
Strategic messaging dominates Proms Week 1 but what happens to critique when the mood music is set from the top?

Randall Goosby’s poised, expressive playing with the Orchestre National de France’s refined, responsive sound made this varied programme unexpectedly rewarding.

A Scottish Chamber Orchestra Prom of Rameau, Saint-Saëns and Beethoven revealed an emerging broadcast-led strategy in this year’s season: programming designed to be safe rather than startling. But Maxim Emelyanychev’s gritty, defiant Beethoven 5 proved a reminder of why this work is not just enjoyed, but needed.

Your guide to people on screen and on-air at the BBC Proms 2025

Berlioz’s Symphonie fantastique as the original fever dream: a wild, orchestrated spiral into obsession, intoxication, and gothic fantasy. Before that, an opportunity to bear witness in the world premiere of Mark Simpson’s ZEBRA written for Sean Shibe.

A sprawling, sometimes unsettling, ecstatic sound-world that asks only for your attention — and gives everything in return. Not for decoding. Unless, of course, you want to.

A compelling Proms debut from pianist Nicholas McCarthy in a performance of Ravel’s Piano Concerto for the Left Hand, marked by glassy lyricism and a revealing, if occasionally cautious, orchestral mix.

Review and reflections from the first night of the BBC Proms, with original photography, streaming links, and Thoroughly Good introductions.

Memorable tunes, big sounds, and electric experiences guaranteed to touch the soul of even the most skeptical of Proms virgins.

Memorable tunes, big sounds, and electric experiences guaranteed to touch the soul of even the most skeptical of Proms virgins.