The first two one-acters in Opera North’s season called The Little Greats were unveiled on Saturday. There are six in all, scheduled on a mix-and-match basis so Leeds opera-goers can choose their own tapas menu: grab one show, choose from various pairs, or even try three on a Saturday (including a matinee) if you want to.

This is the sixth revival of David McVicar’s production of Die Zauberflöte at Covent Garden since its debut in 2003. It was heard most recently in 2015, and is modestly described in the Royal Opera’s own publicity as a “classic”. Having not seen it until now, I enjoyed the singing and was impressed with the set and lighting, but I found the staging in some ways neither fish nor fowl.

“I’m not in the mood” – “non sono in vena” – sings aspiring poet Rodolfo as he settles down to write a lead article. Was it me, or had the mood not settled by the premiere of the Royal Opera’s first new production of Puccini's structurally perfect favourite for 43 years? The singing was good to occasionally glorious, Antonio Pappano’s conducting predictably idiomatic and supportive.

I’ve said it before and I’ll say it again: you have to be pretty silly to take Gilbert and Sullivan seriously. But even sillier not to.

No sunshine without shadows was one possible theme rippling through this diva sandwich of a Prom. Even Richard Strauss's chaste nymph Daphne, achieving longed-for metamorphosis as a tree, finds darkness among the roots; and though Renée "The Beautiful Voice" Fleming has a heliotropic tendency in her refulgent upper register, her mezzo-ish colours are strong, too.

Skeletal horses; piles of newborn babies smothered in a bloody sheet; a whole garden centre of prickly pears. There’s no denying that Italian director Emma Dante’s new production of Verdi’s Macbeth, which Turin’s Teatro Regio brings to the Edinburgh International Festival, is visually dazzling, even at times hallucinatory.

The road to hell is paved with brilliant ideas in Berlioz's idiosyncratic take on the Faust legend.

"Ura!" as soldiers cry in Russian epic opera's last fling, Prokofiev's War and Peace: supertitles have arrived at the Proms, after much special pleading here and elsewhere.

So much light in the Glyndebourne production of Brett Dean's Hamlet; so much darkness in Mozart's La clemenza di Tito according to director Claus Guth. Something is irredeemably rotten in the state of ancient Rome, at odds with the fundamental enlightenment and radiance of Mozart's last complete opera.

Clonter Opera is a finishing school for young opera performers, with its own well appointed theatre and professional administration and artistic direction, based on a farm in Cheshire near Jodrell Bank. It’s seen a succession of promising young post-conservatoire singers come to perform in fully staged productions for many years, and is also (from an audience point of view) the only countryside summer opera venue of any substance in the north of England.