Elgar – with my father

I loved kicking off my summer holiday with Elgar’s Symphony No 2 (Prom 10) in the company of my dad at the Royal Albert Hall. A brilliant performance, in the capable hands of Ryan Wigglesworth. Not sure what gave me more pleasure: listening to Elgar’s brilliantly complex symphony or watching my father’s giddiness as he lost himself in the work of a man I think he might possibly love more than me. Philip Yorke, London

‘It left us in awe’

The Aurora Orchestra’s performance of Beethoven 9 (Prom 42) was so uplifting – a real ode to joy that had the audience almost skipping back to the tube, but the highlight was the Paraorchestra’s performance of Mozart’s 40th symphony, in Bristol. An experience I will never forget that left the audience in awe. If that, as the conductor suggested, is the future of classical music then the future is very bright indeed. Peter Runting, Kent

‘Lost in the sound’

Britten’s War Requiem (Prom 37). Antonio Pappano’s conducting was mesmeric, the sound he created was evocative. He managed to hold off the premature cheer at the end; bowing his head, lost in the sound, exhausted. Thrilling and important. Anne Reyersbach, London

‘Brilliant’

John Wilson with the Sinfonia of London (Prom 21). A brilliant orchestra; I loved Rhapsody in Blue with Steven Osborne. Diane Roby, Norwich

‘I was blown away!’

The Hallé’s orchestra’s performance of Mahler 5 (Prom 4, watched/listened via iPlayer and Radio 3). I have followed this great orchestra since 1955 and try to visit Manchester as and when I am able. I attended the same concert in Manchester in June. I was blown away! Peter Martin Copping, Bury St Edmunds

‘Vivid and exciting’

Beethoven’s Ninth Symphony performed by the Aurora Orchestra (Prom 42). The most moving, vivid and exciting performance of this piece I’ve ever seen. John Boden, Pickering, North Yorkshire

‘The power to overcome intolerance’

The West-Eastern Divan Orchestra (Prom 31) live in the hall (in a seat behind the second violins). The quality of the playing showed that, even after all the hurdles placed in front of its very existence, the players and their music had the power to overcome intolerance. And it was the chance to say a possible farewell to its co-founder, Barenboim. Nicolas, London/Amsterdam

‘Profoundly moving’

The Proms have been a real treat this year (listening on Radio 3). Highlights for me have been a delightful, exuberant Mahler 1 by the National Youth Orchestra (Prom 30), the profoundly moving orchestral celebration of Nick Drake’s music (Prom 8) and Tinariwen performing Tuareg-inspired jazz and blues (Prom 51). Perfect enveloping late-evening listening. Nick, Cornwall

I enjoyed all the Proms I went to – six this year including Bruckner 5 with Kirill Petrenko/Berlin PO and Mahler 6 with Bavarian RSO/Rattle. But the most striking thing for me were the audiences – intent concentration and a real feeling of a community of listeners being moved by these (and other) great works. Londoners don’t really do ‘spiritual’ but it felt like some of these communal events came close. By the way, the BBC TV coverage was woeful – too many breathless presenters telling you how wonderful a piece of music was going to be and then telling you afterwards how marvellous it was. And no subtitles for vocal works! What does that do for accessibility? Simon Rew, London

‘The violin just sang’

I took my 16-year-old son to see Yo-Yo Ma (Prom 54) for his birthday treat. He plays cello and piano and loves classical music in particular. The music was exquisite with an encore from Schindler’s List, where the violin just sang. He will always remember it. Johanna Smith, Salisbury

‘A packed-out RAH was rapt’

The Czech Philharmonic performing Suk’s Asrael Symphony (Prom 49). This late romantic Czech masterpiece is an uncompromising journey through personal grief to ultimate acceptance, and it has an authenticity about it that is profoundly moving. The Czech Philharmonic played with passion and total commitment to a packed-out Royal Albert Hall that was absolutely rapt. This is what the Proms does best: superb performances of unfamiliar or new music played to sympathetic, inclusive and concentrating audiences. There is nothing else like it in the world. John Pickard, Bristol

‘Something we’ll never forget’

I took my children (21 and 23) to two Proms with their partners. I wanted to introduce them to music that is a little different to their usual listening choices. Our highlight was Prom 64, the Jason Max Ferdinand singers, who were new to us all. Their range of music was huge, from classical to spirituals and jazz; all were absolutely spellbinding and you could hear a pin drop in the auditorium. Errol Garner’s Misty was my personal favourite; mellow, soulful and eye-wateringly perfect. A very special performance by some very special musicians. It was the topic of conversation all weekend and something we’ll never forget. Katherine, Norfolk

‘Russell T Davies posed for selfies’

