Jacqueline du Pré: The Complete Warner Recordings (Warner Classics)

Irish soprano Jennifer Davis, a stunning Elsa in this Royal Opera season's revival of Wagner’s Lohengrin, was the lure to sit through Jan Philipp Gloger's Mozart Così again (the title, by the way – "All Women Do It" – belies the complexity applied to a schematic plot). As it turned out, the mixed-up couples were all love’s young dream, which made it all the more of a shame that this production remains determined to squash their hopes and even their new matches.

The scene is Monte-Carlo, around the beginning of the last century: a carefully observed world of cloudless skies, glittering seas, high society and careless privilege shared with Death in Venice. John Cox’s staging works in cool harmony with the timeless, dangerous comedy of sexual politics devised by Mozart and da Ponte – and with the specifically English culture of country-house opera.

After two years of Covid-affected performances – even though there was a full season last year – Glyndebourne's annual festival is finally back in full glory. Following the big blaze of Saturday's The Wreckers, Sunday welcomed back Michael Grandage's durable production of a signature treasure, Mozart’s The Marriage of Figaro.

Mozart, Hummel and Vanhal – Bassoon Concertos Sophie Dervaux (bassoon/conductor), Mozarteumorchester Salzburg (Berlin Classics)

Mahler: Symphony No. 4 Czech Philharmonic Orchestra/Semyon Bychkov,with Chen Reiss (soprano) (Pentatone)

With reference to smiles beginning to emerge from behind our masks, Mark Wigglesworth, the Bournemouth Symphony Orchestra’s new Principal Guest Conductor, wrote the most hopeful and optimistic note of welcome in the programme for this concert featuring Mozart’s Piano Concerto No 22, K482 and Schubert's “Great” C major Symphony.

Although the large auditorium of Lighthouse, Poole may not offer the most favourable scale and intimacy for a chamber recital, the high quality of communicative chemistry and performance readily reached out to engage and hold the audience spellbound for the whole evening.

If Don Giovanni is not the greatest opera ever written, it’s at least one of the very, very few that even in erratic performances have the capacity to seem it.

One of the galvanizing wonders of the operatic world happened when David McVicar’s production of Mozart’s The Marriage of Figaro was new, back in 2006: the sight and sound of Royal Opera music director Antonio Pappano in seamless dual role as conductor and recitative fortepianist.