Last time I was in a Wigmore audience for a Sean Shibe recital, his electric-guitar second half had many regulars fleeing the hall (he later said that the amplification had been meddled with – it was too loud, though the work in question, Georges Lentz’s Ingwe, was always going to be a stunner).

Some production concepts seem so obvious, in retrospect, that you wonder why they haven’t been tried more often. Traffic hums in the foreground in the opening shots of Grange Park Opera’s new film of Ravel’s L’heure espagnole, the passing cars reflected in the window of an antique clock dealer’s store. Ticking fills the soundtrack as we dive inside, like Mr Benn entering his magical shop; at the same time, the piano sounds Ravel’s perfumed opening chords. Reality or fiction? Opera or documentary?

Jonathan Bloxham makes his debut as conductor with the Hallé Orchestra in the third of the Hallé’s Winter Season concerts on film.

For the performers and the venue there can be nothing but praise. To be back in Kings Place’s Hall One after so long was to realise afresh that no other London venue gives such air to soaring strings – and these ones truly did soar and gleam. For the programme, not quite so much.

Berliner Philharmoniker/Kirill Petrenko: Music by Beethoven, Tchaikovsky, Franz Schmidt, Rudi Stephan (Berliner Philharmoniker Recordings)

Colette’s sharply fantastical libretto for Ravel’s second one-act opera imagines wrongs exercised upon objects and animals by a naughty child revisited by the victims upon the perpetrator.

Nobody would wish it this way, but orchestras playing on a stage specially built-up for distancing to a handful of invitees have never sounded better in the Royal Festival Hall.

Gabriela Montero: Piano Concerto No 1, ‘Latin Concerto’, Ravel: Concerto in G Gabriela Montero (piano), The Orchestra of the Americas/Carlos Miguel Prieto (Orchid Classics)

It’s the age of the mixtape. And of the Only Connect sequences round.