Brett Dean’s opera Hamlet will play at the Bavarian State Opera in Munich in June: the next stage of an acclaimed progress that began at Glyndebourne in 2017. Now on the last stretch of his three-year stint as composer-in-residence with the London Philharmonic Orchestra, the prolific and versatile Australian – formerly a violist with the Berlin Phil – evidently still has warring royal families on his mind.

When a publication as venerable as Gramophone features an artist on its front cover, it’s a surefire sign that they’ve hit the big time. This month that honour fell to young American violinist Randall Goosby and, coincidentally, he was the soloist for this week’s concerts with the Royal Scottish National Orchestra. I hadn’t come across him before this double encounter but, if his Usher Hall performance is anything to go by, then the hype around him is justified.

Complex, ambiguous late romantic works in concert programmes need something more direct to keep them company. Mozart and Richard Strauss make excellent bedfellows (and Strauss was an extraordinary Mozart interpreter): no wonder Vladimir Jurowski’s Saturday night pairing worked well. But Mahler and Poulenc? That wasn’t Simon Rattle’s original intention; but in campaigning for the BBC Singers by inviting them to follow his LSO Mahler 7, he hit upon a rare ideal.

Maybe he thought it was a relaxing way to celebrate his recent 75^th birthday – maybe he just fancied a trip to Manchester to play with the BBC Philharmonic – either way there was something very special to hear in Garrick Ohlsson’s Rachmaninov Third Piano Concerto on Saturday.

We hear a lot about political and economic crises in the 1970s and 1980s, winters of discontent and all the rest of it, the predictable if not predicted remote outcome of what Jacques Maritain called the “immense intellectual disarray inherited from the 19th century.”

French-Danish soprano Elsa Dreisig’s operatic schedule is so busy and so successful, it is perhaps not surprising that she – and Texas-born pianist Jonathan Ware – treat the song recital platform as a place of freedom, where, rather than delivering the predictable or the comforting, they can test out ideas and set themselves challenges. As she has told one interviewer, it is a place where "I can push my artistic practice to its ultimate limit."

What a manifesto against those in power who seem determined to knock the UK off its hard-won classical music pedestal: hundreds of young choristers and instrumentalists of two fabulous orchestras in a week-long celebration of innovative programming and presentation. Any politician attending – I’d like to think there were a few, but I doubt it - would have been fired up to devote every effort in support of British youth and music

In today’s Britain, too many concert reviews have to begin with the vandalistic threats of damage or extinction that hang over their performers. Last week, it emerged that the BBC’s bosses may be open to negotiate an alternative future for its Symphony Orchestra that does not involve 20 per cuts in the personnel.

One can only admire the National Youth Orchestra of Scotland for its steadfast indifference to the laws of box office gravity. A little known contemporary guitar concerto allied to a relatively unpopular Mahler symphony would be a hard sell even in an Edinburgh Festival context. On a distinctly chilly April evening in Edinburgh, it fell to a small but vocal audience of camp followers to make up for the disappointing rows of empty seats in the admittedly cavernous Usher Hall. 

In the kerfuffle over the proposed decimation of English National Opera, the BBC Singers and the BBC orchestras, the removal of all Arts Council England’s funding for the Britten Sinfonia has slipped a bit under the radar, but is no less egregious.