For the very first time, the Dickens classic Great Expectations will be staged in London's West End, and audiences around the world will be able to share the historic opening night experience at their local theater. Although Great Expectations has been adapted for film on two separate occasions, once by David Lean in 1946 and most recently by Mike Newell, it has never been produced for The West End or Broadway, widely believed to be too difficult to translate to stage. However, this Jo Clifford adaptation has been universally acclaimed as a triumph on its sellout tour of the UK head of its West End debut. The live broadcast will take place on Thursday, February 7, 2013 and include red carpet, arrivals and behind the scenes footage exclusively for participating theaters with encore screenings available beginning March 2013. The event will form part of the global celebrations surrounding the 200th Anniversary of the Dickens' birth.

New Blood Live In London In 3 Dimensions captures Peter Gabriel performing live with the 46 piece New Blood Orchestra. The repertoire mixes cover versions from his "Scratch My Back" album with classic tracks from across his solo career in brand new orchestral arrangements. Gabriel is a renowned live performer and his onstage charisma and instantly recognizable voice combine brilliantly with the orchestral sound palette to breathe a new sense of wonder into familiar songs. As you would expect the concert is also a visual feast, with graphics, animation and imagery blending to enhance and illustrate the music.

The entire edifice of John Neumeier's work is built around a profound musical sensibility. However, the choreographer, in his constant questioning of the human condition, probably finds the closest reflection of his own humanist concerns in the works of Gustav Mahler, several of whose symphonies he has set to dance. On the wings of the emotions inspired by the monumental Third Symphony, written as "a great hymn to the glory of all creation", he enters the composer's tormented and contrasting universe to sculpt images of a powerful and profound lyricism. The piece is an osmosis between music and dance, shot through with a palette of emotions, from existential angst to mystical faith. Chorus and soloists accompany the dancers' elegant movements, curved lines and vertiginous lifts, reminding us yet again of the richness of inspiration that powers Neumeier's choreography.

"For forty years I have wanted to write a comic opera". When Verdi wrote these words in 1890, he had already bid farewell to the stage not once but twice, with "Aida" and with "Otello." Fifty years earlier, he had tried his hand at opera buffa with Un giorno de regno. The piece was a flop and, since his wife died during its composition, the failure left him highly embittered. Was it the desire to ward off the ill fortune that appeared in so many of his operas that made him take up his pen again one last time? Or was it the shadow of Shakespeare? Or perhaps the libretto written by the talented Boito, inspired by "Henry IV" and "The Merry Wives of Windsor," overcame his reluctance? "I am having fun..." Verdi repeated continually when composing "Falstaff." The composer views the escapades of the old penniless and pot-bellied knight, who wants to deceive the wives and ends up routed, in a dirty washing basket and tossed into the river Thames, with the clear-sighted, distant and mischievous gaze we recognize from his later photographs. At the age of eighty, his composing was leisurely and liberated from the rules. Arias, duets and ensembles merge together in the same musical movement, continuous and boisterous, making "Falstaff" an unsurpassed operatic comedy that, a century later, continues to give us the gift of joyous laughter.

Created in 1832 at the Paris Opera, Philippe Taglioni's La Sylphide heralded the advent of the romantic ballet. The delicate and ethereal dancer Marie Taglioni played the unattainable, dream-conjured sylph, alongside Joseph Mazilier. In the point shoes and long diaphanous tutus she wore in La Sylphide, the ballerina became an emblematic figure. The libretto by Adolphe Nourrit was inspired by romantic tales recounting the impossible love between a human and a supernatural creature. The tormented young James finds himself torn between the promise of a comfortable life held out by his impending marriage to Effie and the freedom embodied by La Sylphide, that inaccessible ideal who comes to him in his dreams. The work was a critical triumph from the outset, praised in particular by Thèophile Gautier, who would later write the libretto for Giselle. This emblematic ballet was lost to the repertoire for over a century. It is now being presented at the Paris Opera in a faithful recreation by Pierre Lacotte, whose immense choreographic culture has enabled him to unravel and recast the spells of the grand French romantic style.

The Rolling Stones: Some Girls, Live in Texas is a never-seen-before concert movie which captures this world famous band at the height of their musical career. Shot on 16mm at Fort Worth, Texas in 1978, the film has been upgraded to high definition with a 5.1 audio track. It opens with a Sir Mick Jagger interview filmed in August 2011 where he introduces the concert and offers an insight into its significance in the band's history.