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Best of Opera Volume 5 [1] It was significant for Mozart that in 1786 he was encouraged by the Emperor to collaborate with Lorenzo da Ponte in the...

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Best of Opera Volume 5

[1] It was significant for Mozart that in 1786 he was encouraged by the Emperor to collaborate with Lorenzo da Ponte in the composition of an Italian opera, The Marriage of Figaro, a task more often entrusted to Italian composers. The new opera was based on one of a trilogy of plays by Beaumarchais already banned in Vienna. Da Ponte, however, was able to assure the Emperor that anything objectionable had been removed from the opera based on the second of these plays. Figaro, in the service of Count Almaviva, leads the intrigue that finally deflects the Count's attentions from his beloved Susanna, maid to the Countess, in a series of events that reveals Figaro's own parentage, shows the love-lorn page Cherubino in love with being in love, and finally puts all matters. The brilliant overture sets the scene, as Figaro measures the room allocated to him and his bride Susanna, one conveniently close to the Count's own quarters.

[2] Carmen, by the French composer Georges Bizet, set new and disturbing standards of realism when it was first mounted in Paris in 1875. Carmen is a gypsy factory-girl, employed in a Seville cigarette factory. Arrested for assault, she persuades her guard, the young Don Jose, to let her go and to join her and her criminal companions in the mountains. Her purpose achieved, she soon tires of him and turns her attentions to the handsome toreador Don Escamillo. She goes with him to the arena in Seville, but is waylaid by Don Jose, who murders her, in a fit of jealous rage. Carmen sings her seductive Seguidilla to Don Jose, suggesting a tavern where they may meet, once she has escaped from arrest.

[3] There is a mixture of realism and the exotic in much of the work of Giacomo Puccini, not least in The Girl of the Golden West, set in the wilds of California and first staged at the Metropolitan Opera in New York in 1910. The drama centres on the love of Minnie and the bandit Ramerrez, alias Dick Johnson. Johnson is caught and is to be hanged, but pleads with his captors not to let Minnie know of his fate, but to imagine him free and far away. Before the execution can take place, however, Minnie comes to his rescue, threatening the men, who eventually allow her and her lover to go free.

[4] Gioachino Rossini was brave in his decision to base an opera on the first play of the Beaumarchais Figaro trilogy, challenging a popular earlier opera by Paisiello. The Barber of Seville was at first at a disadvantage when it was performed in Rome in 1816. In the end, of course, it has been Rossini who has triumphed over Paisiello. The plot deals with Count Almaviva's wooing of Rosina, ward of the jealous old Dr Bartolo. The Count lets Rosina believe that he is a student and gains entry to Dr Bartolo's house through subterfuge, once as an officer supposedly billeted on the household and then as a music-master. In all this intrigue he is abetted by Figaro, the barber of the title, and is finally successful. The Count, known to Rosina as Lindoro, has serenaded her and in the second scene of the opera she recalls his voice and, being a girl of some spirit, resolves to have her own way and marry the man she wants.

[5] The German operas and music-dramas of Richard Wagner reveal another world. Lohengrin was first seen in Weimar in 1850, directed by Franz Liszt, after the composer had been forced to seek refuge in Switzerland. The work is based on legends and early German accounts of the quest for the Holy Grail. Elsa of Brabant is unjustly accused by the nobleman Telramund of fratricide. She is defended by a mysterious knight, whom she marries, but whose name she is forbidden to seek. When the knight is revealed as Lohengrin, a knight of the Grail, he must leave, but before his departure he is able, by a miracle, to restore to life Elsa's brother Gottfried. The third act of the opera brings the famous Bridal March, marking the entry in procession of Lohengrin, the king and nobles and of Elsa and her ladies.

[6] Ludwig van Beethoven wrote only one opera. Fidelio, however, caused trouble enough, with an unsuccessful first performance in 1805 and a revision in 1806. It was in 1814, however, that the opera took on its final form. The work is a Singspiel, a German opera with some spoken dialogue.

It celebrates the heroism and marital love of Leonora, who disguises herself as a boy, Fidelio, and takes service under the jailer Rocco in the prison where the wicked prison governor Don Pizarro has imprisoned and finally intends to murder her husband, Florestan. Leonora has overheard Don Pizarro trying to enlist Rocco in his plan to murder Florestan, before the king's minister arrives to investigate rumours of malpractice. She is horrified, exclaiming at this abominable plan, but resolving to find a way to help Florestan.