My highlight was the Doctor Who Prom (48). My sister sings with the London Philharmonic Choir, our mum and I went along to primarily support her, but ended up being absolutely blown away by the concert! The music was superb, but what made this performance particularly memorable was three things: spotting Anna Lapwood at the organ – instantly recognisable with her blond plait and sparkly jacket, second, sharing a box with a lovely young man who was attending for his birthday with his dad. Dressed in a wonderful tweed suit and bow tie, and waving a sonic screwdriver, and like a true Whovian naming every monster spotted. Last, Russell T Davies was in the audience, and met fans, signed autographs, and posed for selfies. Oh, and my singing sister? Well, her name is Sarah … after Sarah Jane Smith, of course! Anna Walker, Pershore, Worcestershire

‘The hall seemed to transform into a cosmic space’

Heiner Goebbles ‘Songs of Wars I have seen’ (Prom 28). In this late night concert, the Albert Hall seemed to transform into an intimate but almost cosmic space. The words of Gertrude Stein were spoken by female members of the OAE, while playing an extraordinary mash-up of Baroque music and Goebbles’s music. The words (playful, humorous and melancholy) served as a powerful narrative of lives lived and lost in the shadow of war. As the chorus faded away, we listened to a mournful trumpet solo cushioned by the sound of the entire orchestra playing Tibetan bowls. A shattering warning. Tom Eckersley, London

‘Outstanding’

The Late-night Prom with countertenor Jakub Józef Orliński (Prom 7) was outstanding. The programme was an inspired collection with both big names such as Monteverdi and an exploration of some of the wealth of lesser-known artists from the Italian baroque. All this and Barbara Strozzi, too! I listened on BBC Sounds; it’s a great pity that this wasn’t included in the few performances that were televised, since going by the announcer’s commentary there was a significant visual aspect.
Charles King, Manchester

‘What the Proms does best’

Britten’s War Requiem (Prom 37) is what the Proms does best – actually uses the space in the Royal Albert Hall to its best effect, with the children’s choir in the gallery and the soprano with the choir. The orchestra and all soloists were superb – Alan Clayton the pick for me – and Pappano put together a performance of such intensity it stayed with me for days afterwards. I was lucky enough to get a stalls return and it was worth every penny. Lucy, London

‘A mesmeric performance’

Benjamin Grosvenor’s mesmeric performance of Busoni’s wonderfully bonkers piano concerto (Prom 23), experienced in person from the choir seats – an excellent vantage point to see the conductor and pianist. Grosvenor’s mastery of this challenging piece was simply astonishing, and the rapport between him and the LPO led by Edward Gardner was clearly evident throughout. John Thompson, East Molesey, Surrey

‘Worth both the wait and the trip’

We both had loved the Janacek Glagolitic Mass (Prom 50) for many years and always wanted to hear it live (the one time the Philly Orchestra programmed the work, it clashed with a planned vacation). We had also long wished to attend the Proms – especially after having to cancel in 2022 because of a Covid spike. Being able to finally see it – with the Czech Philharmonic no less – was worth both the wait and the trip. Isaac and Laura Segal, Cherry Hill, NY, US

‘Unforgettable’

Kirill Petrenko and the Berlin Philharmonic Orchestra playing Bruckner’s Symphony No 5 (Prom 56). Superlative playing and conducting, hearing the BPO live in the generous acoustic of the RAH is unforgettable. The depth and detail of the orchestral sound is exceptionally fine, and Petrenko’s interpretation revealed the progression from exploratory discontinuity of the opening movements to the glorious synthesis of the finale. Craig Ayrey, London

‘I miss it already’

It’s been a summer of multiple highlights, bookended with Jules Buckley’s tribute to Nick Drake and a glorious Shostakovich 5. In between, I said goodbye to the great Daniel Barenboim, thrilled to John Wilson’s interpretation of John Adams’s Harmonielehre, was amazed by the Aurora Orchestra’s feats of memory and was inspired by Eric Whitacre. Notable premieres included Anu Komsi treating us to Lara Poe, and Steve Reich’s elevating(!) Jacob’s Ladder on the night we remembered Sir Andrew Davis. I could go on. A truly enjoyable and memorable season. I miss it already. Ann Hughes, London

‘We’ll be back!’

My wife and I were in London in August, the main purpose of our stay were the concerts of Jakub Hrusa and the Czech Philharmonic at the Proms – unforgettable Suk’s Asraël (Prom 49), and the day after an impressive Glagolitic Mass (Prom 50) with an exceptional choir. We love the atmosphere of the Proms, we’ll be back! Denis Urval, Paris, France

And some anonymous responses…

Garsington Opera’s semi-staging of Britten’s Midsummer Night’s Dream (Prom 68). Fantastic production, witty but not ludicrous, wonderful singing, brilliant orchestra. One of my most memorable concert experiences.

I was absolutely captivated by the late night prom featuring the newly commissioned piece Eternity by Eric Whitacre (Prom 60) – the whole thing showed how brilliant contemporary music can be: Blake’s words on eternity illuminated by the ethereal voices of the singers, woven together with instruments old and new. Deeply moving, contemplative and uplifting.

Sinfonia of London (Prom 21). They represent the best of what British orchestras achieve, a stunning mix of verve, control and authenticity in performance.