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Nevill Holt Opera and Royal Northern Sinfonia offer a sumptuous production, with gorgeous singing, but one unafraid to make us confront the uncomfortable aspects of the plot.

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

Crowning this cycle came a truly magnificent performance of Götterdämmerung, centred very much on Richard Farnes and his orchestra.

While the Welsh were merrily slaying Belgians in Euro 2016, one dragon was on the receiving end at the Royal Festival Hall.

In Anna Russell's wittily deadpan analysis of Wagner's Ring cycle, she describes Wotan as “the head god” – pausing for dramatic effect before adding “and he's a crashing bore too.”

Opera North's cycle offers a form of personal Wagner therapy: all four music dramas in concert performances, but with carefully choreographed video and lighting effects. 

Excellent ensemble work makes for a compelling rendering of Britten's satirical chamber opera Albert Herring, with some impressive young tenor and baritone voices. 

La Calisto is a delicious mash-up of two classical legends: Jupiter’s seduction of Diana’s acolyte Calisto and Diana’s own romance with the shepherd Endymion. The plot is helter-skelter, Anne Ridler’s translation of Giovanni Faustini’s libretto is sassy and fun. I can’t imagine being more entertained by an evening’s chamber opera.