[7] The last of Mozart's operas to be staged in his lifetime was a Singspiel based in part on masonic practices. In The Magic Flute, still running in Vienna in December 1791 at the time of Mozart's death, the hero Tamino must undergo various ordeals before he may be united with his beloved Pamina, daughter of the evil Queen of the Night. The tests to which he is put, accompanied by the comic bird-catcher Papageno, a man of lowlier ambitions, bring him finally both to Pamina and to the enlightened band of priests surrounding the high priest Sarastro. The second act opens with the solemn march of the priests, from whom Sarastro seeks agreement that Tamino shall be admitted, after due trial, to their company.

[8] Umberto Giordano's Andrea Chenier, first staged in Milan in 1896, is set during the French Revolution. Before the Revolution Chenier reveals libertarian sympathies at a reception at the house of the Countess de Coigny, offending the company by his views. In the Revolution Maddalena, the Countess's daughter, seeks Chenier's protection, but he too is under threat. He fights with and wounds Gerard, former servant of the de Coignys and now a leading revolutionary and his rival in love of Maddalena. Recovered, the latter succeeds in having Maddalena arrested and brought before him. In the present aria she tells him of the hardships of her life after the death of her mother and the destruction of their house. She will give herself to him, however, in return for the freedom of Chenier, now a prisoner. Before the tribunal Gerard tries to defend Chenier, but is unsuccessful and in a final act Maddalena, brought by Gerard to visit Chenier before his execution, changes place with another prisoner, to be executed with her beloved.

[9] In La Traviata Giuseppe Verdi depicts the love of the young Alfredo for the courtesan of the title, Violetta. The couple set up house together, but she is induced to give him up, after the pleading of his father, who finds disgrace for the family in his son's relationship. This she does, to the anger and contempt of Alfredo, who only learns the reason for her action as she lies dying of consumption. The Prelude to the first act introduces a poignant theme of love that is to return as Violetta lies dying. The opera was first performed in Venice in 1853.

[10] Verdi's Rigoletto, first given in Venice two years before, centres on the court jester of the title and his master, the Duke of Mantua, whom he abets in acts of seduction, only to lose his own daughter, Gilda, to the Duke. The latter, disguised as a student, Gualtier, gains access to Rigoletto's closely guarded house, leaving her, as she here declares, in love with his dear name, ironically not his true one. Gilda is abducted by hostile courtiers, seduced by the Duke and forced to learn of her lover's duplicity, as he philanders with Maddalena, the sister of the assassin Sparafucile, bribed by Rigoletto to kill him. In the event Sparafucile kills Gilda, disguised as a boy, when she, knowing her likely fate, enters his house. Rigoletto, outside, waits to receive the Duke's body, but the sack that Sparafucile gives him holds, instead, his beloved and dying daughter.

[11] Verdi set his opera Aida, designed for the new Cairo Opera House in 1871, in ancient Egypt. Aida, daughter of the Ethiopian King Amonasro, is a captive, a slave to Amneris, daughter of the King of Egypt. Radames leads the Egyptian armies against Amonasro, who is defeated and captured. In love with Aida, Radames is rewarded by the King with the hand of Amneris, who loves him. He is then tricked into revealing to Aida the military plans of the campaign against the Ehiopians, overheard by Amonasro. His apparent treachery is discovered by Amneris, jealous of his love for Aida, and he is condemned to death, immured in a tomb, where he is joined in death by Aida. In the present aria Radames longs to be chosen to lead the armies against Ethiopia, in the hope that he might secure the release of Aida.

[12] Verdi's Il Trovatore, first staged in Rome in 1853, introduces a plot of some complexity. Manrico, the troubadour of the title, finds himself at enmity with his brother, the Count di Luna, in war and in love. He has been brought up by the gypsy Azucena as her son and his true identity is only revealed to the Count after Manrico's death at his hands, allowing Azucena final revenge for the death of her mother and her own child.

Leonora, loved by Manrico and his brother, gives herself to the latter in return for Manrico's freedom, taking poison in an attempt to outwit the Count.

In the present aria she sings of her love, as she stands below the tower where the Count has imprisoned her lover.

