A series of three concerts performed by violinist Gidon Kremer and the Kremerata Baltica ensemble in Salzburg during "Mozart Week" at the Mozarteum on 31 January and 2 February 2002. On the program: Mozart's "Sinfonia concertante" and "Serenata notturna"; Arvo Pärt's "Mozart-adagio"; Alfred Schnittke's "Moz-Art à la Haydn"; and Teddy Bor's "McMozart's Eine kleine bricht Moonlicht Nicht Musik".

THIRD DAY OF THE RING CYCLE. Günter, the lord of the Rhine people, gives Siegfried a love potion that causes Siegfried to forget Brünnhilde and fall in love with Günter's sister Gutrane. Siegfried has given Brünnhilde the Ring as a token of their love, but her Valkyrie sister urges her to destroy it, because their father Wotan has lost his spear and power and is hiding out in Valhalla. Instead, Brünnhilde keeps it, and under the influence of the potion, Siegfried steals it from her. Enraged, Brünnhilde helps Alberich's son murder Siegfried, but Siegfried's memory returns, and he dies thinking of Brünnhilde. Brünnhilde repents and orders a funeral pyre to be built. She rides into the fire herself, and the Rhinemaidens get the ring back. The story closes with flames flickering about Valhalla in the background. Filmed at the Bayreuth Festspielhaus in June & July 1991.

Leonard Bernstein narrated by legendary screen star Lauren Bacall. The movie also relies extensively on Bernstein's own words to provide the counterpoint to the abundant visual material. Highlights include excerpts of Bernstein conducting masterworks by Beethoven and Mahler, as well as of the maestro with the New York Philharmonic in Moscow in 1959 before an audience which included composer Dmitri Shostakovich and the dissident poet Boris Pasternak. It also contains never-before-seen footage, such as outtakes from televised concerts and interviews. Among these special treats: the dashing 28-year-old maestro representing the U.S. at the 1947 Prague Spring Festival – possibly the earliest extant film of Leonard Bernstein.

Mozart Violin Concertos Nos. 4 & 5 Gidon Kremer(Violin) Wiener Philharmoniker, conducted by Nikolaus Harnoncourt Violin Concerto No.4 in D major, K 218 1. (0:29) 2. Allegro (8:31) 3. Andante cantabile (6:14) 4. Rondeau, Andante grazioso - Allegro ma non troppo (7:54) (Kadenzen und Eingänge von Robert D. Levin) Violin Concerto No.5 in A major, K 219 1. (0:27) 2. Allegro aperto (9:21) 3. Adagio (10:16) 4. Rondeau, Tempo di Menuetto (9:31) (Kadenzen und Eingänge von Robert D. Levin)

Felicity Lott, Anne-Sofie Von Otter, and Kurt Moll star in this production of Richard Strauss' opera, staged in Vienna in 1994. A romantic comedy of errors. Princess von Werdenberg must hide her affair with Octavian from her family; when he disguises himself as a chambermaid to avoid scandalizing the Princess, he is pressed into presenting a gift to Baron Ochs von Lerchenau, who has arrived to propose marriage to Sophie von Faninal. However, Ochs soon finds himself infatuated with the chambermaid, much to Octavian's chagrin, which proves to be only the first of a long series of romantic misunderstandings. This production of Der Rosenkavalier is performed by the Vienna State Orchestra and Chorus, under the direction of Carlos Kleiber.

As one of the youngest winners ever in the International Frederick Chopin Piano Competition in 1975, Krystian Zimerman went on to an international career and has performed with all major orchestras and conductors. This 1987 film captures Zimerman at the height of his powers in riveting performances of Chopin and Schubert.

Lehar romantic operetta set in Russia about a beautiful dancer who is set up to attract a tsar's son, and they fall in love. Beautiful settings and wonderful music.

Carmen is an opera in four acts by the French composer Georges Bizet. The libretto was written by Henri Meilhac and Ludovic Halévy, based on a novella of the same title by Prosper Mérimée.

Either as director and pianist, or when combining the roles, Uchida lives every note, and the contribution from the orchestra is a vital one, not least from characterful woodwinds and with horns, trumpets and timpani adding a distinctive presence. Uchida's pianistic clarity and incision, and her unforced identification with the music, equates to the sort of playing that makes one listen to seemingly familiar music with fresh ears and to appreciate how an artist, even one as individual as Uchida, can search music but not dominate it . . . With crisp, well-balanced sound . . . this is a recommendable release