performed at the Proms – to a rapturous welcome – in 2003. For two decades the visits, and the audience rapture, have continued, while the region of most WEDO players’ birth now looks, this hideous year above all, more steeped in blood and hate than ever. 

^When you’re running a three-concert residency, you can afford to take a few repertoire risks, to programme a few things that might be close to your heart but which won’t pack in the punters.

Let’s begin at the end. Can the Paris Olympics' closing ceremony offer anything as classy or joyous as 260 musicians aged 13 to 18 singing the French carol-plus-farandole finale of Bizet’s L'Arlésienne music?* This encore also made Proms history as a unique riposte to the Simón Bolivar Youth Orchestra’s instrument-twirling Bernstein “Mambo”. And what a sequel to a Mahler One brimming with energy, masterfully negotiated by conductor Alexandre Bloch.