Kabeláč: Eight Preludes, Motifs from Exotic Lands, Smetana: Dreams Jan Bartoš (piano) (Supraphon)

The Zurich International series at Cadogan Hall has turned into a horizon-expanding stage on which to catch those visiting orchestras that don’t always claim top billing in bigger venues. The hall’s welcoming acoustic shows off the sound and style of its guests as the grander barns might never do.

Necessity has to be the mother of invention for many operatic enterprises these days – and there are few with such inventive powers as those of Clonter Opera in Cheshire.

Its avowed aim is to be a platform for emerging artists and a bridge from conservatoire training to the professional world, and its track record in achieving that for nearly 50 years is impressive. This summer production in the theatre-on-the-farm brought 10 young singers together, bursting with talent, and entertained its audience well.

Isata Kanneh-Mason: Childhood Tales (Decca)

An evening of Mozart favourites in a landmark church on a sunny evening: that might suggest a perfect recipe for gently soporific tourist entertainment. Thankfully, not in the hands of Kristian Bezuidenhout and the English Concert. At St Martin-in-the-Fields, the South African-born Australian virtuoso of the period keyboard joined the Baroque orchestral powerhouse with which he collaborates as principal guest. Together, they stripped the varnish, and shook the dust, from two treasures whose sheer familiarity can render them in some way inaudible.

Why stage Don Giovanni in a post #MeToo world? That’s the question most frequently being asked about Mariame Clément’s new production for Glyndebourne and on its opening night she delivered a response that was as conceptually subtle as it was visually flamboyant.

It was very much the formula as before, as Jean-Efflam Bavouzet and Gábor Takács-Nagy moved their edition of the Mozart piano concertos a step closer to completion with Nos. 11, 12 and 13.

So why not rewrite The Magic Flute with a new text and a heavily reconstructed plot? After all, the original was just a pantomime, albeit one that embodied one or two big issues of the day (1791), but essentially popular theatre with a text by a well-known comic actor, Emanuel Schikaneder, who sang and acted in the first production.

Two intriguing themes and two great guest artists were offered by the BBC Philharmonic to their Saturday night audience in the Bridgewater Hall: the themes were what “classicism” really is, and the variety of music inspired by (or written for) dance.

Roger Norrington: The Complete Erato Recordings (Erato)