Had this Moscow production any serious ideas in its head until its suddenly effective epilogue, much might have been pertinently said about an opera in which an imperialistic campaign ends in disaster, and where the Polovtsian “enemy” shows far more signs of a civilized life and wartime courtesy than the corrupt, crumbling court at home.

The Tchaikovsky de nos jours, is Theodore Gumbril’s dismissal of Skryabin in Aldous Huxley’s Twenties novel Antic Hay. For some reason, Alexander Skryabin has suffered more than most from snap judgements of this kind. He has been the woolly theosophist, the vacuous, over-inflated mystifier, the effete, self-indulgent decorative – everything except the refined, disciplined creative genius. It’s high time these images were consigned to the rubbish dump of history, along with the dull-witted Bach, the mad Beethoven, and for that matter the slushy Tchaikovsky.

Depth, height, breadth, a sense of the new and strange in three brilliantly-programmed works spanning just over a century: all these and a clarity in impassioned execution told us why the BBC Symphony Orchestra was inspired in choosing Finn Sakari Oramo as its principal conductor.

Valery Gergiev once described Yevgeny Svetlanov’s USSR - later Russian - State Symphony Orchestra to me as “an orchestra with a voice”. Then Svetlanov died and the voice cracked. Which are the other big Russian personalities now? Gergiev’s own Mariinsky? I don’t hear it. Yuri Temirkanov can still bend the St Petersburg Philharmonic Orchestra to his own whim of iron. The Russian National Orchestra was never in the running. But the Tchaikovsky Symphony Orchestra of Moscow Radio, to give its full title, still sounds as deep and rich as it did when I last heard it live nearly 30 years ago.

World War One overkill - if you'll pardon the expression - is a clear and present danger as the centenary commemorations gather pace, but this investigation of the roles of the interlinked royal families of Europe in the onrush of hostilities was as good a chunk of TV history as I can remember. Informative and detailed but always keeping an eye on the bigger picture, it made me, at any rate, start to think about the road to 1914 in a different light.

The programme blurb says: “Dan Snow looks back at 90 years of the Winter Olympics and shows how the political upheaval of the 20th and 21st centuries has impacted on the Games". Instead we got a mish-mash of archive clips, a potted history of the Games, a nod to some of the politics surrounding them, and a tale of how one chap's derring-do impacted on them.

Assuming you care at all, your favourite incarnation of Tom Clancy's industrious CIA agent Jack Ryan is probably Harrison Ford (Patriot Games, Clear and Present Danger). Before him came Alec Baldwin in The Hunt for Red October, and afterwards there was Ben Affleck in The Sum of All Fears.

Russia is the largest country on earth, unimaginably vast. Its people naturally have a great attachment to their country – and its landscape – in spite of their turbulent history, and in the late 19^th century painters portrayed with deep feeling their native environment, their feelings for the motherland perhaps intensified among the more sophisticated the more they had travelled and studied in Europe. 

There’s cruel comedy and human drama aplenty in Fortune’s Fool, so much so that it’s hard sometimes to know whether we’re watching farce or tragedy. But it’s a mixture that works well in Lucy Bailey’s production of Ivan Turgenev’s early play in this version by Mike Poulton, making its London debut at the Old Vic.

Money, love, professional jealousy - the three undying motives for personal crime, and all three were present in the Bolshoi Ballet acid trial. An international public that scoffed happily at the OTT ballet horror-show that was the film Black Swan was suddenly sobered up by real-life events that needed no cinematographers and screenwriters.