Phaeton was first produced not at the Palais-Royal Theatre in Paris but modestly at Versailles in January 1683. In the spring of that year it transferred to the Palais-Royal and was well enough thought of to enjoy revivals at regular intervals into the early 1740s. Indeed, rather as Atys became known as the ''King's opera'' and Isis as the musicians', Phaeton acquired its sobriquet, ''the opera of the people''. Among the many attractive airs ''Helas! Une chaine si belle'' (Act 5) was apparently a favourite duet of Parisian audiences, while ''Que mon sort serait doux'' (Act 2), another duet, was highly rated by Lully himself. In 1688 Phaeton was chosen to inaugurate the new Royal Academy of Music at Lyon where, as Jerome de la Gorce remarks in his excellent introduction, it was so successful ''that people came to see it from forty leagues around''. The present recording is a co-production between Erato and Radio France, set up to mark the occasion of the opening of the new Opera House at Lyon.

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An unassuming mystery writer turned sleuth uses her professional insight to help solve real-life homicide cases.

When this impressive box set was first released in 1991, it put the capstone upon Tony Bennett's remarkable return to prominence by looking back at a legacy that had been overshadowed by that of the colossus Sinatra. The collection methodically traces his career from his first Columbia record, "Boulevard of Broken Dreams," in 1950, through the hit singles and key or capriciously selected album tracks up until 1972. Then, after borrowing three tracks from Fantasy's 1975 Tony Bennett/Bill Evans project (including an exquisite "Some Other Time" with a "Peace Piece" introduction from Evans), the box leaps 11 years ahead to contemplate Bennett's unlikely resurrection as an icon of the cynical young.

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