Having premiered at the Lammermuir Festival earlier this year, Daisy Evans’s new production of Britten’s Albert Herring is a gently funny and sweetly nostalgic telling of what’s essentially a coming of age comedy. In fact, the 80s costumes and the characters’ cute quirks wouldn't have felt out of place in a John Hughes movie – if Hughes set films in Suffolk. 

Ten years ago, Ian Page launched his and the Mozartists’ (then Classical Opera’s) remarkable endeavour to play music by WA Mozart 250 years after it was written, starting with a programme of material from 1765 by eight-year-old Mozart, and his contemporaries.

Martin Duncan’s 2008 production of A Midsummer Night’s Dream remains one of the best and funniest things Opera North has ever done – back now again (it was also seen in 2013-14), in the company’s autumn season of revivals.

At first, you wonder if the peculiar voice of Henry James’s maybe unreliable narrator can be preserved in this production. Surely the outcome is known if we first meet the Governess in an insane asylum bed? Yet whether she was mad or maddened during the course of terrifying events 30 years earlier remains crucially unclear. Between them director/designer Isabella Bywater, soprano Ailish Tynan and conductor Duncan Ward deliver all the frissons in Britten’s concentrated masterpiece.

Most of us have been there: an impasse in a marriage, a bereavement in a dysfunctional family. Leonard Bernstein certainly had when he composed Trouble in Tahiti in 1952, basing the unhappy couple on his own parents and even the incipient problems in his own relationship with Felicia Montealegre (see the superb film Maestro), and 30 years later the sequel, A Quiet Place, when Felicia’s early death from cancer had left him unhappy and guilty.

Judith Weir’s Blond Eckbert, presented by English Touring Opera at the Hackney Empire, at the beginning of its tour (paired with The Snowmaiden, reviewed on theartsdesk last week) has all the biggest virtues of her work in spades: it is narratively lean, razor sharp in its scoring, and alluring in it its dressing up of the strange in the comforting garb of the familiar.

The Marriage of Figaro is undoubtedly one of the greatest operas ever written. Mozart’s masterpiece is a display of musical perfection that never ceases to touch the heart and stimulate the musical mind.

As Fiona Shaw’s shiningly free and easy narration told us, Shakespeare’s sparring Beatrice and Benedick are merely counterpoint to a supposedly comic plot that becomes a potential tragedy, and tests the japers’ seriousness. Berlioz wanted none of that in his last opera, all southern sunlight and moonshine, caprice and reverie. Last night we got the best of all possible worlds in a concert performance that showed an ideal way forward for this beauty of a numbers opera.

This revival of Puccini’s Trittico a mere three and a half months after it was first shown on the Millennium Centre stage seems to bear witness to WNO’s current financial uncertainty. In effect, it reduces their 2024 repertory to half what it was a decade ago – four shows instead of eight, though admittedly all four productions have been new, at least to this company. 

Just as the first autumn chills began to grip, English Touring Opera rolled into Hackney Empire with a reminder that the sun – “god of love and life” – will eventually return. But at what price of suffering and sacrifice? Rimsky-Korsakov’s third opera, premiered in 1882, The Snowmaiden overflows with abundant musical riches – you can’t really miss the musical debt the composer’s star pupil, Stravinsky, owed his master – as it ambitiously seeks to balance fantasy and humanity in its fairy-tale of an ice princess thawed by mortal passion.