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Tara Erraught offered a programme that combined well-known arias with obscure German Lieder, showing off a voice strong in technique and colour that left the audience wanting more.

It’s time to stop talking about James Levine’s comeback. After a scintillating return to Carnegie Hall in May and a fleet, immaculate Così fan tutte at the Metropolitan Opera in September, Levine has proven what he never really had to: his powers have not waned in his absence from the podium. Given sensible scheduling and interesting repertoire, we can focus once again on his music-making.