Face scarred, baby murdered – both crimes committed by those closest to her – village girl Jenůfa rises again with extraordinary strength of will. Of all affirmative endings in opera, Janáček’s has to be the most moving, and all the more so in this revival of David Alden’s clear and perceptive production as Jennifer Davis uses the power behind her beautiful lyric soprano to go the extra mile, as she always does.

Never underestimate the enduring power of a great story over an unwieldy operatic setting. Few of us who saw the first ENO production of The Handmaid’s Tale back in 2003 thought the work stood much chance of revival. Yet Margaret Atwood’s dystopian novel has justifiably gained even greater hold since then, so here we are on a third run of Poul Ruders’ baggy monster.

We’re used to the idea of 19th century ballets being updated, but the Giselle currently presented by English National Ballet takes it the other way.

“But that’s what they’re paying for!” replied my son as we, a little shellshocked by the previous three hours, skirted Trafalgar Square on the way home. I had reservations about some key components of the alchemy that produces great theatre, but none about the spectacle, even more impressive (as we subsequently agreed) than the big Cirque du Soleil extravaganzas that cost a helluva lot more for a seat in Vegas.

Parliament may be topsy-turvy, with a motley bunch of Lords the only hope in vetoing outrageous bills, but up the road at the London Coliseum a more disciplined company is steering a luxury liner with perfect craft. Cal McCrystal’s best G&S so far, where fairies meet peers with, as the cliché has it, hilarious results, was a winner first time round, with gorgeous designs by Paul Brown taking fairyland, Arcadia and Westminster seriously. 

Britten’s biggest cornucopia of invention seems unsinkable, and no-one seeing his breakthrough 1945 opera for the first time in this revival will fail to register its forceful genius. David Alden’s expressionist nightmare of a production, though, has never seemed to me to hit the heart of the matter. And though musical values are strong, ENO music director Martyn Brabbins doesn’t always keep the tension flowing.

Twenty-one years ago, critics were alarmed by Ben Elton’s deranged musical We Will Rock You. But, despite the "staggeringly awful" reviews, the show somehow went on to have 12 long (and painful) years of West End success. So, here we are again. The car crash of a show is back for a summer run at the London Coliseum. But has it made any progress in its nine-year hiatus? Sadly not.

Is Korngold a second-rank composer with some first-rate ideas? Most performances of the 23-year-old Viennese prodigy's Die tote Stadt make it seem so. Nearly smothered in glitter and craft, the story can compel – an oblique, promising stance on Georges Rodenbach’s Bruges-la-morte, about an obsessive widower who thinks he sees his dead wife in a vivacious dancer. Does Annilese Miskimmon, ENO's semi-visible Artistic Director, carry it off?

All that glitters, titular treasure included, is dangerous childsplay in Richard Jones’s third UK staging of what Wagner called the “preliminary evening” to the three main operas of The Ring of the Nibelung. It’s nothing like the previous two, for the Royal and Scottish Operas, in some ways disconcertingly minimal and occasionally ugly to look at. Yet everything adds up and unlike the cast for his Valkyrie, this team has the perfect mix of vocal and acting gold.

So there’s this prince, see, and he’s not at all happy. For a start, he never got over losing a parent when he was a child. He’s at odds with the world, sick to death with royal protocol and convinced that no one understands him. Worse, having too much time on his hands, he suffers from delusions. Meet Prince Siegfried, who found his soulmate, and met his nemesis, on a moonlit night by a lake.