Puccini elevated the operatic tearjerker to tragic status in three masterpieces: La bohème, Madama Butterfly and Suor Angelica, rivalling the other two in intensity despite its brevity. Its special atmosphere works best as the central part of a trilogy (Il Trittico) between a dark melodrama and a pacy comedy. The jury’s still out on whether it works on its own, so disappointingly undernourished is Annilese Miskimmon’s production.

For 50 years Clonter Opera, the song-on-the-farm project in rural Cheshire, has been encouraging would-be opera stars by giving them a chance to perform in undemanding conditions under the guidance of experienced professional.

It all began with audiences sitting on straw bales in a barn, and only after a purpose-built theatre came into being was there a small pit enabling something more than piano accompaniment for major productions.

It’s somehow typical of the Welsh National Opera I’ve known now for the best part of sixty years that it should confront its current funding difficulties with brilliant productions of two of the more challenging works in the repertory.

Set in a tensely polarised Roman neighbourhood, with an election in the offing and radicals scrapping with reactionaries under poster-plastered walls, Stephen Barlow’s smart update of Tosca from 1800 to 1968 might have felt like a double dose of period-piece on its first outing at Opera Holland Park in 2008. Strongly cast and crisply delivered, this polished and gripping revival gives us Puccini the prophet as well as the pot-boiler. 

Opera in Britain is currently cursed by funders, politicians and ideologues – of right and left – who heartily detest the form. Alas, some directors do their work for them with interpretations seemingly designed to undermine the very art they are employed to serve. English Touring Opera (rare beneficiaries of a recent boost to their public subsidy) have regularly excelled in the past. They will do so again.

Beethoven: Piano Concertos 1-5 Garrick Ohlsson (piano), Grand Teton Music Festival Orchestra/Sir Donald Runnicles (Reference Recordings)

The signal achievement of this production of La Rondine may be that James Hurley (director) and Kerem Hasan (conductor) have rehabilitated it to its proper place, against the perception that it’s the least successful of Puccini’s mature operas.

Nearly 40 years old, Andrei Serban’s Royal Opera Turandot feels like a gilded relic (I felt like a relic myself on learning that my writer neighbour wasn’t born when I saw Gwyneth Jones as the ice princess in 1984). Yet so too, outwardly, did Puccini’s only really grand opera when it premiered in the 1920s, exoticism being mostly confined to operettas and musicals. What keeps it modern is the score, which made it vital to hear what Antonio Pappano had to say with it.

The sopranos are Ethiopian-Italian and Hispanic-American, the tenor Uzbek, the baritones South African (no EU principals, but it seems you can't have everything). This is opera at its best: the cream of international singers coming together to make a unified work of art under a director with a vision and a conductor who gives it all total security as well as freedom. It may be the tour, but it’s vintage Glyndebourne.

Rome, 14/15 June 1800: the specifics of the original Sardou melodrama are preserved in Puccini’s thriller mixing love, lust, religion and tyranny. Many productions move forward in time, and sometimes change the place, with ease: after all, feudalist power-abusers remain with us. Director Christof Loy decides that police chief Scarpia and his allies should be of the era following the French revolution, while artist Cavaradossi is a “timeless” freedom fighter.