Never mind the permutations (anything up to eight hands on the two pianos); feel the unwavering quality of the eight pianists and the 13 works, each perfect in their proper place across two and a half hours of more or less continuous music. Above all, applaud the artistic directors of the London Piano Festival, Katya Apekisheva and Charles Owen, for choosing so unerringly how and with whom to celebrate this spectacular 10th anniversary. 

A month after Soft Cell’s "Say Hello, Wave Goodbye" single peaked at number three in the UK charts, Marc Almond issued a single credited to Marc and the Mambas. March 1982’s "Sleaze (Take it, Shake it)" / "Fun City" was produced by his Soft Cell partner Dave Ball, who also contributed drums and synth.

The Globe’s authenticity is its USP, so don’t expect the air-conditioning, the plush seats and the expectant hush of the National Theatre some 20 minutes walk away along the Thames. There’s not quite Elizabethan levels of discomfort to endure, so no plague – well, not if you’ve had your jabs. It’s quite fun to roll with the open air vibe and wooden benches with poles in your eyeline like a Victorian football stadium or stand in the pit, looking up, like Baldrick in Season One.

Wake Up Dead Man: A Knives Out Mystery

If you’re a Gen Zer, you’ve probably heard of Heartstopper’s Joe Locke. I’m pretty sure ATG’s Gen Xers in the back office had also heard of him, as tickets are priced up to and beyond £100 for a 100 minutes all-through, 10-years-old three-hander that would sit comfortably at the Arcola at less than half that price. It was telling that there were a fair few seats unoccupied at the matinee I attended.

“Safe” is a word used far too often in ENO’s bizarre new version of a programme, full of uncredited articles, at least two of which look as if they’re AI generated. Everything intimacy director Haruko Karoda, Niamh O’Sullivan (Carmen) and John Findon (Don José) say makes sense, but the context is worrying. What’s a Carmen without real danger? Revival director Jamie Manton has toned down Calixto Bieito’s once-semi-controversal production, and it shows.

In the framing device, a professor (Jonathan Guy Lewis) stands at a lectern and asks if anyone has had a supernatural experience. Somewhat to my suprise, up went my hand. In the cold winter of 1981/82, I lived in a house in Finchley. One morning, it had snowed overnight (I had barely seen a fall stick properly before) and, looking out of the French doors of the living room, I could see fresh human footprints leading from the tree at the bottom of the garden all the way up to those doors. There they stopped. Abruptly.

As the new season opens, confidence is high at ENB, just as it should be given the roaring success of recent programmes featuring the latest work of iconoclast William Forsythe. His classical steps set to disco raised the roof.

Trio Da Kali are griots, and their traditional role in West Africa is to connect: to evoke the glories of the past and to bring communities together through mediation and spiritual admonition. Their role, even though sung in Bambara, without surtitles – a thought worth considering – could not be more appropriate in a world so perilously divided.