As more musicians emerge from lockdown to conduct, play and sing in audience-less venues - ongoing kudos to the Wigmore Hall for its weekday lunchtime concerts, a fixure for so many viewers and listeners - here are some more off-piste treasures, a past glory from the Royal Opera, a chance to vote for l

Rustles of renewal are stirring in the Surrey woods where Grange Park Opera has built the splendid theatre that remains, for this summer, sadly out of bounds. Faced with the cancellation of its 2020 programme, Wasfi Kani’s company has not simply relied, like many others, on a back catalogue of archive videos to keep its audiences onside.

What would have been the festival season starts around now. Some organisations are offering mementos of past glories; others, especially in countries where the lockdown has been relaxed to a greater extent than is possible in the UK, are managing to assemble some of their artists in audience-free auditoriums, playng and singing to you online. All are under varying degrees of financial stress and many may not relaunch; help where you can with donations every now and then.

Bergen International Festival

How do you render pure goodness interesting? Unorthodox director Dmitri Tcherniakov and radiant young soprano Svetlana Ignatovich make us smile and break our hearts with their take on the maiden Fevroniya: living at one with nature, seeing God in everything and destroyed by her encounter with civic life.

Where to start? We at The Grange Festival began in mid-March (the 15th) with a letter to our company, all those few hundred who come and work for us during the festival months and who are all, almost without exception, employed on a freelance basis, warning of a likely cancellation but urging a commitment to stage the summer festival over June and July (with preparations stating in mid-April) if at all possible.

Russia came late to the coronavirus lockdown, and will be leaving early – this evening Vladimir Putin announced that national measures were coming to an end, though the disease still rages there.

Liberated from Pushkin’s salons, ballrooms and bedrooms, Barrie Kosky’s Eugene Onegin bursts out into nature. Tatyana and Olga lounge in the long grass stealing heavy fingerfuls of jam straight from the jar; party-guests run through the trees with flaming torches, dancing wildly, barefoot; after the harvest groups gather on the lawn with picnics and games. This is a world apart, the hot, hazy, endless summer of first love – an intense, but unreliable memory.

So many of the world's great opera singers inviting us to look through the keyhole at a carefully presented version of their lockdown lives over four very variable hours, such bad sound for the most part (Skype, like Zoom, catches the voice but loses the accompaniment).

Inventiveness waxes ever stronger, it seems, in quarantine, as do the number of faces and instrumental sounds gathered together at any one time.

A brutal Greek tragedy and a rococo Viennese comedy, both filtered through the eyes and ears of 20th century genius: what a feast on consecutive nights from the Metropolitan Opera's recent archive. There's been real thought behind the wealth of programming in the company's attempts to keep the world happy for free during lockdown, including a whole Wagner week.