Next week sees the release of Shimon Peres, the second instalment in Spirit Level Film’s The Price of Kings series. A president of Israel who refers to leadership as “not a very happy engagement,” a Nobel Peace Prize-winner who says he has never slept easy, Peres is about as good a subject for a political doco as you’re likely to get. He’s the world’s oldest elected head of state (his political career having begun in the early Fifties!) and the only Israeli PM (two-and-a-half times) to have made it to the top step in their political pantheon.

Who does the PR these days for Middle Eastern extremists? Whoever it is clearly wasn’t on board when the Palestine Liberation Front decided to whack the Achille Lauro. Or wasn’t aware that chucking a wheelchair-bound pensioner into the Med was the sort of move unlikely to garner widespread international support for the cause.

In October 1985 four Palestinian terrorists boarded the Achille Lauro cruise liner, took the 400-odd passengers hostage, shot an old disabled American Jew dead and flung his body overboard. Of all the many atrocities in the long war between the Palestinians and Israelis the murder of Leon Klinghoffer has always struck me as being one of the more morally cut and dried incidents. Hardly worthy of any kind of lengthy debate, let alone dramatic exposition.

Empty vessels make the most noise. That pithy old aphorism floated into my head a scant few minutes into the much-heralded new work by the undoubtedly talented, but here way off-beam, Hofesh Shechter. And again, a few minutes later. And again, and again, as something like 200 drummers filled the stage and bashed away in earnest polyrhythmy. At the end of the 80 minutes my watch was worn with checking.

London's Barbican Centre is 30 this year, and with a special Olympics subsidy boost as the world's eyes turn to the British capital this summer, it aims to be as lovely inside as it is famously unlovely outside. Film beauties Cate Blanchett and Juliette Binoche appear live on stage and theatre giants Pina Bausch, Philip Glass and Shakespeare are celebrated in a season of prominent internationalism. Peter Sellars, Toni Morrison, Yukio Ninagawa, Krzysztof Penderecki and Chick Corea are among many other world names invited to EC2 over the season.

“Jazz is my adventure,” said Thelonious Monk. “I’m after new chords, new ways of syncopating, new figures, new runs. How to use notes differently. That’s it. Just using notes differently.” Based on the title of the new hour-long piece by Israeli choreographer Emanuel Gat, Brilliant Corners, named for Monk’s 1957 album, the naïve viewer might expect, at the very least, to hear some Monk. Not so. Gat has produced an always interesting, sometimes absorbing sight-and-sound world, but of Monk, or jazz, there is neither sight nor sound.

Some violinists just play; others have a voice. Ukrainian-Israeli violinist Vadim Gluzman follows the distinguished line of great Petersburg violinist Leopold Auer - whose 1690 Stradivarius he currently plays - David Oistrakh and Isaac Stern, his one-time mentor.

Police. Placards. Protests. And bag checks. It meant only one thing. Jews were performing at the Proms. Here we were in the Royal Albert Hall in London in 2011 witnessing a stage of musicians being barracked and abused for having the gall to be Jewish. Last year, four more Jewish musicians, the Jerusalem Quartet, had the cheek to perform and broadcast a recital at the Wigmore Hall. They were again heckled and hounded off air. No, not a portrait of Europe in the early 20th century, but Britain in the 21st. I wonder.

I think I owe David Hare an apology. When I sat down to watch Page Eight, last night – being, as it is, his latest probing of our moral and political universe – I just assumed that our national intelligence services would be in for a trendy-lefty-type shoeing. But I was wrong.