Childhood fantasies and adult fears – sometimes it’s a fine line between the two. And it’s one that director Liam Steel walks with unerring precision in his ravishing new double-bill for the Royal College of Music: an overflowing toybox of invention and imagination that conceals, right at the bottom, something rather nasty and very real indeed.

Like certain other opera companies, WNO has leant in recent years towards popular shows of one kind or another. In their case this is not mere pandering to the Valleys coach parties, but a genuine attempt to assert an identity through an exploration of local south Welsh history. 

Silver rose, golden voices. Richard Strauss calls for four of the best: two sopranos and a mezzo for the love-triangle that develops between a 17-year-old Count, his 32-year-old lover and the girl he falls for at first sight; a bass as one of opera’s strongest if queasiest comic creations, Baron Ochs, Viennese Falstaff, debaucher of maidservants and country girls.

So why not rewrite The Magic Flute with a new text and a heavily reconstructed plot? After all, the original was just a pantomime, albeit one that embodied one or two big issues of the day (1791), but essentially popular theatre with a text by a well-known comic actor, Emanuel Schikaneder, who sang and acted in the first production.

Raw, muscular, visceral, haunting – this was Handel as you’ve never experienced him before. In this striking entry for the London Handel Festival,  an uncompromising production by Adele Thomas with conductor Laurence Cummings took four of the composer’s early cantatas about thwarted love and mined them for all their incandescent rage and poisoned wistfulness.

English Touring Opera opened its spring season with Handel's Giulio Cesare – not a new production, but in a new guise. Typically for Baroque opera, the version of the work premiered in 1724 was very long. ETO previously took up the challenge by staging it in full over two nights. They then cut it down to a more manageable three hours (including interval), but that tour was interrupted by Covid, so now it's back for a full run.

Psychological depths in the myth of the water nymph who yearns for the human world, with disastrous results, have led to some unusual settings for Dvořák’s operatic masterpiece on the theme: a nursery, a hotel room (both successful), a brothel (not so much). What, though, when a production returns to the fairy-tale, developing at the same time the ecological devastation implied in the opera?

All that glitters, titular treasure included, is dangerous childsplay in Richard Jones’s third UK staging of what Wagner called the “preliminary evening” to the three main operas of The Ring of the Nibelung. It’s nothing like the previous two, for the Royal and Scottish Operas, in some ways disconcertingly minimal and occasionally ugly to look at. Yet everything adds up and unlike the cast for his Valkyrie, this team has the perfect mix of vocal and acting gold.

Rodula Gaitanou’s production of Richard Strauss’s Ariadne auf Naxos is a hugely entertaining treatment of an opera that brings its fair share of problems to any company, and the chief virtue of Opera North’s presentation (a co-production with Gothenburg Opera, now seen in the UK for the first time) is the wonderfully well suited casting.

It’s good to think that there are some opera productions – not just compositions – that in themselves can have the status of classics. David Pountney’s 1980 interpretation of Janáček’s The Cunning Little Vixen must be high on a list of contenders for that accolade. It was first seen at the Edinburgh Festival that year, performed by Scottish Opera in a co-production between them and Welsh National Opera.