It’s a clever decision to pair Lennox Berkeley’s A Dinner Engagement with Leonard Bernstein’s Trouble in Tahiti. The first is all about happily-ever-after, while the second is all about what happens next. The optimistic grime and smog of 1950s London gives way to the shrink-wrapped brightness and professional happiness of the suburban American dream, smiles freeze into toothpaste-commercial grins and love curdles into quiet domestic despair.

As midsummer night’s dreams go, it would be hard to surpass the darkly enchanting collaboration between Sir Simon Rattle and Peter Sellars that will bring The Cunning Little Vixen to the Barbican again this evening and on Saturday. Janáček’s spellbinding vision of humans and animals caught up in the inexorable cycles of nature and time has its rough and scary side, of course. And you will probably hear and see gentler, more obviously charming, versions of the opera that in 1924 proclaimed Janáček’s late-life burst of untamed creativity.

If ever there was an instance of the great being the enemy of the good, it happened after all the live singing on Saturday night. This year we all remember, with sadness for his early death and amazement at his burning, burnished talent, the Siberian baritone Dmitry Hvorostovsky (1962-2017), winner in 1989.

Politics, in case you may not have noticed, has been in the air of late: questions of escape, release, borders, refugees, things like that. So WNO’s June season of operas about freedom has been suspiciously well timed. We’ve had the dead man walking (Jake Heggie’s opera, but you may have your own candidate), we’ve had Menotti’s visa opera The Consul, Dallapiccola’s study of hope deceived in Il prigioniero, and Beethoven’s of despair conquered by woman in Fidelio. 

Cut almost anywhere into the lesser-known seams of Handel’s oratorios and you may strike plentiful nuggets of the purest gold. It may not be quite the case that Handel's Belshazzar, its score studded with nearly-forgotten musical treasures, has entirely disappeared from view.

Divorced, beheaded, died; divorced, beheaded, survived. Anne Boleyn is number two on the list, so anyone who can remember even that much Tudor history can guess that Donizetti’s Anna Bolena is not going to end well.

Suppose you're seeing Musorgsky's selective historical opera for the first time in Richard Jones's production, without any prior knowledge of the action. That child's spinning-top on the dropcloth: why? Then the curtain rises and we see Bryn Terfel's troubled Boris Godunov seated in near-darkness, while a figure with an outsized head plays with a real top in the upper room before being swiftly despatched by three assassins. The playback repetitions are the thing to catch the conscience of the tsar-king.

Shoving a child-eating drag-queen witch into an oven can't be good for any kid's psyche. Director Timothy Sheader doesn't let us forget it in a production which nevertheless treads a fine line between the darkness of the Grimm story and the fairytale incandescence which is a given of this masterly opera.

“For I have found Demetrius like a jewel. Mine own, and not mine own.” Mine own and not mine own. This idea of transfiguration, of things familiar but somehow altered – is the spark that animates both Shakespeare’s A Midsummer Night’s Dream and Britten’s adaptation. Uncanny, Freud would have called it. There may be magic and naughty sprites, laughter and happy endings, but this is no fairy story. You only have to listen to those slithering glissandi in the cellos at the start of Britten’s opera to know that all is not wholesome in this particular garden.

If you go to a British country house opera to see a work about an addict and a cripple in a poverty-stricken Deep South tenement, you know the contrast between stage and garden marquee will be extreme. Seeing Gershwin’s Porgy and Bess at Grange Park Opera was never going to be a comfortable experience. But “no use complainin’ ” – it is a splendid show in surroundings that are almost too pretty to be true.