This will be the latest in Opera North’s acclaimed concert stagings of large-scale works, which have previously included Wagner’s Ring cycle, Puccini’s Turandot and Strauss’s Salome.

On one level, it's about Biblically informed good and evil at sea, in both the literal and the metaphorical sense. On another, the love that dared not speak its name when Britten and E M Forster adapted Hermann Melville's novella is either repressed or (putatively) liberated. The conflicts can make for lacerating music theatre, as they did in Orpha Phelan's production for Opera North.

While Bach's and Handel's Passions have been driving thousands to contemplate suffering, mortality and grace, this elegy for black lives lost over a century ago also chimes movingly with pre-Easter offerings.

Goethe's cosmic Faust becomes Gounod's operatic fust in what, somewhat surprisingly, remains a repertoire staple. You go for the tunes, hoping for the world-class voices to do them justice and prepared for a pallid quarter-of-an-hour or two.

For the final, and only UK, date of his Vinci Arias tour, virtuoso countertenor Franco Fagioli gave an animated and arresting recital of baroque arias at Birmingham Town Hall on Sunday afternoon with the Italian period instrument group Il pomo d’oro.

The Royal Northern College of Music’s spring opera is a theatrical triumph and musically very, very good. It’s 27 years since they last presented what Vaughan Williams called his "morality" – that was a triumph too, and they made a CD of it which I still have. They may not be issuing a sound recording this time, but as an experience in the theatre, it is even more compelling.

If you can’t put a name to any of Jack the Ripper’s victims – and spin it however you please, victims they remain – then you shouldn’t buy the publicity about this new opera "bringing dignity back" to the murdered women in question. Isn’t it time to stop feeding the troll/killer, much as Jacinda Ardern did so swiftly and movingly under different circumstances last week, and let the five eviscerated corpses return to dust in peace? Composer Iain Bell, disturbed by their fates from an early age, sincerely thought otherwise.

It might be the nature of Handel's operatic beasts, but performances tend to fall into two camps: brilliant in the fusion of drama and virtuosity, singing and playing, or boring to various degrees.

A crash, a scurry, a long, lilting serenade – the overture to Rossini’s Elizabeth I sounds oddly familiar. Not to worry. English Touring Opera has anticipated our confusion. “You may recognise this overture” flash the surtitles, to a ripple of laughter, before explaining that yes: this is essentially the same piece, originally composed in 1813 for Aureliano in Palmira that ended up attached to – of all things – The Barber of Seville.

When "Maestro" Riccardo Muti left the Royal Opera's previous production of Verdi's fate-laden epic, disgusted by minor changes to fit the scenery on the Covent Garden stage, no-one was sorry when Antonio Pappano, the true master of the house then only two years into his glorious reign, took over. He's now unsurpassable in the pace and colouring of the great Verdi and Puccini scores.