This works as well as it did last year – a no-frills approach to Wagner that helps far more than it hinders. Forget fat ladies wearing Viking helmets. Here the intimacy, the surprising humanity of Die Walküre come to the fore in what seems more and more like an opera cycle narrating a complex, tragic family saga, focusing on a father’s inability to control his daughters.

It’s cold, grey and damp. Welcome to Leeds. The city centre has grown more homogenous, less distinctive since I arrived here in the 1980s, but there are still delights to be found.

Feeling apprehensive about opera companies tackling Broadway musicals is understandable. So if you’re still wincing at the memory of Leonard Bernstein’s excruciating 1980s recording of West Side Story, relax - director Jo Davies’s intention was to cast “opera singers who can really, really act” and avoid the potential pitfalls of a fully-fledged operatic approach. And the singing in this new production is consistently good; brilliant in places.

Beethoven: Complete Works for Piano and Orchestra Howard Shelley (pianist and conductor), Orchestra of Opera North (Chandos)

It’s the pace that takes getting used to in a Baroque opera. Five words in the libretto can easily take up five minutes to sing, and Handel’s music is often disconcertingly jaunty, even when tragic events are unfolding. Tim Albery has also directed Opera North’s current Madam Butterfly revival, a thrillingly cinematic, fast-moving production. His Giulio Cesare is judiciously pruned, with a total running time of about three hours. The cuts prevent any sense of stasis; what’s remarkable is just how much entertainment Handel’s imperial epic provides.

Popular operatic love stories by Puccini, Wagner and Mozart dominate the regional scene in 2012, but key talents like producer Tim Albery in Leeds, Lothar Koenigs in Cardiff and David McVicar in Glasgow all promise significant stage experiences.

A disappointed man from Sheffield asked on a blog why Opera North was spoiling pampered London with two of its major productions and an offshoot this season when the rest of its vicinity was going operatically hungry. I can see his point, but we down here need to see what remarkable work this company can achieve (though we could always take a train to Leeds for the weekend, where there's plenty to see and do).

Port Talbot’s staging of The Passion with Michael Sheen won the highest accolade at the Theatre Management Association Awards yesterday, which honour the best of work touring Britain beyond London during the 2010-11 season.

This new production, Opera North’s first, sounds fantastic – Tchaikovsky’s lurid colours are brilliantly painted, and the compact dimensions of the Grand Theatre mean that the big orchestral tuttis have a devastating impact. Richard Farnes’s conducting is faultless – this music really swoons, screams and seduces. And despite the occasionally overpowering volume, Farnes never lets his orchestral playing drown out the singers.