The consensus was that this was more likely due to the Olympics than the programme, featuring the BBC Philharmonic and Gianandrea Noseda, which began with the overture to Mozart's Don Giovanni. My familiarity with this work is passing at best; by word association it conjures memories as an undergraduate, when a friend turned up at my door to ask if I could fill in as an accompanist (the original being a no-show) for the auditions they were running for a performance of Don Giovanni. I agreed to do what I could, with my scraped Grade VI piano and allegedly fair sight-reading. My advice to would-be singers is this: bear in mind that the pianist may not be as technically accomplished as you are: you won't impress if the pianist can't keep up with a frightfully difficult G&S ditty. The one who turned up with the simple Libera me from Fauré's Requiem faired much better. Anyway, the overture seemed to go fine.
Apparently The Independent reviewer came along for Oliver Knussen's Symphony No. 2; but I think the rest of us wouldn't have minded had it been skipped. Gillian Keith clearly sang with feeling, and there were some moments that verged on a descent into tunefulness, but certainly in the opening movement one could have been forgiven for thinking the orchestra were still tuning up.
The main event, after the interval, was Mahler's Symphony No. 7. Although the programme notes state that it is Mahler's least performed and least understood symphony, I reckon it probably contains his best-known tune - and if you think you don't know it, try this. In fact, as I listened, it occurred to me that the symphony can be viewed very straightforwardly as a journey from the sixth to the eighth. The opening movement shares enough of its sound-world that it could be the aftermath of the sixth; the closing movement is exuberant enough to point to the eighth. In between, are three transitional central movements - the two Nachtmusik, the first menacing, the second calmer, separated by a central demonic scherzo - which Noseda conducted in a continuum. Unfortunately at the start of the finale, one of the Prommers in front was taken ill - fortunately the space allowed the stewards to help her out without too much distraction; I overheard afterwards, hopefully correctly, that it wasn't serious. Noseda is a passionate conductor, and this was evident throughout the performance, perspiration flying and the odd involuntary vocal addition. The tempo was on the slow side, but never too much so - just allowing him to draw out the maximum tension. This concludes my own personal Mahler cycle at the Proms, though I'm sure I will return for more.