If you believe the bulk of the “books of the year” features that drift like stray tinsel across the media at this time of year, Britain’s literary taste-makers only enjoy the flavours of the Anglosphere. With a handful of exceptions, the sort of cultural and political notables invited to select their favourite reading overwhelmingly endorse titles from the UK or US. For our book-tipping elite, it seems, a hard literary Brexit happened decades ago. Yet publishing history tells a different story.

Five of Leoš Janáček's 10 operas are staples of the worldwide repertoire. Two I'd never seen on stage, so the slice I chose of the19-day festival devoted to all of them for the second time in the history of Brno, the cultured Moravian capital where he spent most of his life, tended to the rare and local.

Marx is having a terrible day. He is supposed to be finishing volume two of Capital but he’s distracted by his lust for the maid, workmen are taking away the furniture, his daughter thinks she’s caught a spy.... and what will his wife say when she discovers he’s taken her silver to the pawnbroker?  Where is Engels when Marx needs him most?

Before we hear a note, extras dressed as maintenance staff potter about the stage. They try to erase a scrawled slogan on a wall that reads “Hur allt började”: how it all began. “It” is the story of Wagner’s Ring cycle as presaged in the introductory drama of Das Rheingold, which kicks off the tetralogy. Prior, though, to the ominous, mesmeric swell of the E flat chord that anchors the Rheingold prelude, Stephen Langridge’s production for Gothenburg Opera shows us a busy, dogged human world of toil.

Rob Smith & Ray Mighty are truly the unsung heroes of British bass music. Coming out of the same cultural melting pot in Bristol that gave us Massive Attack, Tricky, Portishead and mega-producer Nellee Hooper, they looked to be among the city's big successes when they first emerged in 1987.

Robert Hastie is a little late for our meeting. Directing Shakespeare's darkest tragedy in London while also running Sheffield Theatres must sometimes cause a logjam of simultaneous demands, but whatever the morning's problem in the north of England, he remains smiling, relaxed, thoughtful and gracious during a break from rehearsals.

It’s a story of a mad old man who imagines himself to be a knight errant. On his quests he sees virgins in prostitutes and castles in roadside inns. His adventures have spawned an adjective that describes delusional idealism, typified by the activity of tilting one’s lance and charging at windmills one has mistaken for an army of giants.

Classical musicians spend much of their lives inhabiting the realms of the past. To effectively practise and perform the music of Bach, Brahms, Beethoven and countless others, performers must combine research and personal intuition to time travel into the era of these great composers’ lives. After months of exploration, as one begins to comprehend the social customs, politics and science of the era, a clearer understanding of the composer's individual personality and musical aesthetic begin to emerge.

Classical music struggles to shrug off the perception of being something of a rarefied world. Or “hermetically sealed” as Charles Hazlewood, founder of the British Paraorchestra describes it. “Classical music has to break out from its ivory tower," says Hazlewood. That tower is exponentially harder to scale for disabled musicians looking to fight their way up, with all the extra logistical and attitudinal barriers they must contend with.

You get plenty of Dylan for your buck these days, with the Mondo Scripto exhibition currently at the Halcyon Gallery in London, and a totemic and arrestingly beautiful set of Jerry Schatzberg's photographs of mid-Sixties Dylan in all his fuzzy glory just published by ACC Art Books. And now, following on from last winter's gospel-era entry into the Bootleg Series, Trouble No More, comes another generous hawl from the tape archives.