The Southbank Centre automatically stuck the trusty “Bohemian Rhapsodies” headline on this London Philharmonic Orchestra concert of Czech music streamed from the still-deserted Royal Festival Hall. Given Janáček’s presence on the bill, they should have made that “Moravian” as well. I know – get a life.

I can’t deny that it’s great to be able to experience a recital by Benjamin Grosvenor live from the Barbican despite lockdown, streamed into your own home.

The Polyphonic Concert Club is a collective of musicians – including Isata Kanneh-Mason and I Fagiolini – offering recorded chamber recitals released weekly through March and April. Like the festivals of Voces8 (I reviewed their Christmas series) they are aimed at a premium market: high-quality filmed content at a significant price, here £95 for the six concerts, not far off the cost of live tickets.

Well, it wasn’t quite Messiah, but it was a source of joy. In ENO’s end-of-lockdown staging, BBC Two’s transmission of Handel’s resurrection song delivered a scant 54 minutes of music from the Coliseum on Easter Saturday. In contrast, two ancient Poirot movies, staples of Bank Holiday line-ups roughly since the Pleistocene Era, had hogged fully four hours of the channel’s afternoon schedule.

Last Easter, viewing options were limited: no-one who saw it will forget a version of Bach’s St John Passion from the church where it was first performed in 1724, Leipzig’s Thomaskirche, with an idiosyncratic tenor taking all the parts other than the chorales – live from a quintet and streamed in from around the world – and accompanied only by organ/harpsichord and percussion. But the real thing has been so longed for.

The baroque music ensemble Arcangelo have been around since 2010 but I hadn’t heard them before this pair of concerts streamed from Wigmore Hall in the last week. But what I heard has certainly encouraged me to seek out more – and they have quickly built up a large discography ready to be tucked into.

A year into the pandemic, it is hard to imagine anybody relishing the prosect of Lenten austerity. But the liturgical calendar trundles on, and here we are in Holy Week. The aptly named Tenebrae Choir, under conductor Nigel Short here offer a traditional Lent programme, mostly solemn but with a few lighter numbers.

For the newest performance of their part-postponed “Winter Season” on film, the Hallé return to their rehearsal and performance centre in Ancoats, and with the help of piano soloist-director Paul Lewis and guest leader-director Eva Thórarinsdóttir offer a display of the capability of their orchestra members as chamber musicians.

Sir Mark Elder and the Hallé are back in the Bridgewater Hall for the first programme in the second tranche of the orchestra’s digital Winter Season – filming that had to be postponed from its original planned date but is triumphantly achieved now. As before, the full orchestra is accommodated with a monster extension of the platform to allow for adequate distancing.

Some pianists would take the chance of a birthday celebration to pioneer a solitary epic. Not the ever-collegial, unshowy, some would even say visionary Steven Osborne.