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Àlex Ollé directs a rare version of Idoménée in Berlin, in which the staging fares better than the singing. 

In a city where period-instrument concerts are legion, performances by William Christie and his excellent ensemble Les Arts Florissants remain very special events, if only because their original programming brings a breath of fresh air in a country where, still too often, baroque music isn’t taken very seriously if it isn’t Bach.

Otto Nicolai’s very German take on Shakespeare’s The Merry Wives of Windsor was a big hit in the mid-19th century but has been infrequently performed since then, largely because Verdi’s version, Falstaff, completely eclipsed it.

Donizetti’s one act opera, Rita, composed in 1841 formed the first half of last night’s double bill at the Guildhall School of Music and Drama. The second half comprised another late work, Tchaikovsky’s Iolanta, composed in 1891 to a libretto by Tchaikovsky’s brother, Modest. Rita turns out to be far more entertaining than the plot outline promises and deserves to be more widely seen.