What, anyway, is The Makropulos Case all about? Is it simply about the horrors of unnatural longevity; or does it expose the limitations of the rational mind confronted by the irrational; is it about love of a distorted ideal, like some updated Hoffmann tale? Or is it simply a well-made play disrupted by theatre of the absurd and turned for good measure into a tragic music drama?

Covid has been devastating for all the arts, but especially opera – the riskiest and most expensive gamble of the lot. And it doesn’t seem to be anywhere near done yet. On one memorable night this summer the number of covers stepping into principal roles across the various country-house opera companies hit double figures. And not small ones. So what do we do? Crash on as before and hope for the best? Scale back and build in safeguards, both human and financial? Or throw out the whole setup and start afresh?

It’s not an opera, of course, but of all Handel’s oratorios, Saul is probably the one that is best suited to being presented as an actual drama. Several productions, most notably Barrie Kosky's at Glyndebourne, have shown how it can work on stage, but this performance at the Edinburgh International Festival proved that you can have a great evening’s drama with nary a prop or costume in sight.

“Twenty lovesick maidens we,” pining in stained-glass attitudes for florid poet Reginald Bunthorne, usually kick off Gilbert and Sullivan’s delicious mockery of the high (or cod) aesthetical. That might have been a problem for Charles Court Opera’s total cast of nine. Not so: the lights go up on three “melancholy”, Goth-sh maybe not-quite-“maidens", knocking it back at the bar of the Castle Inn, and we know we’re in the best of hands. The delight is unmodified over the next two hours.

You’d be forgiven for forgetting that 2022 marks a rather significant classical milestone. Vaughan Williams’ 150^th anniversary has scarcely troubled the Proms season beyond the odd symphony, and while most orchestras are doing their bit in the autumn, it takes predictable form. Larks will ascend, Thomas Tallis will be hymned, and Scott will make his doomed journey to the Antarctic to live symphonic accompaniment up and down the country. But not at British Youth Opera.

Like the beacons saving ships from the Cornish rocks in Ethel Smyth’s opera, The Wreckers, which opened this year’s Glyndebourne Festival, the Sussex opera house has itself become a beacon of more environmentally sustainable opera. In 2021, with the COP 26 Climate Change Conference raising the profile of businesses’ efforts to cut their carbon emissions, Glyndebourne was a pioneer among opera houses and joined the global Race to Zero.

“But what’s in it for you?”. It was a simple enough question, asked by an accomplished opera singer. It stemmed from hearing that the new version of the Iford Arts opera company I was running was aiming for a different kind of guiding philosophy: it would have a repertory ensemble, who would be paid weekly wages and would work under a clearly defined code of conduct that placed them front and centre of our organisation, attempting to return agency to them.

It is quite some years, if not decades, since the Edinburgh International Festival had any claim to be a festival of staged opera. This year we have had just one – Garsington Opera’s bewitching Rusalka – surrounded by a handful of concert performances: Beethoven’s Fidelio with the Philharmonia under Donald Runnicles, Handel’s Saul (yet to come), and Sunday evening’s Salome.

“Variety is the spice of life! Vive la difference!,” chirrups the ensemble at the end of this giddying double bill. And there could hardly be more singular variety acts than a potential suicide at the end of a phone line, a woman who lets her breasts fly away and grows a beard, and a husband who breeds 40,049 children on his own.

The last-minute indisposition of your leading lady is enough to give festival directors palpitations, let alone their audiences, now forewarned by the dreaded email thudding into inboxes. And so it was that Andrew Moore, Head of Music at the Edinburgh International Festival, had to poke his nose through the stage curtain and announce that Natalya Romaniw was unable to sing the title role of Rusalka, which would instead be sung by fellow Welsh soprano Elin Pritchard.