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Recorded live at The Glyndebourne Festival Opera. Idomeneo, King of Crete, has been away from home during the long years of the Trojan War. Idamante, his son and now regent of the island, waits for his return, heralded by the arrival in Crete of Trojan prisoners. One of these prisoners is Ilia, daugher of the murdered King Priam of Troy. Idamante has fallen in love with Ilia, but is loved by Electra, daughter of the Greek King Agamemmnon, who has taken refuge in Crete. This production marked the operatic debut of Trevor Nunn. It has been much-acclaimed for its dramatic effect, blending Minoan Crete with the ritualistic delicacy of Japanese theatre. This dynamic stylisation is appropriately reclected in John Napier's considered and elegant designs. Bernhard Haitink conducts the London Philharmonic in a forceful account of the music.

Live from Glyndebourne 1983

Live performance from the Metropolitan Opera, 27 February, 1996.

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This program features the music of Broadway composer Stephen Sondheim in a 1992 performance at Carnegie Hall. An American Musical Theatre writer for over 40 years, Stephen Sondheim has created the scores for hits such as Passion, Assassins, Bounce, Into The Woods, Sunday In The Park With George, Merrily We Roll Along, Sweeney Todd and Pacific Overtures. Featuring: Liza Minnelli, Patti LuPone, Bernadette Peters, Glenn Close and many more.

Sir Neville Marriner conducts this 250th Anniversary performance. Soloists include Sylvia McNair, Anne Sofie Van Otter. The performance is supported by an informative background film "For Ever and Ever", explaining the circumstances behind the composition and the work's early impact, featuring contributions from the popular Handel scholar Professor H.C. Robbins Land and from Sir Neville Marriner himself. Recorded in 1992, this performance of Handel's awesome "Messiah" took place on the 250th anniversary of the initial rendition of the piece. Recorded at the Point Theatre in Dublin, Ireland, this is an especially poignant rendition as it takes place in the city where it was originally performed in 1742.

If there has been an "edit" somewhere on the music theatre scene since the dawn of the new millennium, which has been noted by the chroniclers as a tangible scandal - then the Salzburg festival production of the operetta "The Bat" by Johann Strauß, staged by Hans Neuenfels. Neuenfels, born in Krefeld in 1941 and long known as the "enfant terrible" of the theatre scene, was not the first within the reception history of the "bat" who dared to scratch their paint. This time there was not only an unconventional direction, but also serious interventions in the libretto. Neuenfels has written new dialogues, incorporating texts from other authors: Karl Kraus, Gottfried Benn, Hugo Ball. Conductor is Marc Minkowski.

Depicts the consumerism of the mythical city of Mahagonny, conveying all its ripe decadence. A Hollywood Babylon full of pyramidal towers, carved elephants, commodified sex and licensed gluttony. An opera in three acts, live from the Salzburger Festspiele, 1998. Conductor: Dennis Russell Davies. Stage Director: Peter Zadek.

Every woman wants him, every man wants to be him: Mozart’s version of the irresistible rogue who brings excitement with him and leaves destruction it his wake has always attracted top singing actors, as in this performance brilliantly led by James Levine. Samuel Ramey is Don Giovanni, pursued by the incandescent Karita Mattila (Donna Elvira) in her Met debut season and role, and by the white-hot avenging fury of Carol Vaness (Donna Anna.) Ferruccio Furlanetto delivers a masterful comic turn as the Don’s servant, Leporello.

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This is the historic concert performance of the final operatic version of Bernstein's Candide. It was recorded on December 13, 1989 at the Barbican Centre, with Leonard Bernstein conducting the London Symphony Orchestra and Chorus, with a stellar cast of operatic stars gracing the solo parts. The programme lasts a full 2hrs 27 mins. It marks the end of a long and tortured journey for the musical/operetta that spent much of its first 35 years as an orphan in the musical wilderness.

The Rake's Progress is an English-language opera from 1951 in three acts and an epilogue by Igor Stravinsky. The libretto, written by W. H. Auden and Chester Kallman, is based loosely on the eight paintings and engravings A Rake's Progress (1733–1735) of William Hogarth, which Stravinsky had seen on 2 May 1947, in a Chicago exhibition. Filmed in Aix-en-Provence, 1992.

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