The full line-up of concerts and events for the BBC Proms has been announced. You can read more about them – from the opening night's premiere featuring music by Mark-Anthony Turnage through to tenor Joseph Calleja singing at the Last Night, via plenty of concerts celebrating anniversary composer Debussy, and a family event featuring Wallace & Gromit – here: 2012 BBC Proms. The July issue of Gramophone will contain detailed coverage of some of the season's key themes, but in the meantime, the Gramophone editorial team have picked out the concerts they are most looking forward to.

Martin Cullingford editor
Sibelius's Third and Sixth Symphonies on August 9 (Prom 35), John Storgårds conducting, might well have drawn me Kensington-wards to the Royal Albert Hall anyway; Steven Osborne playing Grieg's Piano Concerto and Roderick Williams singing Delius in the same bill only adds to the luxury. And following the superb - and Gramophone Award-winning – recording of The Kingdom from Sir Mark Elder and the Hallé, all Elgarians will be eagerly anticipating the performance of The Apostles (Prom 37).

Sarah Kirkup deputy editor
Any programme featuring the flute tends to pique my interest. In the case of this year’s Proms, that would be the concert on Saturday August 4 (Prom 28), featuring Mozart’s Flute Concerto in D and played by none other than Sir James Galway. I’ve played the concerto many times, and that long, held, high D over four bars at the opening is a killer. The work may have originally been written for the oboe, but flautists the world over have taken it to their hearts as one of the core pieces of the flute repertoire. James Galway attracts mixed opinion, but no one can deny what he’s done for the flute in terms of raising its profile, and encouraging young children to take up the instrument. He's being accompanied by the Ulster Orchestra under its new principal conductor, JoAnn Falletta.

Antony Craig production editor
I remember the excitement when Colin Davis brought Les Troyens to Covent Garden in 1969, following strange newspaper reports about its unwieldy nature and massive length. Kubelík's 1957 performances (in English) were before my time and I'm unsure how complete they were, but Davis, with Jon Vickers as Aeneas, was a revelation – I urge you to listen to his two recordings of the opera – and this summer's first Covent Garden production of Berlioz's masterpiece since then is my highlight of the ROH's year. Pappano conducts Jonas Kaufmann as Aeneas with Anna Caterina Antonacci as Cassandra and Eva-Maria Westbroek as Dido. Dido's death is every bit as magnificent, as epic, as the Liebestod or the Immolation. It comes to the RAH on July 22 (Prom 11, with a 4.30pm start). Unmissable.

Andrew Mellor reviews editor
It’s fantastic to see Rued Langgaard’s Ixion Symphony No 11 scheduled for July 28 (Prom 19) in the 60th year since the composer’s death, but with this second un-contextualised programming of an eccentric Langgaard work by the Proms, we really need them to offer us a watertight symphonic masterpiece from the Dane in the near future to set the record straight. I won’t want to miss Adams's Nixon in China on September 5 (Prom 72), but I sincerely hope the BBC Singers are already practising the chorus parts; it’s a fiendishly difficult masterpiece that could so easily be a weekday washout in a busy season.

James McCarthy reviews editor
I will never forget the ENO production of Peter Grimes, conducted by Edward Gardner, that I witnessed at the Coliseum three years ago; the inexorable dramatic force of the production was uniquely overwhelming. Stuart Skelton dissects Grimes’s storm-tossed soul like no singer before him, and the ENO Chorus sing with menacing, devastating conviction (August 24, Prom 55).
Conservatoire orchestras often perform with a joyful spontaneity that can sometimes be missing from browbeaten professional groups. So this combined ensemble of two of the best – the Juilliard Orchestra and the Orchestra of the Royal Academy of Music – under the guidance of John Adams and featuring Adams’s heady City Noir (with the bonus of Imogen Cooper, no less, playing the Ravel Concerto in G in the first half) should be a feast of musical colour and life (July 16, Prom 4).

Charlotte Smith staff writer
Topping my Proms wish list is the Vaughan Williams evening on August 16 (Prom 46), featuring Symphonies Nos 4, 5 and 6 performed by the BBC Scottish Symphony Orchestra conducted by Andrew Manze. The three works side by side represent the perfect opportunity to examine the development of this much-loved, but often unfairly typecast, British composer. I’m also looking forward to the UK premiere of Olga Neuwirth’s Remnants of Songs performed by that brilliant viola ambassador Lawrence Power with the Philharmonia Orchestra on August 13 (Prom 42). The programme also includes Bartók’s Concerto for Orchestra, which is always an interesting listen.

David Threasher reviewer and sub-editor
Andrew Manze and the BBC Scottish in Vaughan Williams's middle three symphonies (August 16, Prom 46) should be a journey well worth taking, as should Riccardo Chailly's Mendelssohn immersion (September 1, Prom 67), complete with hardly performed overtures and a peek at the composer's original thoughts on the Reformation Symphony.