There were a lot of horns on display in the BBC NOW’s latest concert in Cardiff’s Hoddinott Hall. Brahms’s Second Symphony has four of them, and so does the Elegy for Brahms that Parry wrote on hearing of Brahms’s death in 1897. Gavin Higgins’s Horn Concerto, whose world premiere formed the programme’s centrepiece, has no less than five.

Joanna Hogg has made a film that resolves itself backwards: what happens in the final reel recasts what you have just seen completely. It’s something of a departure from her previous films in style, but equally probing and moving.

Three albums in, Phil Campbell and the Bastard Sons have proved themselves a proposition to be reckoned with. A solid live draw, they’ve supported Guns N’ Roses amongst others, and made the album charts in mainland Europe.

Adapted by Megan Gallagher from one of Mo Hayder’s Jack Caffery novels (the seventh one, apparently), Wolf might be described as Welsh Gothic, spiced up with a splash of gratuitous sadism. Episode two, for instance, is titled merely “Torture”, which might apply to some of the acting as much as the dramatic content.

“No one makes money from CDs anymore”; “Remember, once it’s out there it’s out there forever”; “Everyone’s making recordings these days, it’s a very cluttered market”; “You’ll struggle to make a mark…”

If you read the synopsis of Candide - which I strongly advise if you plan a visit to this new WNO production - you may well wonder how it will be possible to get through so much in so short a time. Voltaire’s novella is itself fairly short, but opera takes more time and songs are songs, not action.

The thought of yet another primetime true-crime series might weary the soul, even if it has been created by Ed Whitmore (Manhunt: Martin Clunes heading two cases as DI Colin Sutton), directed by Marc Evans (Hinterland: Wales’s contribution to modern noir) and stars Philip Glenister. More rapes and murders of young women from the archives? More cops with typewriters and a drinking habit being poorly led by myopic superiors?

Like certain other opera companies, WNO has leant in recent years towards popular shows of one kind or another. In their case this is not mere pandering to the Valleys coach parties, but a genuine attempt to assert an identity through an exploration of local south Welsh history. 

With the fast-approaching anniversary of the latest war in Europe, our culture’s continued fascination with World War Two gets a contemporary boost from Trouble in Butetown at the Donmar Warehouse.

John Cale has always walked a cutting-edge. At 80, he is still making music that stretches the mind. He is accompanied on his most recent album by a number of talented and original ground-breakers from both sides of the pond – from the eccentric and pure voice of Natalie Mering (aka Weyes Blood) to the Stockhausen-flavoured explorations of Actress, the psychedelic anarchy of Animal Collective to the avant-pop sweetness of Tei Shi.