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When acclaimed documentary filmmaker D A Pennebaker (Monterey Pop, The War Room) filmed Bob Dylan during a three week concert tour of England in the Spring of 1965, he had no idea he was about to create one of teh most intimate glimpses of the rock legend

Join Ani DiFranco, her band, and members of the extended Righteous Babe family as they crisscross the country in this long-awaited, one-of-a-kind portrait of the Li'l Folksinger at work. Videographers spent years on Ani's trail, capturing her onstage, in the studio, and on the tour bus--footage which Ani herself shaped into a very personal self-portrait. The resulting movie, which draws on material from as far back as 1997, focuses on her 2000 and 2001 tours. This impressionistic collage takes you way behind the scenes; you'll watch a new song take shape and learn the stories behind some favorite older ones. Over two dozen songs are featured, including two brand new Ani songs and previously unreleased live versions of many of her classics. As dynamic, thought-provoking, and fun as one of her concerts, Render gives you a sneak peek into Ani's life and music in her own words, on her own terms. It's a visual live album, it's a road film, it's an art flick, it's a document of a movement in time.

Described as "possessed, "frightening," and "brilliant," Nadja Salerno-Sonnenberg has either enraged or enraptured critics while earning herself the nickname "the bad girl of the violin." Academy Award® nominee Speaking In Strings explores the controversial and fascinating life of this funny, fearless, irreverent, and world-renowned musician. A deeply private look at the woman behind all the accolades and controversy.

DVD Features: Nadja Salerno-Sonnenberg Biography; Docurama Previews; Interactive Menu; Scene Selection

This revealing profile presents the highs and lows of one of the world's most unique tenors. Hosted by Placido Domingo.

As a pianist, composer and conductor, Lalo Schifrin is equally at home leading an orchestra, performing at a jazz festival, or scoring a film. This program features clips from among the treasury of Schifrin's award-winning movie and TV soundtracks such as "Mission Impossible," "Cool Hand Luke" and "Bullitt," as well as concert highlights featuring Dizzy Gillespie, Ray Brown, Grady Tate and soprano Julia Migenes. In an exclusive interview, Lalo talks in depth about his remarkable career and discusses the influences on his compositions for the screen.

This American Masters production celebrating Isaac Stern is more a profile of the man than the musician. Fans hoping to hear Stern performing will have to settle for the briefest snippets of fiddling: a bar or two from Mendelssohn, a fragment of Rimsky-Korsakov, a taste of Beethoven. Though each of these begins enticingly, they all quickly fade into the background, little more than aural wallpaper behind the comments and testimonials from such notables as Pinchas Zukerman, Yo-Yo Ma, and Itzhak Perlman--as well as some less-expected commentators such as Gregory Peck and Jimmy Connors. But the portrait that all give of this marvelous octogenarian is almost as dazzling and multifaceted as hearing him play. After all, master violinist is only one of the hats Stern can wear with aplomb. There's also the flashy celebrity who provided the music for Hollywood films like Fiddler on the Roof and Humoresque and who could share the stage as easily with Jack Benny as Eugene Ormandy; the musical emissary who sought to bridge cold war divides with music, touring the Soviet Union and communist China as soon as he was allowed (as recorded in the 1980 documentary From Mao to Mozart); the beloved teacher, demanding but genuinely respectful toward young performers; even the hard-driving fundraiser who kept Carnegie Hall from being torn down.

Through it all, Stern has carried himself with a no-nonsense humility, born of his profound love of humanity and devotion to his craft that is never less than inspiring. Footage (again, far from enough!) of Stern performing in Israel during the Gulf War, ignoring the whine of the air-raid sirens and the anxious surreality of an audience decked out in their gas masks, rapturous as he unfolds the serene music of Bach, raises the inspirational to the magnificent. --Bruce Reid

Originally aired on PBS's American Masters series, this evocative biography of the American composer, conductor, and de facto musical evangelist Leonard Bernstein offers a compelling balance of musical scholarship and personal insight. It's a fitting approach to the brilliant--and emotional--life and art of Bernstein, who elevated Broadway musical theater, demystified and democratized classical music for two generations of American children, and brought a true New Yorker's vigor and directness to his conducting.

