The bleakest time of all for live music during the Covid crisis came in the first four and a half months of this year. Re-emergence came too late for many of the big national opera companies – though the Royal Opera threw down a sensational gauntlet with Richard Jones's new production of Mozart's La clemenza di Tito – but the summer houses were under pressure to start delivering, beginning with Glyndebourne in mid-May.

Welcome back, WNO! Yes, emphatically, and with a loud hurrah, which is precisely what the company received, and rightly received, from the somewhat arbitrarily scattered first night Millennium Centre audience for their opening revival of The Barber of Seville.

“Now I’ve conducted Tristan for the first time,” the 27-year-old Richard Strauss wrote from Weimar to Wagner’s widow Cosima in 1892, “and it was the most wonderful day of my life”.

This lively interpretation of Richard Strauss’s opera within an opera provides a feast for the senses as a musical highlight of the Edinburgh international Festival.

Feet firmly planted on fertile native soil, but always open to the world, lyric-dramatic soprano Birgit Nilsson soared into realms no-one from the rolling hills and coastline of Sweden’s Bjäre peninsula, where she grew up, could possibly have imagined. The Met, Bayreuth, and all the other great opera houses of the world fell over themselves to acquire stakes in her special incandescence, but she always returned to her home region.

Five weeks have passed since the death of opera director Graham Vick from complications due to Covid-19, shocking even to those of us (un)prepared for the worst, and yet so many of us think about him every day.

This delectable Prom hid behind the title "To Soothe the Aching Heart" the failsafe concept of a programme of the world’s favourite opera extracts, plus some. Take six British opera stars – three sopranos, two tenors and a mezzo – and assign them the business of comforting us all.

It’s hard to know where to start with this chaotic Hansel and Gretel, and not just because Humperdinck’s opera has been cut, spliced and re-stitched with a brand-new libretto, new characters and multi-track, multi-option audio. The restless, competing ideas, the gaudy design, the ill-judged tone, the fussy technology all conspire against the performers, who produce some fine singing despite everything.

The love of power corrupts, the power of love falters or fails.

“Time-travelling” is how Enrique Mazzola, the superb first conductor of Glyndebourne’s last new production of the main season, described the slow-burn trajectory of Verdi’s semi-masterpiece Luisa Miller in his First Person here on theartsdesk.