[13] Cos� fan tutte was Mozart's final collaboration with the librettist Da Ponte and was first performed in Vienna in 1790. In a symmetrical plot two lovers resolve, with the prompting of the cynical Don Alfonso, to test the loyalty of their mistresses, two sisters. This they do by pretending to leave for the wars and returning in foreign disguise, when they prove all too successful, each winning the heart of the other's beloved. In the present aria one of the lovers, Ferrando, sings of love, after it has seemed that the sisters will stand firm against their blandishments.

[14] Derived from Scott's novel The Bride of Lammermoor, Donizetti's Lucia di Lammermoor, first seen in Naples in 1835, presents the tragedy of the heroine of the title, forced by deception into marriage with Lord Arturo Bucklaw, whom she murders in madness, seeming to see, instead, her marriage to her beloved Edgardo, the displaced heir of Ravenswood, who kills himself when he learns of her death. The famous mad scene brings distorted memories of earlier happiness in music that makes great technical and dramatic demands on the singer.

Keith Anderson

Disc 1

Le nozze di Figaro (The Marriage of Figaro), K. 492

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Performed by: Porto National Orchestra Heidelberg Symphony Orchestra Berlin Philharmonic Orchestra Nicolaus Esterhazy Sinfonia Berlin Radio Symphony Orchestra Capella Istropolitana West German Radio Symphony Orchestra Calgary Philharmonic Orchestra London Philharmonic Orchestra Dresden Staatskapelle Grande Ecurie et la Chambre du Roy, La Dresden Philharmonic Orchestra Norwegian National Opera Orchestra Paris New Symphony Society Orchestra
Composed by: Wolfgang Amadeus Mozart Rene Leibowitz
Conducted by: Marc Tardue Gunter Wand Hans Vonk Fritz Busch Thomas Fey Mario Bernardi Jean-Claude Malgoire Rafael Fruhbeck de Burgos Michael Halasz Barry Wordsworth Wilhelm Furtwangler Alfred Scholz
Rinaldo Alessandrini, harpsichord

The Marriage of Figaro: Overture - 4:02

Carmen

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Performed by: Victor Orchestra Canadian Opera Company Orchestra Bordeaux Aquitaine National Orchestra Oslo Philharmonic Orchestra Columbia Symphony Orchestra Laval Symphony Orchestra Stockholm Symphony Orchestra Sofia National Opera Orchestra New York Metropolitan Opera Orchestra Swedish Radio Orchestra Helsinki Philharmonic Orchestra Catania Teatro Massimo Bellini Orchestra Quebec Symphony Orchestra Slovak Radio Symphony Orchestra Wurttemberg Philharmonic Orchestra Berlin State Opera Orchestra Milan La Scala Orchestra Studio orchestra Paris Opera-Comique Orchestra Russia Philharmonia Metropolitan Orchestra Oslo Radio Orchestra
Composed by: Lawrence Tibbett Enrico Caruso Georges Bizet
Conducted by: Lodovico Zocche Clemens Schmalstich Steven Mercurio Walter B. Rogers Umberto Berrettoni Simon Streatfeild Franco Ghione Jacques Lacombe Fausto Cleva Nils Grevillius Ondrej Lenard Alexander Rahbari Ivan Marinov Alain Lombard Gilbert Patenaude Anatoly Maltsev Igor Agafonnikov Richard Bradshaw Andre Cluytens Jean Morel Constantine Orbelian Mikko Franck Oivin Fjeldstad Oyvind Berg
Thierry Tregan, tenor
Manon Feubel, soprano
Franck Leguerinel, baritone
Wilfrid Pelletier, narrator
John McCormack, tenor
Rina Gigli, soprano
Graciela Alperyn, mezzo-soprano
Nora Sourouzian, mezzo-soprano
Michael Bohnen, baritone
Licia Albanese, soprano
Beniamino Gigli, tenor
Richard Tauber, tenor
Leonard Warren, baritone
Maryse Castets, soprano
Christian Papis, narrator
Vincent Le Texier, baritone
Frances Alda, soprano
Richard Crooks, tenor
Peter Dvorsky, tenor
Charles Kullman, tenor
Doina Palade, soprano
Solange Michel, contralto
Michel Dens, baritone
Martha Angelici, mezzo-soprano
Jennie Tourel, mezzo-soprano
Dmitri Hvorostovsky, baritone
Raoul Jobin, tenor
Lucy Isabelle Marsh,
Nicola Ghiuselev, bass
Martine Olmeda, mezzo-soprano
Lado Ataneli, baritone
Giorgio Lamberti, tenor
Danilo Rigosa, bass
Ann Liebeck, soprano
Dalia Schaechter, soprano
Marcello Giordani, tenor
Marina Domashenko, mezzo-soprano
Lyne Fortin, soprano
Soile Isokoski, soprano
Barseg Tumanyan, baritone
Jussi Bjorling, tenor
Viktoria Smirnova, soprano
Gladys Swarthout, contralto
Alan Titus, baritone
Alain Trudel, sackbut
Beatrice Uria-Monzon, mezzo-soprano
Alexandrina Milcheva, mezzo-soprano
Verter Vrachovsky, tenor
Milen Paounov, tenor
Nikola Nikolov, tenor
Marnie Breckenridge, soprano
Anastasia Chikaeva, mezzo-soprano
Richard Margison, tenor
Liliana Vassileva, soprano
Stefka Popangelova, vocals
Tsvetanka Arshinkova, vocals
Pavel Gerdjikov, bass
Georgi Genov, baritone
Eva Gustavson, contralto
Dorothy Warenskjold, soprano

