Marianne Moore once famously defined poems as “imaginary gardens with real toads in them”. Operas also fill, or anyway should fill, their artificial horticulture with genuine beasts – and flowers. And no work demands the population of a fanciful landscape with authentic passion more urgently than Così fan tutte. Mozart transforms this shabby little shocker of a plot – as the meddling know-all Don Alfonso “tests” the two sisters’ fidelity to their sweethearts – into a vehicle for music of exquisite truthfulness that grows from a bed of fraud and lies.

Chelsea Opera Group has made its own luck in winning the devotion of two great bel canto exponents: Nelly Miricioiu between 1998 and 2010, Helena Dix over the past 10 years. Last night was Dix’s official farewell before moving back to her native Australia. La Straniera may be a relative dud among Bellini’s operas, but it allows its soprano grace, poise and careful fireworks. An excellent cast reflected her mastery; but the conducting nearly sank the enterprise. 

Recent events have prompted the assertion – understandable in Ukraine – that the idea of the Russian soul is a nationalist myth. This production reminded me that it isn’t, if only by telling us of what we’ve lost: the majority of those great Russian singers and conductors who lit up previous stagings of Tchaikovsky’s dark masterpiece.

Thankfully, Julia Burbach’s version of The Flying Dutchman for Opera Holland Park doesn’t try to be one of those concept-laden productions that banishes all sight of the sea.

So here in Paris, as at Salzburg in 2022, it’s no longer “Puccini’s Trittico” but “the Asmik Grigorian Trittico 3-1-2”. Which would be a very bad idea if she were a lazy diva like Anna Netrebko. But Grigorian works selflessly within wonderfully strong casts. In league with Christof Loy’s viscerally demanding productions and Carlo Rizzi’s infinitely sympathetic conducting, she sets the seal on one of the greatest operatic events I’ve ever experienced.

“Satan come to me!” The Devil doesn’t so much appear in David McVicar’s Faust as reveal himself to have always been there. We discover him – travelling trunk and brandy glass to hand, lazy smile on his lips – considering the interior of designer Charles Edwards’ magnificent church in Gounod’s own Second Empire Paris. And why not?

With French baroque opera all but banished from the UK’s major opera companies, it’s left to concert halls and country houses to fill the void. There’s a full-length treat ahead this summer with Rameau’s opéra-ballet Les Indes Galantes at Hampshire’s Grange Festival, but first Temple Music served up an amuse-bouche from Christian Curnyn and his Early Opera Company.

There’s a grail, but it doesn't glow in a mundane if perverted Christian ritual. Three of the main characters have young and old actor versions and the “wonder-working spear” is a knife in a Cain and Abel story superimposed on Wagner’s myth (as if that wasn’t complicated enough). Kundry, whom the composer defines as literally flying between “good” and “bad” worlds, enters primly in the first two acts bearing a tea-tray.

Is Giulio Cesare in Egitto, to give the full title, Handel’s best and shapeliest opera? Glyndebourne’s revival of the legendary David McVicar production last year made it seem so, not least thanks to the presence of two of last night’s soloists, Louise Alder as Cleopatra and Beth Taylor as Cornelia. Highlight of 2022 was the English Concert’s more sparely presented Serse. This concert Cesare from that stable lived up to both standards.

Who doesn’t love the quirky, passionate and humanitarian genius of Leoš Janáček? All of it, these days. Since Charles Mackerras introduced the UK to a then-unknown, even the less familiar operas have had plenty of exposure. Simon Rattle was among the champions, giving an early concert performance (the UK premiere, I think) of the astonishing Osud (Fate). Now he's performing and recording them all with the London Symphony Orchestra.