Futuristic martial arts. Two cops, Zoey and Jason are assigned the task of protecting the general public from a vicious gang, but when Zoey is killed she is transformed into a a perfect killing machine with one mission, to exterminate all gangs and set off a nuclear explosion to finish off the rest of the population....

This Swan Lake was the unexpected popular hit of 1996, when radical choreographer Matthew Bourne took Tchaikovsky's traditional ballet by the scruff of the neck and reworked it with a myriad of modern influences and themes to astonishing effect. Seldom have the dark psychological riptides at the heart of so many classical ballets been so brilliantly exposed. The Prince (Scott Ambler) is a wretched and dissolute young man dominated by his mother, the Joan Collins-like Queen (Fiona Ambler). Shades of Tennessee Williams, indeed. Von Rothbart becomes a press secretary, more sinister éminence grise than hissable villain. Most startling of all, The Swan (Adam Cooper) is a muscular, emphatically masculine male.

Bourne has stressed the universality of his interpretation, which proved such a success for his Adventures in Motion Pictures dance company. And indeed this is never an overtly "gay" Swan Lake, although the electricity of the pas de deux at the height of Act 2 delivers a palpably homoerotic charge. Its universal threads--as Bourne suggests, the need to be held and understood is common to us all--are synthesised in the utterly moving conclusion as the Swan cradles the lifeless Prince and raises him to a better place. Swan Lake becomes a human, rather than simply romantic, tragedy.

On the DVD: Swan Lake is presented in full screen 4:3 video format and this version would certainly have benefited from widescreen to show off the dazzling court and night club scenes as well as the lake and the impact of the all-male swan corps de ballet. But the lush Dolby Digital 5.1 Surround Sound serves the rich interpretation of Tchaikovsky's score from The New London Orchestra to handkerchief-wringing effect. Extras include menu-driven resumes and a synopsis. --Piers Ford

The important balance to be struck in any production of Eugene Oneginis between, on the one hand, the long lyrical monologues--Tatiana's letter scene, Lensky's aria, Gremin's praise of his wife--and the crucial confrontations between Tatiana and Onegin with the more public scenes in which these private emotions evolve into tragedy and disillusion. Rozhdestvensky finds this balance effortlessly--the chorus that dances its way through the small-town ball that ends in Lensky's challenge is as much a character in the tragedy as the principals. The principals are excellent, too. Orla Boylan is as good as the mature Tatiana as she is as the callow girl who first falls for Onegin, while Vladimir Gluschak's Onegin is as convincing as the object of her devotion as he is as the self-pitying egoist who wrecks his own life and those of Olga and Lensky. The orchestral sound is convincing but unexciting. --Roz Kaveney

On the DVD: The DVD has subtitles in German, English and French, and the menu is also in Spanish. --Roz Kaveney

It's a common complaint that opera singers can't act, and actors can't sing opera. In this handsome 1988 film of Tchaikovsky's opera Eugene Onegin, director Petr Weigl attempts to solve the problem by letting each group of performers do what they do best. Thus the music is a studio recording with some great voices in the principal roles, and the film is a lip-synched performance shot in stunning locations by a good-looking cast of players.

On the positive side this means that the whole thing looks gorgeous, and sun-drenched dachas, glittering ballrooms and snowy steppes are all captured with painterly verve. The musical performances are also splendid, with Bernd Weikl making a passionate, tortured Onegin, Teresa Kubiak a honeyed, fresh-sounding Tatyana, and Solti conducting with driven intensity. But realism and opera rarely make happy bed-fellows, and the down-side of this film is that the naturalistic "speaking-style" lip-synching and understated acting are entirely at odds with the grand musical gestures, and occasionally give rise to a somewhat absurd alienation effect. Thus while Kubiak's voice is at full blast, Magdalena Vasaryova looks like she's making polite chit-chat at a cocktail party. But the project feels like a brave experiment, nonetheless, and if the whole isn't quite the sum of its different elements, those elements are still jolly good.

On the DVD: Eugene Onegin on disc has excellent picture quality (which is fortunate in such a visually exquisite film), though the sound is a little distant and muffled. The film starts with the entry of the peasants in Act 1, but the DVD includes the Prologue and music before this point as an audio bonus. There are subtitles in English, French, German, Italian, Spanish and Chinese, and a series of trailers for other Decca DVDs. --Warwick Thompson

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. In the pit Valery Gergiev renders every nuance of Tchaikovsky's score with clarity, and drives the strings to produce an almost unbearably tense atmosphere of foreboding; Herman's manslaughter of the Countess is preceded by shallow, haunted phrases which rise and fall like a beating heart.

It isn't all rosy, however. The production comes from the traditional old Kirov "stand-and-sing" tradition and is somewhat static. The characters don't interact with much detail or generate much chemistry, and the chorus moves in unwieldy blocks. For a more gripping production (though not quite as well sung) try the Glyndebourne performance. But for sheer musical pleasure, you won't find anything to beat this.

On the DVD: Pique Dame doesn't feature particularly inventive camerawork, though it does give a good solid account of the production. The sound recording captures all the most important moments with clarity, though just occasionally singers stray away from the microphones. There are subtitles in English, French, German, Italian, Spanish and Chinese, and some trailers for other Universal Music DVDs. --Warwick Thomson