The conflict into which Nick Hyde is plunged includes roving bands of militia who number in their ranks children, kidnapped and coerced into becoming soldiers.The theme of children who have had innocence torn from them has a resonance here quite as powerful as the fear about genetic engineering that McAuley addresses with his eponymous “White Devils” (ever more relevant, as “designer babies” continue to hog the headlines). She struts on to claim a dance with Farruco, and her shifts from flirtation to fellowship are lightly, grandly done.There are group numbers, soloists taking turns or sweeping on together For the finale, all the dancers circle around Farruquito. Farruco is a flashier performer than his brother, but he has tremendous force and speed. Richard Horton, the editor, declared the paper “fatally flawed” after Dr Wakefield confirmed his conflict of interest, and said that the part of it which linked MMR vaccine with bowel disease and autism would never have been published had Dr Wakefield declared his conflict of interest at the time.For Dr Wakefield, however, the disclosure of his undeclared link with the legal aid board is damaging, even though he maintained at the weekend that it made no difference to his findings.The events that led to his exposure began to take shape last Wednesday at the offices of Bell Pottinger, the top London PR firm, which represents him. But we have the music, and what music it is – each piece unique, yet formed in the same ephemeral sound-world with incisive intelligence and Mozartian precision, gently opening up what one critic called “the ironic and tender heart that beats under the velvet vest of Maurice Ravel” Perhaps that’s all that matters “Perfectionism is part of being secretive,” Larner comments.

“Ravel’s surface perfection ensures that you can’t see what’s hidden underneath. But that may be nothing more dramatic than being 5ft 2in.”‘Ravel: A Masterly Pupil’, Wigmore Hall, London WC1 (020-7935 2141), Sunday, 29 February, 11.30am & 4pm Pre-concert talk by Jessica Duchen at 3pm. Jessica Duchen’s biography of Faur?s published by Phaidon Press (£12). Yes, you read right. The last bastion of highbrow taste has been breached and rock’s domination is secure. In the same week the Darkness ruled the Brits, their hoary grandfathers took over Covent Garden

Yes, you read right. Not once since then has he deviated from his ambition to play louder and filthier than any other rock band.With fortunate timing, Lemmy is enjoying acclaim from a new generation of headbangers.

The Foo Fighter and former Nirvana drummer Dave Grohl has a new project, Brobot, that takes its dumb rifferama direct from Motorhead and Lemmy guests on their debut single.This is nothing new. The thrash metallers Metallica and sleazers Guns’N'Roses are two of the groups similarly inspired to keep music basic.Motorhead actually played the Floral Hall, a 450-seat glasshouse abutting the Opera House. Lemmy emerged in white tails with freshly washed locks, fag in mouth despite constant reminders this was a no-smoking venue.In the space of two opening numbers they laid down the template that has stood them well for all these years, either proto-thrash metal, along the lines of “We Are Motorhead”, or sub-ZZ Top boogie as with “No Class”. Lemmy, head forever tilted up to his high microphone, is one of rock’s great icons, unlike the rest of his band. Philip Campbell, the guitarist, could have been a roadie while Mickee Dee was your typical drummer in vest and bleached hair.Their sound though, was awesome as Lemmy’s bass and Dee’s frenetic patterns were lost in a steamroller sound that went through you.Numbers from the last decade, “Sacrifice” and “You Better Run”, were interchangeable with the fan favourites “Over The Top” and “Damage Case”. All stuck to tried and tested themes of war and death, sex and excess.Motorhead played one cover, a pummelling version of the Sex Pistols’ “God Save The Queen”. A set staple since 2000, when Lemmy finally saluted the punks who also appreciated his interest in basic rock’n'roll.

It would have been heart-warming to imagine he stuck it in for the lyrics, “because tourists are money”.. It always surprises me that Franz Welser-M?comes back to London after the beating he took (rather than gave) here through the 1990s when he was the not so well-loved principal conductor of the LPO. The temptation, you’d think, would be to shake the dust from his shoes and move on. All of which makes his visits back to Britain occasions for soul-searching.Did we misjudge him? Undervalue him? Perhaps. The visits back are usually successful and sold out, as was the case when he conducted the LSO in an odd programme of Sibelius’s 4th Symphony and the Mozart Requiem. The Sibelius is a hard-to-read piece: dark, evasive, inconclusive, like a voice heard from another room, withdrawn to partial incoherence.