These recordings are with two different orchestras (Mahler 1st with the Chicago Symphony and the 8th with the London Philharmonic). Tennstedt's live performances are much better than his studio versions of the same works, and it's wonderful to watch him coaxing what he wants from the players. Even though he conducts from the score rather than from memory, he always seems to be directly connected to the orchestra in an almost magical way. The sound is good in both performances, and there is a sense, on both occasions, of being present for something quite special. These are great performances.

Screen adapatation of Mozart's greatest opera. Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Anna's father, the Commendatore, (whom Giovanni killed) makes his appearance. He offers Giovanni one last chance to repent for his multitudinious improprieties. He will not change his ways So, he is sucked down into hell by evil spirits. High drama, hysterical comedy, magnificent music!

Richard Strauss's opera, from the Royal Opera House, Covent Garden.

A possible impostor torments a newly crowned medieval czar who may have ordered the real successor's death.

Recorded live at the Royal Opera House, Covent Garden, London on 2 June 1992.

Leonard Bernstein made these recordings during his wonderfully productive collaboration with the Wiener Philharmoniker in the mid-1970s when he was at the peak of his career. Humphrey Burton's direction is, as always, very fine, giving the viewer/listener both the larger picture and highlighting individual soloists, players or groups of musicians and, of course, the maestro. The video and audio tracks show their age, but are quite acceptable even for today's standards. Bernstein's Seventh is everything one could desire: dark and spooky, highly sensual, but also structurally strong and assertive where needed. Bernstein's reading does not gloss over breakdowns in tonality and the foreshadowing of later musical developments.