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Miraculous as Jonathan Harvey’s music is, it seems reductive to call Wagner Dream an opera. Half the cast, after all, don’t even sing, but act: it’s a sincere meeting of music and theatre in a way that opera usually isn’t.

Among the brilliant programming of The Rest is Noise festival in London, there was one concert this year that stood above all the others for me: the European première of Shostakovich’s opera prologue Orango. First discovered in an archive in 2004 by scholar Olga Digonskaya, Orango was never finished by Shostakovich, and indeed only a piano score remained.

Jonathan Miller and ENO’s iconic interpretation of Gilbert and Sullivan’s The Mikado has returned to the London Coliseum this Christmas, to the delight of G&S fans across the capital, including myself.

Sir, Madam, do you like your opera quirky? A singing mechanical doll? A giant shaving mirror? The Evil Eye itself in a piano? Then welcome to the inebriated, fantastical, phantasmagorical world of E.T.A. Hoffmann, brought to you by Mr. Richard Jones with a delightful musical accompaniment by M. Jacques Offenbach.

Baritone Thomas Hampson recently quipped that he'd try anything other than Gilbert and Sullivan, echoing the sentiments of many opera fans who are inclined to see the operettas penned by the Victorian duo as the preserve of amateur dramatic societies and school drama clubs. With this in mind, it was somewhat surprising to see Opera North create a new production of Ruddigore back in 2010.

Jonathan Miller's much-loved production of The Mikado for English National Opera is now 25 years old and well remembered. But not, I confess by me. My last experience of Gilbert and Sullivan was on the other side of the curtain, as a sister, cousin or aunt in a school production of HMS Pinafore, an experience sufficiently scarring that I resolved never to go to a G&S opera again.