Pres des remparts de Seville (Seguidilla) and Duet - 4:26

La fanciulla del West

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Performed by: New York Metropolitan Opera Orchestra London Philharmonic Orchestra Nils Grevillius Orchestra CSR Symphony Orchestra, Bratislava Slovak Radio Symphony Orchestra Berlin State Opera Orchestra Milan La Scala Orchestra Studio orchestra
Composed by: Giacomo Puccini
Conducted by: Josef A. Pasternack Umberto Berrettoni Frieder Weissmann Nils Grevillius Michael Halasz Antonino Votto David Parry Ivan Anguelov
Dennis O'Neill, tenor
Beniamino Gigli, tenor
Giuseppe Di Stefano, tenor
Thomas Harper, tenor
Joseph Schmidt, tenor
Dino Fedri,
Lado Ataneli, baritone
Tito Gobbi, baritone
Edward Johnson, tenor
Jussi Bjorling, tenor

Ch' ella mi creda libera - 1:58

Il barbiere di Siviglia (The Barber of Seville)

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Performed by: Latvian National Symphony Orchestra Victor Orchestra Canadian Opera Company Orchestra Budapest Failoni Chamber Orchestra New York Metropolitan Opera Orchestra Frankfurt Brandenburg State Orchestra Calgary Philharmonic Orchestra London Philharmonic Orchestra Rome Opera Orchestra Hungarian State Opera Orchestra Philharmonia Orchestra Royal Philharmonic Orchestra Slovak Radio Symphony Orchestra Wurttemberg Philharmonic Orchestra Berlin State Opera Orchestra New York Philharmonic Symphony Orchestra Milan La Scala Orchestra Dresden Staatskapelle Studio orchestra English National Opera Orchestra Torino Teatro Regio Orchestra RAI Symphony Orchestra, Milan Metropolitan Orchestra
Composed by: Pietro Cimara Lawrence Tibbett Nathaniel Shilkret Pietro Mascagni Gioachino Rossini Arturo Toscanini
Conducted by: Lodovico Zocche Josef A. Pasternack Will Humburg Bruno Campanella Rudolf Kempe Alberto Erede Lorenzo Molajoli Rosario Bourdon Mario Bernardi Gabriele Bellini Michael Halasz Pier Giorgio Morandi Alexander Rahbari Tullio Serafin Percy Pitt Richard Bradshaw Heribert Beissel Vincenzo Bellezza David Parry Alexandrs Vilumanis
Bruno Pola, baritone
Paolo Montarsolo, bass
Alberto Carusi, baritone
John McCormack, tenor
Nicoletta Curiel,
Aaron St. Clair Nicholson, baritone
Elina Garanca, soprano
Friedemann Rohlig, bass
Hao Jiang Tian, bass
Luciana Serra,
Arno Schellenberg, baritone
Feodor Chaliapin, bass
Richard Tauber, tenor
Luisa Tetrazzini, soprano
Thomas Allen, baritone
Nazzareno de Angelis, bass
Titta Ruffo, baritone
Maria Bayo, soprano
Tito Schipa, tenor
Benno Ziegler, baritone
Sonia Ganassi, mezzo-soprano
Franco de Grandis, bass
Jennie Tourel, mezzo-soprano
Studio pianist, piano
Alan Opie, baritone
Ingrid Kertesi, soprano
Bruce Ford, tenor
Andrew Shore, bass
Robert Merrill, baritone
Della Jones, mezzo-soprano
Lado Ataneli, baritone
Risto Lauriala, piano
Kazmer Sarkany, baritone
Laszlo Orban, baritone
Ferenc Korpas, bass
Maria Callas, soprano
Tito Gobbi, baritone
Ewa Podles, contralto
Mario Sammarco, baritone
Angelo Romero, bass
Michael Schade, tenor
Roberto Servile, baritone
Rockwell Blake, tenor
Enzo Dara, bass
Alain Trudel, sackbut
Ramon Vargas, tenor
Marion Talley, soprano
Rinaldo Alessandrini, harpsichord
Allan Monk, baritone
Aurelio Faedda, bass
Russell Braun, baritone
Recording date: 1911