Writer-director Susan Lacy establishes the film's sympathetic tone in its opening shots of Bernstein's funeral cortege as it passed along Manhattan streets in 1990. Underscoring the footage is the elegiac second movement of Beethoven's Seventh Symphony, the final piece conducted by Bernstein at his final performance months earlier at Tanglewood. Scenes from that last concert (and a return to that slow, funereal march) are the inevitable conclusion of Lacy's film, which finds ample drama over the course of approximately two hours.

Lacy traces the arc of Bernstein's career from his earliest triumphs as a young conductor through his Broadway successes (culminating in West Side Story), his historic network television outreach, the frustrations encountered over his "serious" compositions (often derided, ultimately vindicated), and his autumnal work abroad conducting the Vienna Philharmonic. Bernstein's private demons--anguish over the tradeoff between a conductor's glory and a composer's productivity, the ridicule invited by his impassioned political activism, the conflict between his devotion to his family and his bisexuality, bouts of depression suffered in his later years--are addressed as well.

Excellent archival footage and a literate script are enhanced by interviews with his brother and children; collaborators including Jerome Robbins, Isaac Stern, and Stephen Sondheim; and conductors including John Mauceri, Seiji Ozawa, and Michael Tilson Thomas. --Sam Sutherland

The neo-pop divas of the late 20th century may have turned up the glamour, and a few even introduced formidable technical prowess, epitomized by Mariah Carey's seemingly helium-induced falsetto (the bane of canine fans everywhere) or Celine Dion's breast-beating, stentorian climaxes. Yet only a few verses from an earlier, charter member of the first-name-only club provides instant perspective: when Ella opened her mouth, that perfectly pitched, luminous voice could leap octaves without breaking a sweat, its tonal purity and immaculate phrasing creating that illusion of "effortlessness" achieved only through true artistry.

Writer-director Charlotte Zwerin performs similar sleight of hand with this beautifully composed documentary, originally produced for public television's American Masters series. Created nearly four years after Ella Fitzgerald's death, Zwerin's film uses the lush voice and superb repertoire of "the First Lady of Song" to provide continuity while assembling convincing, if composite, narrative quotes gleaned from various interviews. The latter are noteworthy given the singer's lifelong modesty and insistence on privacy. Archival footage of early performances, as well as later television appearances, capture Ella's pilgrimage from Depression-era New York, through her discovery at the Apollo Theater and subsequent emergence as a swing vocalist and on to her long career as a matchless pop and jazz stylist.

Tony Bennett is a sympathetic narrator, while added affection and insight are provided through interviews with some of the myriad jazz titans that accompanied her. Yet, ultimately, it's Ella's music, generously featured throughout, that proves most eloquent. As one of her definitive Gershwin favorites put it, "'Swonderful." --Sam Sutherland

How did some of the most beautiful melodies of the 20th century come out of a man described as depressive, hypochondriacal, remote, and alcoholic? This stirring 2001 documentary cannot answer that question about Richard Rodgers, but it provides a near-perfect blend of biography, personal reminiscence, and music appreciation. The latter comes via experts sitting at their pianos: Richard Rodney Bennett, Barbara Carroll, Andrew Lloyd Webber. The composer himself gives a lucid explanation of his working method, as he demonstrates how the lyric of "It Might as Well Be Spring" inspired the melody. Interviewees include Rodgers's daughters, who provide suitably unsentimental memories of dad. At the heart of the story is Rodgers's brilliant collaborations with two great lyricists: mercurial Lorenz Hart, whose problems made Rodgers look non-neurotic, and steady Oscar Hammerstein II. Ample clips give the best evidence of all, from Frank Sinatra upper-cutting "The Lady Is a Tramp" to John Coltrane jazzily bending "My Favorite Things." --Robert Horton

This look at the legacy of Marvin Gaye passes over the great R&B singer's childhood and Motown career in favor of his turbulent final years, including exiles in Hawaii and Europe, the making of Midnight Love, his addiction to cocaine (and resulting paranoia and depression), and his tragic murder (shot by his father during an argument). While his final public performance, a rendition of "The Star-Spangled Banner" at 1983's NBA All-Star Game, is not included, his acceptance of a Grammy from Grace Jones and Rick James almost makes up for it, and there's plenty of other fascinating material: interviews with family members and band mates, rehearsal footage, and live versions of hits from "How Sweet It Is" to "Sexual Healing." While Behind the Legend fails to chart his path to stardom, it allows Gaye's music to do the talking--and he was never more eloquent than when at the microphone. --Kathleen C. Fennessy