No Mahlerian should be without these three recordings, very different in their approaches but each of them infinitely touching, from the starkness of Ferrier to the more overt emotion of Baker via the early F-D.

Again, three versions for any Mahlerian, to be complemented at will by Haitink, Giulini, or Bernstein with Fischer-Dieskau, until now the only baritone to have recorded the work. Walter and Klemperer are authoritative in their direct descent from the composer and have fabulous soloists. Reiner is out of his usual domain, but the control he exercises and his collaboration with one of the few singers who might be considered a rival of Ferrier is exceptional.

Not the most recent recording, but de los Angeles at her peak with the unexpected Monteux in the pit; they galvanize Legay into a performance way beyond his capacities. Dens and Borthayre are representative of a school of French baritone singing which seems to have disappeared today.

This 1930s recording may not be to everyone's taste, but it should be heard to have an idea of a tradition which has largely disappeared. The care taken over diction and nuance remain models for anyone wishing to interpret this opera. If the sound bothers you, you won't go too far wrong with Kraus, Troyanos and Plasson, also on EMI.

One in German, one in the original English, both impeccable, although Ameling is far more angelic than Jones. Both are necessary.

This will not be to everyone's liking as cuts are rampant, the chorus is weak, the orchestration is that of Rimsky-Korsakov, and doubling of roles poses problems, particularly in the case of Christoff's distinctive voice, here heard in all its freshness. The young Gedda is the other miracle among the singers, while Dobrowen finds the essence of the music. The new Abbado recording offers Moussorgsky unadulterated with an excellent cast.

Two opposing views, Vishnevskaya all drama but chilling with the collaboration of Rostro at the piano of which he is no less master than of the cello, Davrath music incarnate but equally chilling with the subdued Werba.

The first recording of Mozart's next to last opera to reveal its drama, with Kertesz in a state of grace as well as the three famous ladies. Casula's peculiar voice is very clearly that intended for the role of Vitellia while Krenn is a bit overshadowed.

Yet another product of the Legge magic, with everyone in peak form. There's nothing like it.

The two stars of a distinguished discography for this most mythic of the Mozart operas. Giulini welds his disparate forces into an indissoluble unity, while Mitropulous is blessed with the most complete Giovanni and Anna and most mellifluous Ottavio ever recorded. The on-stage provenance of the Salzburg version is to the advantage of a total involvement.

Much more satisfying than Davis' remake as the dramatic tension is higher in this version (still to be reissued) than any other yet recorded, with the engagement of all participants. Tinsley is terrifying in all senses of the word but remains a force of nature, Shirley makes the most of his role while Rinaldi is the sweetest of Ilias.

The oldest recording of Mozart's Masonic farrago but still the best. Beecham's genius is given free reign and one can hear the likes of Lemnitz and Rosewaenge, two healthy voices capable of a range of nuance uncommon today, the accuracy of Berger, the delicacy of Hüsch and the profundity of Strienz.

After 40 years still tops in the field for the leadership of Kleiber and an incomparable cast, with reserves for Poell whose Italian is so Germanic that it grates.