Hickox stuck strictly to Strauss's prescribed 37-piece orchestra and having the players in full view

Hickox stuck strictly to Strauss's prescribed 37-piece orchestra, and having the players in full view instead of in the pit allowed air and light into the music. Moments of thin string-playing were more than compensated for by sheer verve, and for once we could hear just how much the harmonium contributes: a lot. Hickox had a cast to grace any opera house, and most of the singers did without a score. Christine Brewer's Ariadne was radiantly secure, rising in full glory to the big moments, yet capable of the utmost delicacy I've not heard her sing better. If the demands that Strauss makes of Zerbinetta in the familiar Ariadne are exorbitant, in this version they are practically illegal. Cyndia Sieden pinched a few notes, but got more of them than we have any right to expect, and her pert characterisation contrasted neatly with Brewer's more stately disposition. This Ariadne left me feeling that there might be a real opera here, rather than the silly parlour game it usually resembles.Ten days earlier, Hickox gave the UK premiere of Strauss's 1931 edition of Mozart's Idomeneo, a real rarity, and no doubt destined to remain so. Strauss's efforts were misguided, but what he offered was a glimpse of Mozart through a thin but richly decorated veil, moments of nearly pure Mozart imperceptibly metamorphosing into nearly pure Strauss, and vice versa.

Performed with passion, as here, Strauss's Idomeneo succeeds on its own terms. With another stellar cast, led by Kurt Streit as Idomeneo, Strauss in Mozart drag proved to be rather impressive Shall we ever hear it again?. Wynton Marsalis trumpeter and artistic director of jazz at Lincoln Center, New York When you come into contact with Duke Ellington, you're interacting with the very substance and essence of what American life is all about. Once you understand it, it transforms your life, and opens you up to a world of beauty that perhaps you didn't know existed. Ellington composed over 2000 works in his life; he's the most prolific American composer of the 20th century. He wrote the perfect song for whatever mood you're in, so it would be impossible to choose one favourite.

However, I have a special affection for many of his later works, such as "The New Orleans Suite", "Afro-Eurasian Eclipse", "The Far East Suite", and "Such Sweet Thunder", since the band had been playing together for so long and Duke was drawing ideas from so many diverse sources.Phil Collinssinger and drummerTo me, Duke Ellington personifies elegance. His band, his music and his look took the music of his day to a new level. I have a particular kinship with "Do Nothing Till You Hear From Me", which was written by his trumpet player Cootie Williams Lyrics were added and Al Hibbler made the song a hit. Quincy Jones asked me to sing the song on his Juke Joint record and it was a great experience for me. It's a tough melody to sing but it exemplifies the subtleties of Duke's music.George RussellcomposerWhen I was a schoolboy in Ohio in the Thirties, I heard Duke on the jukebox on the way home from school, and later played with him in Chicago.

I can't name a favourite track - I can't break Duke down that way. In my opinion, his music is on too high a level to be categorised.Charlie HadenbassistMy favourite Duke Ellington tracks are from 1940 when he did the duets with bassist Jimmy Blanton such as "Pitter Panther Patter" and "Body and Soul." When Blanton bowed "Body and Soul", I don't think I've ever heard anything so beautiful and beyond category. My favourite Ellington album is the soundtrack to Anatomy of a Murder, particularly the track "Low Key Lighting" where Ray Nance takes a solo on violin; it's absolutely amazing.Claire MartinsingerThere are so many favourites, but it has to be Billy Strayhorn's "Lush Life", recorded by Ella Fitzgerald on 26 June 1957 for the Duke Ellington Songbook album. It's a great artist singing one of the most perfect of songs and it's stunning, a whole portrayal of the dark side of love. It's a scary song for a singer, but Ella does it with so much love, and she's accurate and soulful too She and Duke sang it at Billy Strayhorn's funeral I've never sung it myself because you have to be older. It's waiting for me, and I'm saving it for my forties.Stan Traceypianist"A Tone Parallel to Harlem" It's a suite Why do I like it? It's the writing and the whole thing. I just find it very pleasurable, especially from a writer's point of view.John Surmanbaritone saxophonist and reeds playerThe first time I heard the Ellington band was in the Sixties at the Astoria, Finsbury Park, and it was like a visit to the Holy Grail.