When watching Maestro, it’s easy to feel as though no world exists beyond the one shared between Leonard Bernstein and Felicia Monteleagre. The film, for the most part, is concerned only with the couple, their domestic life, and the turbulence of their romance. But wherever a sense of place is cultivated to its fullest potential—in a dreamy mid-century Big Apple, for example, or on the Bernstein’s Connecticut estate, and especially across the pond in the English town of Ely—there’s magic to be found. These are the real sidewalks that Lenny and Felicia strolled along, the homes they shared, and the concert venues where he played and she waited in the wings.