Reviving Tim Albery’s production of Così fan tutte, now almost 20 years old, again at Leeds Grand Theatre, Opera North have a bet that’s as safe as Don Alfonso’s in the story – that “Women are all the same”. It’s a sure-fire winner, and the best part this time round lies in the balance and contrast of both voices and personalities in the casting of the central pairs of lovers.

What Zoe Cooper has concocted in her loving rewiring of Jane Austen’s first completed novel looks at first sight like a knockabout satire of a satire. But her aim is more sober than that: a queer rereading of this text as she first experienced it as a student.

There’s a game called Whamageddon, where people see how deep into December they can go without hearing “Last Christmas”. I’m like that, but with the Bach Christmas Oratorio, and this year I made it four days. And who would want to wait any longer? Last night I was at the Voces8 Centre in London as part of a live audience for a concert also streamed in the ongoing Live from London series, started during the Covid summer of 2020 and continuing to flourish.

If ever a marriage was made in heaven, it would have to be the one between Lucy Crowe’s beleaguered Queen Rodelinda and Iestyn Davies’ King Bertarido, the husband she believes dead and almost loses a second time. The duet at the end of Handel’s gem-packed Act Two where they’re reunited and then separated again was peerlessly moving as they performed it last night in Saffron Hall with the vibrant English Concert under Harry Bicket (more about the circumstances later).

Fascinating for the history of opera, less so for opera. The most interesting thing about Gazzaniga’s take on the libertine and the stone guest, apart from a couple of sprightly numbers, is the libretto by Bertati, repurposed with better dramatic shape by Da Ponte for Mozart, whose masterpiece opened in Prague eight months after the lesser work’s Venice premiere of February 1787. We have a right, though, to witness Gazzaniga’s unadulterated original. This wasn’t it.

Sir Ridley Scott has taken umbrage at the French critics who weren’t too impressed with his new movie. Not only do they not like his film, but the French “don’t even like themselves”, according to the dyspeptic auteur.

“Tell me,” The West Wing’s President Bartlet (Martin Sheen) asks of a right-wing TV host who uses the Bible to call homosexuality an abomination, “I’m interested in selling my youngest daughter into slavery as sanctioned in Exodus 21.7… What would a good price for her be?” He might also have cited Judges 11 and asked about sacrificing his daughter as thanks for victory over his enemies, the position of Israelite Jephtha having massacred the Ammonites.

There was a good reason why Milton never added a Moderato, a “middle way”, to his masterly poems on mirth in bright day (L’Allegro) and more reflective pleasures by night (Il Penseroso), and a bad one why Handel allowed Charles Jennens to tack on his own ode to reason; neither poetry nor music should have much to do with pure intellect.

The showman was back – and, bless him, he can still sell every seat in a big hall even if the programme offers close on an hour and a half of unalloyed Bach.

The Basel Chamber Orchestra’s 21 string players on tour are an extraordinary set of musicians. Not only did they begin their programme in Manchester with Vaughan Williams’ Fantasia on a Theme by Thomas Tallis, requiring at times one-to-a-part playing to accomplish its multi-voice textures, but eight of them put down their instruments and transformed into a choir for the piece that followed.