Una voce poco fa - 6:08

Lohengrin

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Performed by: WDR Symphony Orchestra Philadelphia Orchestra Seattle Symphony Orchestra Maastricht Limburg Symphony Orchestra Bayreuth Festival Orchestra Concertgebouw Orchestra Victor Symphony Orchestra New York Metropolitan Opera Orchestra West German Radio Symphony Orchestra Vienna Radio Symphony Orchestra London Philharmonic Orchestra Swedish Radio Symphony Orchestra South West German Radio Symphony Orchestra, Baden-Baden Danish National Radio Symphony Orchestra Royal Swedish Orchestra Russian State Symphony Orchestra Slovak Radio Symphony Orchestra Berlin State Opera Orchestra New York Philharmonic Symphony Orchestra Milan La Scala Orchestra Dresden Staatskapelle Studio orchestra Linz Bruckner Orchestra Cologne West German Radio Orchestra
Composed by: Sten Frykberg Richard Wagner William Lawrence Arturo Toscanini
Conducted by: Willem Mengelberg Gaetano Merola Clemens Schmalstich John McGlinn Karl Bohm Frieder Weissmann Ed Spanjaard Gerd Albrecht Erich Leinsdorf Karl Muck Eugene Ormandy Leif Segerstam Johannes Wildner Michael Gielen Joseph Keilberth Semyon Bychkov Gerard Schwarz Roberto Paternostro David Parry Ivan Anguelov Simone Young Bernhard Klee
Sandor Sved, baritone
Norman Cordon, bass
Mack Harrell, baritone
Emmy Bettendorf, soprano
Nellie Melba, soprano
Johan Botha, tenor
Pia Tassinari, mezzo-soprano
Eleanor Steber, soprano
Adrianne Pieczonka, soprano
Torsten Kerl, tenor
Richard Crooks, tenor
Kwangchul Youn, baritone
Charlotte Margiono, soprano
Kirsten Flagstad, soprano
Kerstin Thorborg, contralto
Christine Brewer, soprano
Astrid Varnay, soprano
Wolfgang Windgassen, tenor
Josef Janko, tenor
Gerhard Stolze, tenor
John Horton Murray, tenor
Margaret Jane Wray, soprano
Edwin McArthur,
Gwyneth Jones, soprano
Folke Alin, piano
Christina Hornell, choirmaster
Petra Lang,
Lauritz Melchior, tenor
Eike Wilm Schulte, baritone
Josef Greindl, bass
Jussi Bjorling, tenor
Hans Braun, baritone
Hermann Uhde, baritone
Alfons Herwig, baritone
Theo Adam, bass
Wilhelm Pitz, choirmaster
Leo Slezak, tenor
Falk Struckmann, baritone
John Treleaven,
Ruby Elzy, soprano
Recording date: 17 October 1937

