The Edinburgh International Festival scored quite a coup in securing the services of Bernstein protégée Marin Alsop and the Baltimore Symphony Orchestra on the very day of the great composer/conductor’s centenary – and for the festival’s penultimate concert of 2018.

There were two immediate casualties at Pierre-Laurent Aimard’s high-energy account of Messiaen’s monumental Des canyons aux étoiles… with the Scottish Chamber Orchestra at the Edinburgh International Festival.

La maladie de la mort ★★★  

Toxic masculinity in all its appalling variety is a hot topic across Edinburgh’s festivals this year – just check out Daughter at CanadaHub and even Ulster American at the Traverse for two particularly fine and shocking examinations.

Orpheus ★★★★  

In the time of composer John Gay, greed and self-interest were the main motives for life; and his work The Beggar’s Opera is an open critique on the way that society behaved. The work’s opening number sets the tone, basically saying: “we all abuse each other, we all steal from each other, we all want to get as much as we can and to hell with everybody else.”

Nigel Slater's Toast ★★★★  

Launched just last year to celebrate the country’s 150th anniversary, CanadaHub has quickly become one of the Edinburgh Fringe’s most exciting and intriguing venues, presenting a small but richly provocative programme of work from across that vast country. Here are just three of its offerings this year.

Daughter ★★★★  

It was Simon Rattle’s first visit to the Edinburgh International Festival for – well, really quite a few years. And the first of his two concerts with the London Symphony Orchestra drew, perhaps predictably, a capacity crowd in the Usher Hall, for what was in fact quite an odd, uncompromising programme – if one that ultimately delivered magnificently.

Underground Railroad Game ★★★★★ 

Coriolanus Vanishes ★★★★