For its latest production, unveiled on Sunday evening but recorded in November, Scottish Opera toys playfully with the absurdities of Covid-compliant performance practice. But maybe sensing our weariness with the whole business, it is not overdone.

Colette’s sharply fantastical libretto for Ravel’s second one-act opera imagines wrongs exercised upon objects and animals by a naughty child revisited by the victims upon the perpetrator.

Theatres are currently banned from moving scenery and props about on stage and you might expect this to present a major obstacle to a production of The Seven Deadly Sins. How else is the opera’s protagonist to be seen to visit seven American cities, succumbing to a different sin in each? But Opera North’s version of Kurt Weill’s 1933 “sung ballet”, in a new translation of Bertolt Brecht’s libretto, a new orchestration for 15 players and with new choreography by director Gary Clarke, has found unlikely inspiration in the restrictions.

“After black and gloomy night, the sun shines all the brighter,” sings hero Ariodante after a life-threatening bout of jealousy nearly scuppers a royal wedding. There’s a snag in Handel’s dramaturgy: all that sunshine in preparation for the nuptials in Act One isn’t really earned.

Poulenc’s La voix humaine comes close, but Bartók’s Bluebeard’s Castle has to be the perfect lockdown opera, this heady tale of two mismatched souls stuck in a confined space (admittedly an enormous one) alarmingly pertinent.

How does Mozart do it? His music can provoke deep emotions even in the unlikeliest operatic situations, if well done, and present circumstances stirred them up all the more on Sunday afternoon. Those flirtatious ladies flouncing around the prone prince in the first musical number of The Magic Flute – no overture here – only had to sing “although it breaks my heart in two/I have to bid farewell to you/until we meet again" for another tearful turn of the screw.

Throughout this most difficult of years, the Royal Opera has done the right thing for the singers on its Jette Parker Young Artists Programme. They were fortunate to finish the run of Handel’s Susanna before the Linbury Theatre closed down for over seven months (yesterday saw its reopening to a necessarily small audience).

Think you’ve seen enough of monologues and duets over the past few months? Watch this and reel.

It may be only six and a half months since many of us saw a production of Beethoven’s Fidelio in the opera house, but that was another world, and this post-lockdown admittance to Garsington Opera’s spacious, award-winning pavilion with its impressive acoustic was always going to be something extraordinary.

Picture the scene. A vast steel gazebo covers a nondescript parking lot next to an industrial unit in Glasgow. With a clear plastic covering, it is the most rudimentary of shelters, sides open to admit the roar of the M8 and the wailing of sirens, carried on a keen autumnal breeze.