Treulich gefuhrt - 4:53

Fidelio, Op. 72

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Performed by: Vienna Philharmonic Orchestra Philadelphia Orchestra Nicolaus Esterhazy Sinfonia Budapest Symphony Orchestra New York Metropolitan Opera Orchestra Philharmonia Orchestra Royal Danish Orchestra Slovak Radio Symphony Orchestra Berlin Staatskapelle Dresden Staatskapelle Studio orchestra Stuttgart Radio Symphony Orchestra Cologne Radio Symphony Orchestra Sofia Philharmonic Orchestra
Composed by: Ludwig van Beethoven
Conducted by: Herbert von Karajan John Barbirolli Alfons Rischner Gerd Albrecht Michael Halasz Erich Kleiber Eugene Ormandy Tamas Pal Bruno Walter Johannes Wildner Wilhelm Furtwangler Kurt Striegler Ivan Anguelov Georgi Robev Siegfried Kurz
Peter Palinkas, tenor
Jozsef Moldvay, baritone
Gottlob Frick, bass
Alwin Hendricks, tenor
Michael Bohnen, baritone
Frida Leider, soprano
Elisabeth Schumann, soprano
Alexander Kipnis, bass
Rene Maison, tenor
Herbert Janssen, baritone
Torsten Kerl, tenor
Kirsten Flagstad, soprano
Alfred Poell, baritone
Wolfgang Glashof, bass
Gosta Winbergh, tenor
Kurt Moll, bass
Edith Lienbacher, soprano
Herwig Pecoraro, tenor
Wolfgang Windgassen, tenor
Martha Modl, soprano
Otto Edelmann, bass
Hans Hopf, tenor
Gerhard Unger, tenor
Elisabeth Schwarzkopf, soprano
Reiner Goldberg, tenor
Birgit Nilsson, soprano
Kalman Strausz, choirmaster
Ingeborg Wenglor,
Karl Laufkotter, tenor
Julius Huehn, baritone
Marita Farell, soprano
Rudolf Schock, tenor
Sena Jurinac, soprano
Franz Bierbach, bass
Hans Braun, baritone
Alan Titus, baritone
Paul Schoffler, baritone
Fritz Wunderlich, tenor
Hans Gunter Nocker, bass
Inga Nielsen, soprano
Recording date: 16-22 February 1994

Abscheulicher, wo eilst du hin - 7:29

Die Zauberflote (The Magic Flute), K. 620

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Performed by: Mozart Festival Orchestra BBC Symphony Orchestra Philharmonia Cassovia Capella Istropolitana West German Radio Symphony Orchestra Calgary Philharmonic Orchestra NBC Symphony Orchestra Failoni Orchestra, Budapest Dresden Staatskapelle Norwegian National Opera Orchestra
Composed by: Wolfgang Amadeus Mozart Arturo Toscanini
Conducted by: Marco Bertone Gunter Wand Hans Vonk Fritz Busch Mario Bernardi Michael Halasz Johannes Wildner Barry Wordsworth
Rinaldo Alessandrini, harpsichord

March of the Priests - 2:40

Andrea Chenier

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Performed by: Victor Orchestra Canadian Opera Company Orchestra Ukrainian National Opera Symphony Orchestra New York Metropolitan Opera Orchestra Tampere Philharmonic Orchestra Calgary Philharmonic Orchestra Montreal Opera Orchestra Philharmonia Orchestra Slovak Radio Symphony Orchestra Frankfurt Radio Symphony Orchestra Berlin State Opera Orchestra Milan La Scala Orchestra Dresden Staatskapelle Studio orchestra Russia Philharmonia
Composed by: Enrico Caruso Umberto Giordano
Conducted by: Josef A. Pasternack Oliviero De Fabritiis Marcello Viotti Eri Klas Carlo Sabajno Lorenzo Molajoli Umberto Berrettoni Mario Bernardi Frieder Weissmann Nils Grevillius Michael Halasz Tullio Serafin Johannes Wildner Joseph Rescigno Richard Bradshaw Constantine Orbelian Kurt Striegler Ivan Anguelov
Salvatore Baccaloni, bass
Luigi Marini, tenor
Lina Bruna-Rasa, soprano
Carlo Galeffi, baritone
Anna Masetti Bassi, mezzo-soprano
Beniamino Gigli, tenor
Pierre Lefebvre,
Tommi Hakala, baritone
Gino Bechi, baritone
Giuseppe Nessi, tenor
Leone Paci, baritone
Maria Caniglia, soprano
Italo Tajo, bass
Ida Conti, mezzo-soprano
Aristide Baracchi, baritone
Natale Villa, bass
Francesco Merli, tenor
Claudio Otelli, bass-baritone
Vittoria Palombini, alto
Richard Bonelli, baritone
Aureliano Pertile, tenor
Thomas Harper, tenor
Hans Hopf, tenor
Dmitri Hvorostovsky, baritone
Lado Ataneli, baritone
Lila Larinova, soprano
Lilia Grevtzova, soprano
Giacomo Lauri Volpi, tenor
Antonio Cortis, tenor
Cesare Formichi, baritone
Claudia Muzio, soprano
Janez Lotric, tenor
Maria Callas, soprano
Heinz Zednik, tenor
Hans Helm, baritone
Renato Bruson, baritone
Diana Soviero, soprano
Edward Johnson, tenor
Meta Seinemeyer, soprano
Jussi Bjorling, tenor
Gisella Pasino, mezzo-soprano
Franco Bonisolli, tenor
Maria Gulegina, soprano
Evghenia Dundekova, mezzo-soprano
Glenys Linos, mezzo-soprano
Stefano Miliani Rinaldi, bass
Michele Pertusi, bass-baritone
Richard Margison, tenor
Allan Monk, baritone
Recording date: 16 June 1941

