By the time she was created a Dame – on the same day as Julie Andrews in 2000 - Elizabeth Taylor’s significance to the film industry had long since passed. She died today at the age of 79. For years she has been of interest to the headline writers only as the wife of Larry Fortensky, the seventh man to put a ring on her finger (Burton famously did it twice) and her intriguing and possibly co-dependent friendship with her fellow child star Michael Jackson. But let us remember on this day, that at least where actresses are concerned, she stands proud as this country’s most glamorous export to Hollywood.

By the time she was created a Dame – on the same day as Julie Andrews in 2000 - Elizabeth Taylor’s significance to the film industry had long since passed. She died today at the age of 79. For years she has been of interest to the headline writers only as the wife of Larry Fortensky, the seventh man to put a ring on her finger (Burton famously did it twice) and her intriguing and possibly co-dependent friendship with her fellow child star Michael Jackson. But let us remember on this day that, at least where actresses are concerned, she stands proud as this country’s most glamorous export to Hollywood.

The Royal Opera has announced that Kasper Holten, artistic director of the Royal Danish Opera, has been appointed Director of Opera at Covent Garden, to succeed Elaine Padmore at the end of this season.

Feminism is a dirty word. Ask anybody. Do they want to be tarred with the label? Do they, hell. The word still carries connotations of man-haters. Even today’s young women fighting against harassment in tube carriages, horrified by the easy access and the violence of pornography, even they complain that fessing up to being “feminist” lays them open to ostracisation and isolation. Yet with rates of violence against women, unequal pay, the lack of women on boards, pregnancy as a cause of job dismissal, sex trafficking - rightly or wrongly, feminism is on the march again.

The Andrew Lloyd Webber musical Love Never Dies emerged empty-handed at the 35th Laurence Olivier Awards, despite seven nominations, but it was a good night for Legally Blonde, Stephen Sondheim, and, so it seemed, pretty well any production lucky enough to play the National's Lyttelton auditorium. And for American playwriting, too, with Clybourne Park following last year's The Mountaintop as a States-side effort that was named Best Play Sunday night at London's equivalent of the Tony Awards.

Damien Hirst is finally getting his first UK retrospective in a public gallery next year, but the question seems to be, “Why now?” It seems both far too late and far too early, especially since Hirst has made no significant work in some years. That the Tate is organising it to coincide with the year of the Olympics, will, of course, be good for them: it will almost certainly see an unprecedented number of visitors, and tourists from around the world will flock to see it.

We usually leave art award controversies to the Turner Prize at Tate Britain. So it’s a surprise to hear that the National Portrait Gallery has stepped up to the plate with their annual Taylor Wessing Photographic Portrait Prize. And if you’ve already seen the exhibition, we’re not talking about any eyebrows that might have been raised over second prize-winner Panayiotis Lamprou’s rather revealing portrait of his young wife.

Rumour has it that Snoop Dogg may be serenading the royals there in a couple of months' time, but this afternoon it was the most agile, even and full soprano voice of all which rang from the vaulting of Westminster Abbey. Thanks to the noble co-operation of the Royal Opera House - serving up its orchestra and music director, Antonio Pappano - the Australian High Commission and the Australian Music Foundation, we celebrated the life and works of Dame Joan Sutherland in the high, orchestrated style which only this kind of event could have done full justice.

“When you write for film, the dialogue is like the voice, if you like, and I always consider that as part of the music,” said John Barry, who died on 30 January. “Certain orchestral textures have to match the texture of the scene. You deal with the lightness and darkness of the scene when you write music for cinema. The film is a part of the score, and you can't get away from that.”

The beautiful voice is no more. I know the tag has been applied recently to Renée Fleming, but for liquid-gold soprano sound, there has never been anyone to surpass Dame Margaret Price, who died yesterday in her native Wales three months short of her 70th birthday. Few singers have covered a wider range with such poise and style; in the April 2007 edition of the BBC Music Magazine we placed her Number Eight among the Top 20 Greatest Sopranos of All Time (I now recall she was Number Three on my own list, after Callas and Sutherland, of course).

The beautiful voice is no more. I know the tag has been applied recently to Renée Fleming, but for liquid-gold soprano sound, there has never been anyone to surpass Dame Margaret Price, who died yesterday in her native Wales three months short of her 70th birthday. Few singers have covered a wider range with such poise and style; in the April 2007 edition of the BBC Music Magazine we placed her Number Eight among the Top 20 Greatest Sopranos of All Time (I now recall she was Number Three on my own list, after Callas and Sutherland, of course).