A concert of Brahms chamber music I could understand, especially given a balance between early and late. An evening of orchestral Brahms, with or without voices, needs much more special pleading. It didn’t get nearly enough last night. An expanded Orchestra of the Age of Enlightenment, including nine very vigorous double basses – where did the extra players come from?

What a difference seven years can make to a budding genius. Mozart’s La finta giardiniera (1775) has only patches of brilliance, and last year’s Glyndebourne production, despite musical excellence, failed them all.

As I sat, engaged and occasionally charmed but not always as impressed as I’d been told I would be, through violinist-animateur Richard Tognetti’s lightish seven-course taster menu of string music with the Orchestra of the Age of Enlightenment, it was worth bearing two things in mind. One was that this happened to be merely the official zenith of a truly enlightened three-part project; on Monday, parts of the programme had been played first to educate all ages and later to grab a young audience in more relaxed mode as part of the OAE’s pioneering Night Shift series.

There are two avenues down which to approach the well-kept flower beds of Mozart’s early operas. One is to be surprised how rarely the muse of fire which rages through Idomeneo, his first undisputed masterpiece, descends on a work composed just a few years earlier like La finta giardiniera (The Counterfeit Garden Girl), and that’s how I felt sitting through a performance of it for only the second time in my life.

Of all the epithets you could pin on that roast beef of Old England, William Boyce, “gamechanger” is one of the more unlikely. Like any good 18^th-century Englishman, this composer followed the widespread Italianate model of the late Baroque, infused it with Handel, and a swig or two of Purcell, and just got to work. Latterly he spent far too much time setting toadying odes for Britain’s Hanoverian kings; no chance for revolution there. 

Not every Yuletide fixture need be commercial and routine. Certainly St John’s annual Christmas Festival packs them in, but why wouldn’t it when the voices for the last two events, backed up by no less than the Orchestra of the Age of Enlightenment, are the best you could possibly find for the great monuments of Handel and Bach?

Readers who recall the 1872 Paris premiere of Offenbach’s Fantasio have had 141 years to wonder when its British debut would arrive. The long wait ended yesterday when Opera Rara, that valiant and necessary company dedicated to dusting off neglected beauties in concert versions and recordings, joined forces with its Artistic Director Sir Mark Elder and the Orchestra of the Age of Enlightenment.  One flick of the baton and the overture began, with two limpid flutes gracefully dangling arm in arm over the unison cellos’ bass line.