Popular operatic love stories by Puccini, Wagner and Mozart dominate the regional scene in 2012, but key talents like producer Tim Albery in Leeds, Lothar Koenigs in Cardiff and David McVicar in Glasgow all promise significant stage experiences.

Who is more likely to be an operatic creature of flesh and blood: Puccini's young diva, unexpectedly caught up in the infernal machine of a lustful tyrant, or Tchaikovsky's teenager impetuously pouring out her soul in a love letter to a man she's just fallen for? Usually, you'd go for Tatyana over Tosca every time. At ENO it's currently the other way round.

It’s easy to accuse opera companies in these straitened times of wanting to play safe. Opera North’s 2011-12 season is slightly slimmer than one would expect, but includes five new productions, and the revivals fully deserve their resurrection. Ruddigore is one. Tim Albery’s 1950s update of Madam Butterfly, first performed in 2007, is the other, and it's been given a classy resurrection here.

You don't need to buy into the loose hell-purgatory-paradise trajectory of Puccini's one-act operas to greet the triptych as his comprehensive masterpiece, full of wry interconnections, orchestral wizardry and grateful if tough vocal writing.

The Swiss-born Sicilian tenor has died, far too young at the age of 43, 10 days after an accident on his Vespa. He was one of the best and most stylish of his rare breed, even if the scrummage to find an heir to Pavarotti sometimes pushed him into a corner. I'll not forget his Alvaro in Verdi's La forza del Destino at Covent Garden: here after so long was another true Italian tenor with a golden middle range who could at least act with his voice.

It may have taken her until 2005 to get her Wigmore Hall debut, until 2006 to break onto the stage of the Royal Opera House, but at 53 Susan Bullock has finally arrived, claiming the crown of soloist for this year’s Last Night of the Proms, a firm foothold at Covent Garden and her rightful place as Britain’s finest dramatic soprano. For a singer who “started singing by mistake”, whose musical training began in a council house in Cheshire on a piano rescued from the local rubbish dump, it’s no small achievement.

Vignette Productions is a bit of a one-off in the operatic world. It was established three years ago by the rising young British tenor Andrew Staples, his mission to create operas that were more exciting and told better stories than those generally on offer. Staples directs rather than sings; his casts are made up of young unknown singers, and the productions to date certainly fulfil the original aim. Last year, their summer production of Cosi fan tutte had the audience sitting in deckchairs atop of six tons of sand and ended with a beach party. With that in mind, a bit of youthful wackiness was absolutely to be expected, nay joyfully anticipated, from La bohème this week. Wacky it was too, and in a very good way.

With opera houses in Britain now ringing to the four-letter cries of Anna Nicole and Two Boys (not to mention the rather more elderly, but no less explicit utterances of Le grand macabre) verbal taboos it seems are a thing of the past. Yet one word remains tainted, perpetually and immutably filthy, never to be voiced in polite cultural company: operetta. Whether or not Puccini’s La rondine actually falls into this genre is debatable, but like the heroine at its heart we shouldn’t allow this silken embrace of a work to be tarnished by a label, however obscene.