Gwilym Simcock, pianist, composer, and jazz-classical crossover specialist, is releasing two albums this year, and at Kings Place last night, the audience had a taste of both. An evening billed as the launch of Instrumation, Simcock’s new album of original suites, became a kind of Simcock tasting menu. He played half of Instrumation, which was officially launched, and sections from his second album of 2014, Reverie at Schloss Elmau.

How silly is ballet allowed to be? It is a question that is not, well, as silly as it looks. English National Ballet’s director, Tamara Rojo, has set out her stall with a glitzy production of this 19th-century classic, her first full-length commission for her new company. What she’s selling from that stall, however, is moot.

Various Artists: Love, Poetry and Revolution

The great Marilyn Horne used to joke that she was going to release an album entitled “Chestnuts for Chest Nuts”. She never did, but that leaves the door wide open for Sonia Prina whose dark, thrillingly low sound marks her out as the real deal, a genuine contralto. But the excitement of Prina in performance isn’t just about her extraordinary skill at using her unusual range.

There’s a reason why many people think Handel and, particularly his Messiah, is dull. Relatively easy to play, his music is incredibly difficult to perform well. Take this Temple Winter Festival outing with choral expert David Hill conducting the immensely skilled BBC Singers who can, and largely do, sing everything; four soloists all banishing grandiose, wobbly vibrato from days of yore; and the accomplished St James’s Baroque. There was nothing wrong with the performance... Unless, that is, you wanted the intensity, passion and, yes, the drama that Handel wrote.

We've already been casting a revisionary eye over Lord Lucan, the Cold War, the Kennedy assassination and the Profumo affair. Last year Sheridan Smith portrayed Mrs Ronnie Biggs for ITV, but what took them so long to get around to the Great Train Robbery itself? Just hours too long for the real Ronnie Biggs, as it happened.

The Sons of Kemet’s peculiar forces of two drummers, tuba and reeds have been on the road for over two years now, their performances landing on an unsuspecting crowd like a petrol bomb on seasoned timber. With the tuba playing as part of both the rhythm and horn sections, the Sons can deploy both massive rhythmic firepower and potent melodic edge.

It has been said that Mozart, so prodigiously talented so young, seemed to be merely a vessel through which God, or the music of the spheres, or whichever higher being one chooses, channelled the sounds of heaven. So, too, sometimes, does Balanchine appear to be a vessel through which music is channelled, to take solid form in front of our eyes. And never more so when the music in question is Tchaikovsky.

Though greeted ambivalently when it made its debut at the end of 2012, Ripper Street has looked increasingly like TV's undervalued secret weapon as it has surged purposefully through this second series. Maybe the title was misjudged, suggesting it was just another gruesome and mist-shrouded Victorian murder mystery. Turns out it was much more than that.

The disappearance of Lord “Lucky” Lucan in 1974 remains one of the most teasing enigmas of recent-ish history. Following the collapse of his marriage and a bitter battle with his wife Veronica for custody of their three children, the gambling addict Lucan is presumed to have battered the children’s nanny to death, attacked his wife, then fled the country by boat from Newhaven. Elvis-like sightings of the disgraced peer have poured in from around the world ever since.