The weekend began with fantasy and fable. Vladimir Jurowski brought Russian singers to join the London Philharmonic for the first Proms performance of Rimsky-Korsakov's Kashchey the Immortal. This “autumnal fairy tale in one act” was given a concert performance, but the rain on the Albert Hall's great dome was the perfect stage manager for the blustery entries and exits of the Storm Knight (resonantly sung by Mikhail Petrenko).

Vyacheslav Voynarovsky, a flinty-voiced tenor, was a rotund and cackling ogre of a Kashchey, whose death lay only in the tears of his stony-hearted daughter, Kashcheyevna. Sung by the red-haired and crimson-voiced mezzo Elena Manistina, she was finally made to weep by the heart-piercing soprano of Tatiana Monogarova as the Princess. The Storm Knight blew open the castle gates, and off she and Prince Ivan Korolevich (the ardent baritone Pavel Baransky) rode into the sunset.

The LPO and BBC Singers rose to the drama and to a score whose subtleties and refinement Jurowski emphasised. In Stravinsky's The Firebird Jurowski focused compellingly on the frenzied detail of the score: a wonderful sense of the sheer physical mobility of sound shaped this performance of the fairy-tale ballet Rimsky-Korsakov had helped to inspire.

More orchestral choreography from the Royal Scottish National Orchestra. Since Stéphane Denève took over, Roussel has become one of their calling cards; and they performed the Suite No 2 from his ballet Bacchus et Ariane with a lithe body of strings and deliciously Gallic and bucolic woodwind. They also gave eloquent performances of Debussy's La mer and Thea Musgrave's almost Roussel-like Rainbow, framing a sensitive and highly-strung account of Rachmaninov's Second Piano Concerto by Stephen Hough.

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