All of Rachmaninov’s music - from his earliest student compositions to his final masterpieces – has been collected together for the first time on 32 CDs, in what is definitively the most complete and comprehensive edition of Rachmaninov’s works ever released.

Sergei Leiferkus has a fine and distinctive baritone, but what makes him a truly exceptional singer is his formidable talent as an actor, and never has this been more persuasively captured on record than here. From his electrifying and chilling interpretation of Songs and Dances of Death, in which, as Death, he assumes four very different guises (vindictive, romantic, seductive and bellicose), to the bright, faux-naïf songs of The Nursery, where, with no sense of awkwardness, he affects an improbably high but convincingly childlike voice, rattling off the silly ‘ta-ta-ta-ta’s of ‘Hobby-Horse’ with aplomb, then slipping seamlessly into the familiar adult tone of the nanny or parent, he demonstrates daunting versatility.

This Sony-made 30CD classical music collection covers almost all classical music, from the early Baroque period represented by Bach to the schools of classical music by Haydn, Mozart, Beethoven and Brahms represent romantic, national and even modern musical schools led by Schubert, Schumann, Mendelssohn, Dvorak, Tchaikovsky, Chopin, etc. representative, everything wonderful and vivid.

Modest Mussorgsky's opera in prologue and four acts is performed by the Kirov Opera with performances from Olga Borodina, Alexei Steblianko and Sergei Leiferkust. Boris Godunov has obtained the throne of Russia by murdering the rightful heir Dmitry. An old monk, Pimen, witnessed this, and convinces his apprentice Grigory to avenge Dmitry's death. In the following years Grigory poses as Dmitry, raising an army against Boris, who is now convinced that he is being punished for the murder.

In terms of vocal power, lyrical beauty and idiomatic authenticity, the casting for this 1992 live recording of the Kirov production of Pique Dame ("The Queen of Spades") could hardly be bettered. Gegam Grigorian (Herman) hits his fearsome, anguished high notes with the accuracy of a laser and Maria Gulegina (Liza) has a voice the size of the QEII but uses it with great subtlety–her opening duet with Pauline floats like gossamer, and her declarations of love for Herman at the end of Act 1 are spine-tingling. Kirov superstars Sergei Leiferkus (Tomsky) and rich-toned Olga Borodina (Pauline) also sound divine.

Alessandro Corbelli takes the title role in Annabel Arden’s whirlwind production of Puccini’s compact opera, in which the scheming Gianni Schicchi retrieves for himself the spoils of a disinherited family to pave the way for his daughter to marry her love. As performed at Glyndebourne, Gianni Schicci is here combined in a double bill with Rachmaninov's dark setting of Alexander Pushkin's 'little tragedy'. The Miserly Knight, also directed by Annabel Arden and featuring an outstanding performance from Sergei Leiferkus in the role written for the great Russian bass Fyodor Chaliapin.

Olga Borodina sings the role of Dalila here too; her tone in the famous aria Mon cœur s'ouvre à ta voix is quite ravishing, and she is matched by an heroic performance from Plácido Domingo as Samson. James Levine has an expert grasp of the drama in this 1998 Elijah Moshinsky production from the Metropolitan Opera. There's also some luxury casting in the form of Sergei Leiferkus as Le Grand Prêtre de Dagon and René Pape as Le Vieillard Hébreu. (James Longstaffe)

A dream team had been assembled at London’s Royal Opera House for this 1992 performance of Verdi’s Otello. Placido Domingo, uninhibited in the use of his vast vocal power, was the commanding Otello; Kiri Te Kanawa a more sturdy Desdemona than the fragile female often portrayed, while Sergei Leiferkus’s Iago is totally convincing by avoiding those sneering gestures that are too often seen. In the pit was Georg Solti whipping the orchestra into a fury as the opening storm is unleashed, but later on can show some impatience in his choice of tempos. The production was, in the best use of the term, ‘traditional’ and came from Elijah Moshinsky, his set designer, Timothy O’Brian, creating a massive edifice that has to serve all of four acts, leaving the final bedroom scene working in an area that is too large.