Die Zauberflöte rarely attracts the plain cooks of the operatic world. Mozart’s farewell opera chucks so many highly-spiced ingredients into its outlandish pot – pantomime and parable, burlesque and ritual – that many productions opt for one show-off recipe that promises to unify all its flavours into a single, spectacular dish.

One of the most memorable moments in Ron Howard’s documentary about Luciano Pavarotti is one of its earliest scenes. It’s a chunk of amateur video shot when Pavarotti visited the Teatro Amazonas in Manaus, a splendid Belle Epoque structure in the midst of the Amazonian jungle.

One of the features of the converted barn that forms the theatre at Longborough is a trio of statues that tops the front pediment of the building: Wagner, flanked by Verdi on the right and Mozart on the left. No one could question Wagner: Longborough has done him proud.

It’s the saddest music in the world: the quiet heartbeat and falling melody with which Tchaikovsky opens his opera Eugene Onegin. Imagine a whole society, a whole lifetime of solitude, longing and disillusion, evoked in a single bass note and a few bars of tearstained violin. And then imagine it sustained over three acts. Is there another 19th century opera score that matches music to drama so simply, and yet so unerringly?

On paper, this might seem like a revival too far, a production clearly intended as a vehicle for world-class singers being tacked on the end of the Covent Garden season, and without any big names in sight. But it turns out that Laurent Pelly’s staging, now in its fourth London return, has enough charm and substance to justify an outing with lesser names.

The famous ambiguity of Henry James's The Turn of the Screw is whether the ghosts that take possession of the two children are real or merely figments of the young Governess’s imagination. Britten’s opera resolves this unequivocally in favour of their reality: they appear alone together, and generally materialise so solidly that it never occurs to you to doubt their real existence.

Benjamin Britten's musical mystery tour is still bringing young communities together to work with professionals at the highest level 61 years on from its premiere in a Suffolk church, and Lyndsey Turner's sweet production at Stratford must have been as much fun to be in as any. But Britten also had special concerns about communication, speaking eloquently about a "magic triangle" of three equal points - the work, the performers and the audience.

When you think of the extravagant, violent, super grown-up subject-matter that stalked the operatic stage round about 1900 - the Toscas and the Salomes, the Cavs, the Pags and the rest of the verismo pack - you might find it strange to contemplate the ageing Dvořák still messing around with fairies at the bottom of his woodland pool, a subject that surely went out with the early Romantics. 

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.