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A Midsummer Night’s Dream must be one of the most enduringly popular of Shakespeare’s plays, and it is not difficult to see why: the work blends several kinds of comedy with a powerful atmosphere of magic and mystery and a satisfying set of contrasts – between city and country, reason and imagination, love and infatuation.

In Composers’ Letters, the voices of the great figures of classical music come alive through their correspondence. Set against the music we know and love, Mozart, Beethoven, Schubert, Wagner, Tchaikovsky and many more talk openly about their music, their hopes and fears, their love, their sadness and their struggles in realising their artistic hopes in a commercial world.

Bach, Vivaldi and Handel are the three great composers of the Baroque era, though there are many other well-known figures, including Albinoni, Pachelbel and Scarlatti. This engaging introduction, interspersed liberally music, shows how the music of these composers graced the courts and churches of Europe from 1600-1750.

Amid a background of wars and revolution, the 19th century produced many of the world’s best-loved composers including Beethoven, Brahms, Chopin and Tchaikovsky. Discover Music of the Romantic Era charts the course of music through these turbulent but exhilarating times with more than 20 music excerpts.

This is the ninth recording of Shakespeare plays undertaken by Naxos AudioBooks in conjunction with Cambridge University Press, and is directed by John Tydeman.

Ancient Egypt and the war with Ethiopia is the setting for Verdi’s grandest opera. It is the story of the love between Rhadames, the Egyptian general and Aida, an Ethiopian slave, and the jealousy of Amneris, daughter of the King of Egypt. It was written in 1871 to a commission from the Khedive of Egypt to inaugurate the new opera house in Cairo.

Carmen is among the most popular operas for all the obvious reasons: great characters, a gripping story and fabulous music. But what sets it on a pinnacle is an amazing combination of three factors: a sizzling gipsy heroine (one of the most psychologically complex and compelling characters in all theatre), great atmosphere (Spain, hot sun, the bull-ring) and the prodigality of melodic invention – one great tune after another, at least a dozen of which are the staples of Madison Avenue and the animated cartoon.

Die Fledermaus is one of the few operatic works to which the phrase ‘never a dull moment’ can be truthfully applied. From the explosive opening of the famous overture – reminiscent of a volley of champagne corks – through the surging energy of the ‘Fledermaus Waltz’ and the many comic numbers, of which the accelerando trio is the finest, up to such huge concerted numbers as the ‘Duidu’ finale to Act II, this is an operetta which almost incarnates nostalgia.

Don Giovanni has long been regarded as Mozart’s supreme theatrical achievement. The subject seems unpromising – the last day in the life of the notorious womaniser Don Juan – but the skill of the librettist allied to the genius of Mozart at the very peak of his powers has created a work which is not only highly entertaining but reflects an incredible understanding of the human condition.

La Traviata owes its enduring popularity to a superb story of young love and fatal sacrifice, set to music by Italy’s master melodist at the peak of his powers. Interest and poignancy are added by the fact that this is a true story – the baritone ‘heavy’ is Alexander Dumas who wrote The Count of Monte Cristo.