Between 1991 to 2012, Belorussian journalist and oral historian Svetlana Alexievich travelled the countries that constituted the former USSR conducting interviews with the “the little great people” who had lived under Soviet communism and witnessed its demise. The resulting book, Second-Hand Time, is an oral history which tells through the words of ordinary people the end of what she, in her 2015 Nobel Prize lecture, called a “historical experiment”.

Between 1991 to 2012, Belorussian journalist and oral historian Svetlana Alexievich travelled the countries that constituted the former USSR conducting interviews with the “the little great people” who had lived under Soviet communism and witnessed its demise. The resulting book, Second-Hand Time, is an oral history which tells through the words of ordinary people the end of what she, in her 2015 Nobel Prize lecture, called a “historical experiment”.

Between 1991 to 2012, Belorussian journalist and oral historian Svetlana Alexievich travelled the countries that constituted the former USSR conducting interviews with the “the little great people” who had lived under Soviet communism and witnessed its demise. The resulting book, Second-Hand Time, is an oral history which tells through the words of ordinary people the end of what she, in her 2015 Nobel Prize lecture, called a “historical experiment”.

You react differently to Meeting Gorbachev knowing that the film’s subject was on occasions brought to its interviews from hospital by ambulance; his interlocutor, Werner Herzog, doesn’t mention that fact, of course, anywhere in the three encounters on which this documentary is based, but he has alluded to it elsewhere.

Stewart Goodyear: Callaloo, Piano Sonata; Gershwin: Rhapsody in Blue Stewart Goodyear (piano), Chineke! Orchestra/Wayne Marshall (Orchid Classics)

Svetlana Alexievich’s Last Witnesses: Unchildlike Stories is a collection of oral testimonies conducted between 1978-2004 with Soviet and post-Soviet citizens who were children during the second world war. They recount strange and terrible experiences which — even as adults — retain the force and candour of childhood memory.

Stalingrad is the companion piece to Vasily Grossman’s Life and Fate, which on its (re)publication in English a decade ago was acclaimed as one of the greatest Russian (and not only Russian) novels of the 20th century.

The title of Khrustalyov, My Car! comes, infamously, from the words uttered by NKVD chief Lavrenty Beria as he departed the scene of Stalin’s death in March 1953, and Alexei German’s film comes as close as cinema can to dissecting the surreal terror of those times, indeed of the Soviet era itself.

David Hare knows a thing or two about sustaining an onstage face-off. Skylight and The Breath of Life consist tantalisingly of little else and so, for the most part, does his 1986 curiosity The Bay at Nice, which I caught back in the day during a premiere engagement at the Cottesloe that was given immediate lustre by the ravishing Irene Worth.

Record shops may be thin on the ground, but CDs are still very much with us. No sensible soul would ever rate listening to a recording over experiencing music live. But if, like me, time, money and geography limit one’s opportunities to nip out to concerts, a well-produced CD can plug the gap very nicely. I’m still a fan of the physical product over the download: removing shrink wrap and flicking through sleeve notes are one of life's minor pleasures, and several releases in this list score highly in terms of aesthetics as well as music making.