“I am not better than my fathers.” Cracked, pained, occasionally rasping, rising to a fearsome roar then subsiding to a throaty whisper, Sir Bryn Terfel’s still-formidable bass-baritone made the great vault of Wren’s Sheldonian Theatre in Oxford shrink to a shoebox.

Kahchun Wong’s final concert of 2024 in the Hallé Manchester season was something of a surprise. At first sight, the sparkle in the programme seemed likely to come from James MacMillan’s Veni, Veni, Emmanuel – his percussion concerto, with the star name of Colin Currie as soloist – and from Malcolm Arnold’s Four Scottish Dances (especially the third of them) to precede it.

There were points when this concert felt like the musical equivalent of watching the atom split – as well as notes there were animal shrieks, sinister rattles, sibilant serpentine sussurations, and primal throaty rumbles. Indian-American composer Shruthi Rajasekar, South African cellist and composer Abel Selaocoe (pictured below), and the never less than subversive Hermes Experiment unveiled a fascinating laboratory of noise in a lunchtime session that was as exhilarating as it was enjoyably unexpected.

From a privileged position in the Festival Hall stalls, I could see 97-year old Herbert Blomstedt’s near-immobile back as he sat on a piano stool with the score in front of him, but also his supremely expressive right arm and hand, every finger brought into play, the left hand occasionally visible to me as he raised it at moments of high emotion. The Philharmonia simply burned for him, every phrase and dynamic brought into focus to heighten an already assured vision.

When the Venezuelan Rafael Payare was appointed as conductor of the Orchestre Symphonique de Montréal (OSM) two years ago, his first action was to blast his way through a French Berlitz course. A graduate of the El Sistema music-teaching project – where he had made his mark in the Simón Bolívar Orchestra as a horn player – one of his key challenges was to master from scratch the language in which this staunchly Francophone orchestra conducts its rehearsals.

For 30 years, La Serenissima have re-mapped the landscape of the Italian Baroque repertoire so that its towering figures, notably Vivaldi, no longer look like isolated peaks but integrated parts of a spectacular range. The ensemble founded by violinist Adrian Chandler delves deep into the archives to recover neglected music not just as a nerdish passion (though there’s nowt wrong with that) but the basis for practical performing editions that restore these lost sounds to life.

Is this the same Roman Rabinovich who drew harp-like delicacy from one of Chopin’s Pleyel pianos, and seeming authenticity from a 1790s grand which may have belonged to Haydn, both in the Cobbe Collection at Hatchlands, Surrey? He clearly cares about the possibilities of any instrument on which he plays, so the natural consequence is maximum sonority on a modern Steinway. Too cultured to deafen, as Beatrice Rana did in this small space, he still compels you to listen to every note.

Carmina Burana isn’t a masterpiece: it’s primarily a bit of fun; fun to listen to, fun to play, really fun to sing.

Few and far between are the performances where it ever manages to be much more than that, though this RSNO concert came close, mainly thanks to the conducting of Marzena Diakun, making her debut with the orchestra. The faster, louder sections were kept on an admirably tight leash so that the opening two "Fortuna" choruses really crackled, and the rumbustious choruses in the tavern were a hoot, the percussion giving it what can only be described as “welly.”

Anna Clyne’s This Moment had its UK premiere at Saturday’s BBC Philharmonic concert. She’s the orchestra’s composer in association, and this seven-minute piece was first played by the Philadelphia Orchestra last year.

Victims of their own success in the postwar era of well-recorded sound, the Brandenburg Concertos first arrived in the ears of listeners from my generation via glossy, plush and polished recordings by heavyweight orchestras of a sort that would have baffled Bach. Four decades ago, period-conscious bands began to strip the gloopy varnish off and let the strange, bold paintwork beneath shine.