Wagner's final drama, of learning, suffering and redemption through compassion, is second only to Bach's Passions at this time of year, and seems likely to strike a special note in the present crisis. Opera companies around the world, making much in their archives free to view right now, have served up the natural seasonal choice, and they have: there are at least nine choices right now, and they come from the expected centres of excellence including Berlin, Vienna, Munich, New York.

One way to look at Stravinsky's celebrated collaboration with W H Auden and Chester Kallman is as a numbers opera in nine pictures, four of them indebted to Hogarth's series of paintings/prints.

Feeling stir-crazy right now? Imagine being confined to one room with a half-crazed housekeeper, two dysfunctional kids and two increasingly insistent ghosts, plagued by nightmares, unable even to get out into the garden or walk down to the lake.

Only the birds will be singing at country opera houses around the UK this summer. Glyndebourne seems over-optimistic in declaring that it might be able to launch in July; other companies with shorter seasons have made the regretful but right decisions to call it a year.

We're learning fast what works and what doesn't with online arts offerings in a time of coronavirus. A distinguished young pianist I know rightly pointed out to me yesterday that however good the artists sharing their talents with us from their living/music rooms, and however reassuring it is to be able to join them at a set time, bad sound cancels out most of the pleasure (though he didn’t rule out making an appearance himself). That's mostly not a problem with the opera companies around the world putting up their back catalogue of productions on film for free.

Two numbers, one hair-raising slice of music-theatre. When Sondheim's paying homage to the older, revue type of musical, you can extract a string of top hits: Follies, from which Marianka Swain chose "I'm Still Here" yesterday, could yield at least half a dozen more choices, Company almost as many. When his aim is a more through-composed kind of story-telling, with leading motifs recurring and transformed, "highlights" are less easily detached.

So Susanna and Figaro got married on Saturday, just before the entire Almaviva household and its home, the London Coliseum, went into quarantine.

That virtue can be fascinating and prayers to a just God dramatic have been proved in riveting productions of two late Handel oratorios, Theodora and Jephtha. Whether Susanna can ever be reclaimed for the stage as powerfully seems unlikely, but this showcase for the Royal Opera's Jette Parker Young Artists Programme may just have bungled it.

Emblazoned on a drop-curtain in front of a mirror-image of the auditorium, the three great tenets of the French revolution seem to be mocking us right at the start, above all the second of them: equality, really, given the make-up of the Royal Opera stalls?

Cosi fan tutte is, as the opera’s subtitle clearly tells us, “A School for Lovers”. But too often these days it can feel like a school for the audience. Joyless productions lecture us sternly on the battle of the sexes – on chauvinism, feminism, cynicism and sex – until we’re battered into fashionable discomfort. A happy ending? For Mozart’s most complicated comedy? Don’t be naïve.