Poulenc’s La voix humaine comes close, but Bartók’s Bluebeard’s Castle has to be the perfect lockdown opera, this heady tale of two mismatched souls stuck in a confined space (admittedly an enormous one) alarmingly pertinent.

Big orchestras to serve the late romantic masterpieces and contemporary blockbusters still aren’t the order of the Covid-era day, even in streamed events, at least not in the UK. The London Symphony Orchestra is so far unique in bigging up the strings as well as bringing on the full brass and percussion thanks to the unique nature of what was previously its rehearsal space and venue for chamber concerts, LSO St Luke’s.

One source of advance information told us to expect a reduced version of Bartók’s one-act Bluebeard’s Castle, among the 20^th century’s most original and profound operatic masterpieces.

He may no longer be the Berlin Philharmoniker's Chief Conductor, but by a combination of serendipity and foresight on the orchestra's part, Simon Rattle's last concert in Berlin for the foreseeable future was filmed without an audience and led the way for other, smaller-scale ventures before gatherings of any sort beyond chamber music with players at a distance became an impossibility.

No orchestra wants its conductor to cancel in the week of a concert.

Fine-tuning piano sound to Wigmore acoustics can elude even the greatest. Add a second Steinway and a wide range of percussion instruments, and the risks would seem to be hugely increased. So it was amazing to witness what seemed like sonic perfection throughout yesterday's Radio 3 Lunchtime Concert from the back of the hall.

Mozart’s piano concertos often overflow with good humour, but you seldom expect to hear a hearty chuckle from the audience in the middle of a performance of one. Yet something close to a guffaw burst out around King’s Place when soloist Tom Poster, deep into the last-movement cadenza of Mozart’s Piano Concerto No. 19 in F major, suddenly quoted Gershwin’s Rhapsody in Blue. Poster had played the Gershwin before the interval of this typically smart, eclectic and thought-provoking programme from the Aurora Orchestra under Nicholas Collon.

Saint-Saëns: Piano Concertos 3, 4 & 5 Alexandre Kantorow (piano), Tapiola Sinfonietta/Jean-Jacques Kantorow (BIS)

Joanna Hogg’s melancholy autobiographical drama The Souvenir cuts too close to the bone. That’s a compliment: like Sally Rooney’s equally unsettling first novel Conversations With Friends, Hogg’s movie almost forces the viewer to relive that shattering early romance, founded on collusion and self-delusion, that reordered her or his universe for all time.

Bartók: The Wooden Prince, Suite from The Miraculous Mandarin Helsinki Philharmonic Orchestra/Susanna Mälkki (BIS)