This is one of those few "absolutely perfect" works of art or nature one comes across in one's liftime. It's like Michelangelo's "David" or the best moonrise you've ever seen over a desert mountain. It's shocking, it's so good. It will leave you overwhelmed. I've never heard any other recording of Chopin come anywhere close to being as magic as this. Anyone who can do this kind of sorcery, if only once, should be showered with garlands and their name should be praised for centuries.

Murray Perahia's piano playing, like the great Mozart himself, will never go out of style. (Murray's unfortunate hairstyle on the cover, however, is an entirely different matter!) This is because Perahia's refreshingly direct, straightforward style will always be fashionable. Let the others bang away, speed up the tempo or add all their esoteric flourishes, I'll take Perahia's simplicity any day. On this early digital recording from 1983, the pianist again shines on Mozart's second-to-last Piano Concerto, the 26th, nicknamed the "Coronation" since it was written in honor of King Leopold II's momentous event.

Here's a deluxe package if ever there were one! Itzhak Perlman and Jorge Bolet join the Juilliard Quartet in a smashing performance of one of the most unusual works in all of music. Chausson's Concert (not "Concerto," please note) really is, in effect, a violin concerto in which the accompaniment is not the full orchestra but a piano quintet. Add to that the fully symphonic form of the piece, and the result is a unique musical creation that remains one of the chamber-music repertoire's best-kept secrets. Listen to this recording, and you'll be amazed that the music's not better known.

This recording is clear, sharp and well-executed. The last two numbers with Katia Ricciarelli are stunning. She has a clear and lush voice with a dark, luminous quality that is finer than any clarinet. I could not get enough of her singing "Tanti affeti" at the end of the opera. What an incredible soprano. Certainly Joyce DiDonato is the current reigning Rossini mezzo but she (Ms. DiDonato) sings this at a slower tempo, with more ornamentation, perhaps to display her gifts better, though I think with less overall emotional impact.

The Man Who Mistook His Wife for a Hat is a chamber opera based on Oliver Sacks's book of the same name. A true story, it takes the form of a neurological case-study; Dr P, a professional singer, suffers from visual agnosia—an inability to recognize or make sense of what he sees—and the opera describes in simple, unpretentious dialogue two consultation sessions during which the other two characters, the neurologist (Dr S) and the patient's wife (Mrs P), by way of a sequence of tests and conversations, gradually penetrate the mystery of the symptoms.

In the words of a survey of nineteenth-century Italian opera, published by the Corriere della sera to mark the turning of the century, Mascagni was "condemned to a masterpiece": after the triumph of Cavalleria rusticana nothing less would do. He lived for another 55 years, and although some of his 14 subsequent operas were immensely successful for a while (he claimed that Iris was better received than Cavalleria, and there was a near-riot of enthusiasm at the premiere of Il piccolo Marat) none was judged by the critics to be the awaited 'masterpiece', and nearly all had fallen from the repertory by the end of his life.

With SOLO PIANO, Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. Here, Glass' connection to the established "classical" tradition is most evident. Though his pieces are "minimal" (subtly altered repeated patterns or melodic motifs), yet they have an unsentimental beauty and heartfelt grace that one would hear in J.S. Bach's English Suites, as well as the piano music of Chopin and Erik Satie.