It’s a good year to be Handel-lover. No sooner have summer runs of Rodelinda (Garsington) and Saul (Glyndebourne) finished than we’re into autumn and Opera North’s Susanna, Giustino at the Royal Opera’s Linbury Theatre, with Ariodante still to come on the main stage.

Forget Anna Netrebko, if you ever gave the Russian Scarpia’s former cultural ambassador much thought (theartsdesk wouldn’t). It should be uphill from now on as Aleksandra Kurzak takes over the role of a diva out of her depth. Last night, though, she was unwell, and the role was taken by Ailyn Pérez, a lyric soprano who knows how to pull out all the right stops and whose dramatic truth complemented Oliver Mears’ production to perfection, presumably on little rehearsal time.

Between bouts of that far from shabby, still shocking masterpiece Tosca, Royal Opera music director Jakub Hrůša went for fleshcreep: too little of Bartók's The Miraculous Mandarin – given a chorus, he could have done the half-hour ballet, not just the suite – and too much of a spooky thing in a big Dvořák cantata.

Poor, slightly silly Semele fries at the sight of lover Jupiter casting off his mortal form, but in Congreve’s and Handel’s supposedly happy ending, everyone else rejoices that Bacchus is the offspring of this dalliance. Or do they? Not in the new production by Royal Opera supremo Oliver Mears, who’s always favoured the dark side. As in trendy dramas like TV’s Kaos, the gods are the callous rich, mortals their plaything servants.

Full marks to the Royal Opera for good planning: one first night knocking us all sideways with the darkest German operatic tragedy followed by another letting us off the hook with a short comedy by Wagner’s compatriot Telemann. The premiere of Pimpinone predates that of Die Walküre by nearly a century and a half and we mark its 300th anniversary this year. But is it too slight for resurrection?

Wagner’s universe, in the second of his Ring operas which brings semi-humans on board to challenge the gods, matches exaltation and misery, terror and tragedy – and throws down a gauntlet to singers, orchestra and director capable of going to extremes with due discipline.

So the Royal Opera had assembled a dream cast, conductor (Edward Gardner) and director (Richard Jones). The only question until last night was whether composer Mark-Anthony Turnage would be at his remarkable best. His operatic journey has been uneven, but one thing is now certain: adapting the first Dogme 95 movie, Festen by Thomas Vinterberg, so shocking at a time (1998) when the issue of child abuse rarely surfaced in drama, has yielded music theatre of flawless pace and range.

Greek myths are all over theatre stages at the moment, their fierce, vengeful stories offering unnerving parallels with events in our modern world. The latest such project is a pithy double bill of opera and dance, both halves (though the first lasts only 20 minutes) featuring the half-man, half-bull Minotaur, and the havoc he wreaks, even in death.

This was always going to be Jakub Hrůša’s night, his first at the Royal Opera since performances of Wagner’s Lohengrin won him the role of Antonio Pappano’s successor as Music Director, which he takes up at the beginning in the 2025/6 season.

What does it mean to have a voice? And what does it mean to lose it? Those are the questions the award-winning Sound Voice Project has explored – through research, collaboration and live performance – since its beginnings in 2016. The latest incarnation of composer Hannah Conway’s project is as “immersive digital opera performance installation”.