What does it mean to have a voice? And what does it mean to lose it? Those are the questions the award-winning Sound Voice Project has explored – through research, collaboration and live performance – since its beginnings in 2016. The latest incarnation of composer Hannah Conway’s project is as “immersive digital opera performance installation”.

Most of us have been there: an impasse in a marriage, a bereavement in a dysfunctional family. Leonard Bernstein certainly had when he composed Trouble in Tahiti in 1952, basing the unhappy couple on his own parents and even the incipient problems in his own relationship with Felicia Montealegre (see the superb film Maestro), and 30 years later the sequel, A Quiet Place, when Felicia’s early death from cancer had left him unhappy and guilty.

Emotional truth is elusive in Tchaikovsky’s “lyrical scenes” after Pushkin’s verse-novel. Overstress every feeling, as conductor Henrik Nánási did last night, and you leave some of us in the audience feeling manipulated. Play it cool, which is what we mostly get in Ted Huffman’s new production, and the heart is similarly untouched.

Later this autumn Richard Eyre’s La Traviata celebrates its 30^th birthday. Not bad going for the director’s first ever foray into opera – a genre he admitted holding an “unreasonable prejudice against”.

When will the Royal Opera give us a totally electrifying Carmen, rather than just a vocally perfect Carmen (as Aighul Akhmetshina surely is)? Supposed firebrand Damiano Michieletto’s production is mostly tepid after Barrie Kosky’s half-brilliant take. Kosky didn’t seem to care for his Don José or Micaëla, but as this officer turned smuggler fails to develop and the girl from his village is a plain-Jane cliché, there’s not much improvement on that front.

Abandon hope of the human comedy so precisely charted in Hilary Mantel’s related historical fiction The Giant, O’Brien, prepare for a vision of outsized body and soul revealed in sleep, and your patience will be rewarded. Sarah Angliss’s haunting Giant, premiered at last year's Aldeburgh Festival, is perfectly served by her own soundscape, a dedicated team of musicians and Sarah Fahie’s pitch-perfect production.

Those were happy days back in 2014 when, justifiably flushed with the success of the Royal Opera’s Tristan und Isolde revival, director Christof Loy, music director Antonio Pappano and soprano Nina Stemme mooted possibly the toughest role challenge of them all, that of Strauss and Hofmannsthal’s vengeful obsessive Elektra. Yet nearly a decade is a long time in the life of a dramatic soprano, and on last night’s evidence, it's come too late in London.

Choosing a limited best seems almost meaningless when even simply the seven operatic experiences I've relished in the run-up to Christmas (nothing seasonal) deserve a place in the sun. But in a year which has seen Arts Council devastation versus brilliant business as usual where possible, English National Opera – faced with “Manchester or die” – needs the first shout-out for doing everything the moneygivers want it to.

“Tell me,” The West Wing’s President Bartlet (Martin Sheen) asks of a right-wing TV host who uses the Bible to call homosexuality an abomination, “I’m interested in selling my youngest daughter into slavery as sanctioned in Exodus 21.7… What would a good price for her be?” He might also have cited Judges 11 and asked about sacrificing his daughter as thanks for victory over his enemies, the position of Israelite Jephtha having massacred the Ammonites.

Let’s set aside, to begin with, the question of the concept, other than to praise it as consistent. Most vital about this brave new Rheingold is the vindication of director Barrie Kosky’s claim that “what makes a Ring production interesting is the detailed work within the scenes between the characters”. With a conductor as intent on clarity and meaning as Antonio Pappano, and a true ensemble of performers willing to go along with him and Kosky, the battle is three-quarters won.