Janáček’s obsession with Russia has always intrigued me: something to do with a shared Slav ancestry traceable to peasant roots being crunched to pieces by the modern world. Gone are the rolling paragraphs and the vast, empty fields and sky. In Katya Kabanova everyone is hemmed in by ancient attitudes and superstitions, and the music, with its abrupt, laconic gestures, is a part of the prison.

Fully retitling a foreign-language film for international release is a risky business. But it works very well with Russian director Alexei Fedorchenko’s melancholic drama Silent Souls.

What a joy this once-in-a-generation season is. From Moscow comes this free-wheeling production of Shakespeare's great morality play, and one that also makes remarkably free with the text too. Even those familiar with Measure For Measure will be thankful for the surtitles, particularly in the second act when director Yury Butusov dispenses with whole scenes, including the denouement.

Donatella Flick, one of Britain's most important arts patrons, is furious. "Madness!" she cries in her lush Italian voice. "This is a country that was fantastic, and now there's a demolition going on, bit by bit!" We're sitting in Sir Winston Churchill's old drawing room - now her drawing room - near Kensington Gardens, and I would give a lot to see David Cameron flinching on her huge black sofa as he got a withering dressing-down.

After conducting two performances of Parsifal since Saturday and one of Mahler’s Eighth Symphony, most human beings would be spending a day curled up at home. But Valery Gergiev doesn’t know what carpet slippers look like. Besides, he’s currently on tour in Britain with his Mariinsky Opera forces, and he’s conducting nothing but blockbusters. Last night, Verdi’s Requiem in London. On Good Friday, it’s the epic Parsifal again, in Birmingham. The tour finished, he’ll be back in St Petersburg by Sunday, launching the Mariinsky’s third International Piano Festival. 

A play of boundaries, limitations, barriers, one that gazes outwards while never crossing the threshold, Uncle Vanya is often betrayed by the physical space of major stagings. In a new production at Notting Hill’s The Print Room the audience find themselves trapped along with Vanya, Sonya and their dysfunctional family in a single room. Ranged around the four walls we crowd in upon the (in)action, waiting together with the characters for the rupture that will release the tension.

Is it my imagination, or are we getting more Wagner in concert than we used to? It could be a welcome development. How marvellous not to have to tremble at the thought of the latest flight of directorial fantasy: Isolde pregnant, Siegfried as an airline pilot, the Grail temple transformed into the Reichstag (no prizes for guessing which of these is a real case). Instead you can enjoy what Stravinsky called “the great art of Wagner from the direct source of that greatness and not through the medium of pygmies swarming around the stage”.

The Moscow girl punk band Pussy Riot say their impromptu performance inside Russia’s major cathedral of their song “Holy Shit” was a prayer. They were replying to the Patriarch of Moscow and All Russia Kirill who called it “blasphemy”.

Speaking at a liturgy in Moscow’s Deposition of the Robe Cathedral, the Patriarch condemned Pussy Riot’s actions at Christ the Saviour Cathedral as “blasphemous” saying that “the Devil has laughed at all of us.”

Originally, this concert was to open with that mercurial wonder Martha Argerich playing an unspecified piano concerto. Then its first item became Martha Argerich not playing anything, for the good lady, almost as rare a visitor to Britain as the Man in the Moon, did what she’s famous for doing. She cancelled. Acting with award-winning panache, the Barbican then found a substitute artist who’s recently become even rarer, the violinist Maxim Vengerov. 

No choreographer so divides American and British critics as Russia's only international dancemaker, Boris Eifman. He's "an amazing magician of the theatre", according to the late, great US critic Clive Barnes. He "flaunts all the worst clichés of psycho-sexo-bio-dance-drama with casual pride," according to the masterly New York Times critic Alastair Macaulay. Both views come from Englishmen working in America, hence a contradictory weathervane as to how his ballets will be received in Britain on this tour.