This tragicomic romp is loosely based on a bizarre footnote in Spanish history. The Italian Duke Amadeo was offered the throne after the previous occupant’s violent overthrow. But when the kingmaker who invited him was assassinated just before his 1870 coronation, the new monarch went from guest of honour to gatecrasher at a convoluted constitutional party, where the last thing anyone wanted him to do was rule.

Having served her time as dutiful, self-effacing Anna Bates in Downton Abbey, here's Joanne Froggatt grasping with both hands the role of Mary Ann Cotton, "Britain's first female serial killer". No more wearing herself out desperately trying to save Mr Bates from the gallows. This time she's turning the tables, and making sure useless men aren't going to hold her back any longer.  

It felt oddly disrespectful showing up in time for Schumann's wake on the fifteenth and final day of this year's Oxford Lieder Festival. Having started with the early piano music and many of the chamber works before moving on to Schumann's annus mirabilis of song, 1840, with frequent leaps backwards to influences and forwards to the influenced, pianist Sholto Kynoch’s labour of love reached the troubled final years dogged by whatever that insanity for which Schumann was institutionalised might have been – bipolarity, syphilis, poisoning for the mercury used in its treatment.

What a relief to find Semyon Bychkov back on romantic terra firma after his slow-motion Mozart at the Royal Opera (performances speeded up somewhat, I'm told, after a sticky first night). On his own, dark-earth terms, there's no-one to touch him for nuanced phrasing, strength of purpose and the devoted responsiveness he wins from the BBC Symphony Orchestra - foot-stamping its approval at the end, a rarity - in Tchaikovsky and Rachmaninov.

It's harder for young professional musicians to be judged in standard repertoire – the very greatest music, in short – than to make their mark tackling the unknown in a wacky venue. High levels of energy and technical skill married to interpretations with something to say are what it takes, and what we got from the London Firebird Orchestra last night.

One down, eight childbirths to go. The young Queen Victoria was delivered of her first child at the climax of this moreish opening series, and the bells of Windsor tolled for joy. ITV, debutant scriptwriter Daisy Goodwin and biographical consultant AN Wilson will be feeling parental pride that between them they have given birth to a healthy 10-pound whopper that looks very much like the natural heir to Downton.

The new season at the Royal Liverpool Philharmonic is focusing on revolutionaries. Bach, Beethoven and Berlioz all feature strongly over the next few months, as will Stravinsky and – where else but Liverpool? – The Beatles.

Given the fractious state of American politics, perhaps it's a suitable moment for a movie taking a look back at the American Civil War. However, despite heaving at the seams with good intentions and noble sentiments, Gary Ross's Free State of Jones ultimately can't justify its debilitating 140-minute running time.

The indefatigable Victorian spinster Marianne North (1830-1890) is the most interesting artist you've never heard of. The upper-middle-class Ms North thought marriage a terrible experiment, and with her single state allowing her control of her fortune, she took to cultural and physical independence. Her rich landowner father, Frederick, MP for Hastings, knew everyone who was everyone, including Sir William Hooker, director of Kew. 

All musicians have particular musical passions, composers, styles or genres to which they are irresistibly drawn. I have many – almost too many at times; but among the most enduring is my love for the music, writing and personality of Robert Schumann. Another important aspect of my musical life – another passion, in fact - is the work I get to do with young musicians.