On a dreary evening in what passes for summer, the news unutterably grim, an evening in the company of South Africa’s greatest export can’t help but lift the spirits. The nine singers that comprise Ladysmith Black Mambazo are mostly blood family, sons of Joseph Shabalala - who founded the group in 1960 following a series of dreams in which he heard traditional Zulu isicathamiya - their cousins and two friends, and what an amazing stage act they are.

Sacred and profane, trivial and profound blissfully combine in this irresistible, Olivier Award-winning tale of choirgirls gone wild. Lee Hall, of Billy Elliot fame, adapts Alan Warner’s 1998 novel with a similarly shrewd grasp of youthful hope amidst challenging circumstances, and with the arts once again proving a vital escape – albeit, in this case, temporarily.

On paper this was a knockout concert: Gramophone Award-winning Belgian ensemble Vox Luminis teaming up with the wonderfully gutsy Freiburg Baroque Consort to perform Monteverdi’s Vespers in the composer’s 450^th anniversary year – one of the highlights of this year’s London Festival of Baroque Music.

This is a bit of a curiosity. Kasai Allstars were bought to our attention by producer Vincent Kenis almost a decade ago, after he’d had great success with those masters of the amplified thumb piano cacophony, Konono 1.

Not your usual blockbuster for Holy Week, this. In other words, neither of the Bach Passions but a Requiem, and not – these days, at any rate – one of the more often-performed ones (it's not among the 79 works listed in The BBC Proms Guide to Great Choral Works).

Having just celebrated a birthday the wrong side of 50 years of age I confess to regularly pinching myself when I dare to look back and see the higgledy-piggledy route my life has taken to bring me to the present day, as we celebrate 15 years of Tenebrae. Not just the odd lucky break here and there but seemingly a lifelong sequence of odd twists and turns, of chance meetings and associations, every one of which has resulted in me landing at the current co-ordinates of life.

Five seconds of cadenza in Mozart's Exsultate Jubilate would be enough to tell you that there's no more magical stylist among sopranos than Lucy Crowe. In an evening of Allelujas, Glorias and heartfelt Amens beautifully modulated by director of sprightly La Nuova Musica David Bates - henceforth David Peter Bates - hers was the central spot, and you wanted it to go on for ever.

Bach: Christmas Oratorio Dunedin Consort/John Butt (Linn)

Add three natural trumpets, flawlessly wielded, to chorus and standard period-instrument orchestra, and the seasonal spirit will flow no matter the context. It's true that Bach's Magnificat is not that common a visitor at this time of year - according to the Lutheran church calendar, July is the time to celebrate the pregnant Mary's paean to the Lord, though this spectacular also featured at Christmas in Leipzig with four interpolations - but then its rarity may also be because it challenges all but the best.

August 1914, September 2001, all of 2016: these are the dates Hungary's late, great writer Péter Esterházy served up for the non-linear narrative of his friend Péter Eötvös's Halleluja - Oratorium Balbulum. Its Hungarian premiere in one of the world's best concert halls, part of the astounding Müpa complex on the Danube in Budapest, was bound to challenge Prime Minister Viktor Orbán's anti-immigrant policy with the libretto's talk of borders and fences, and fear of the other.