La mamma morta - 4:54

La traviata

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Performed by: CSR Symphony Orchestra, Bratislava Hungarian State Opera Orchestra Slovak Radio Symphony Orchestra New York Philharmonic Symphony Orchestra Santa Cecilia Academy Orchestra, Rome
Composed by: Victor De Sabata Giuseppe Verdi Arturo Toscanini
Conducted by: Ondrej Lenard Pier Giorgio Morandi Alexander Rahbari
Recording date: 5 April 1929

La Traviata: Prelude to Act 1 - 3:55

Rigoletto

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Performed by: Polish National Opera Orchestra Victor Orchestra Berlin Philharmonic Orchestra Stockholm Symphony Orchestra New Symphony Orchestra RCA Victor Orchestra RTBF Symphony Orchestra Russian Philharmonia Orchestra New York Metropolitan Opera Orchestra Estonian State Symphony Orchestra Frankfurt Brandenburg State Orchestra Edmonton Symphony Orchestra Calgary Philharmonic Orchestra Rome Opera Orchestra Nils Grevillius Orchestra CSR Symphony Orchestra, Bratislava Royal Philharmonic Orchestra Slovak Radio Symphony Orchestra Berlin State Opera Orchestra Milan La Scala Orchestra Studio orchestra English National Opera Orchestra Europa Symphony Russian Philharmonia Metropolitan Orchestra Mannheim National Theatre Orchestra Vitaphone Orchestra
Composed by: Lawrence Tibbett Cesare Sodero Enrico Caruso Giuseppe Verdi
Conducted by: Jacek Kaspszyk Josef A. Pasternack Eri Klas Will Humburg Mark Elder Giulio Setti Walter Goehr Walter B. Rogers Rosario Bourdon Renato Cellini Mario Bernardi Selmar Meyrowitz Franco Ghione Nils Grevillius Michael Halasz Ondrej Lenard Ettore Panizza Gennaro Papi Alexander Rahbari Tullio Serafin Ronald Zollman Uri Mayer Charles Rosekrans Jonel Perlea Heribert Beissel Leo Blech Ivan Anguelov Wolfgang Grohs Frederic Chaslin Herman Heller
Norman Cordon, bass
John McCormack, tenor
Alida Ferrarini, soprano
Louise Homer, contralto
Nellie Melba, soprano
Giuseppe Valdengo, baritone
Beata Ulas, soprano
Agnieszka Wolna, alto
Raphaelle Paquette, soprano
Gregory Dahl, baritone
Antoine Belanger, tenor
Alexandre Sylvestre, baritone
Joseph Schwarz, tenor
Claire Dux, soprano
John Rawnsley, baritone
Renato Ercolani, tenor
Plinio Clabassi, bass
Anna Maria Rota, mezzo-soprano
Roberta Peters, soprano
Beniamino Gigli, tenor
Leonard Warren, baritone
Erna Berger, soprano
Jan Peerce, tenor
Nan Merriman, mezzo-soprano
Giuseppe Di Stefano, tenor
Frederic Jagel, tenor
Lucrezia Bori, soprano
Lina Pagliughi, soprano
Luisa Tetrazzini, soprano
Pasquale Amato, baritone
Josephine Jacoby, mezzo-soprano
Helen Field, soprano
Peter Dvorsky, tenor
Reinald Werrenrath, baritone
Giacomo Aragall, tenor
Tito Schipa, tenor
Landon Ronald, piano
Hjordis Schymberg, soprano
Alzbeta Michalkova, contralto
Carlo Forti, bass
Thomas Harper, tenor
George Cehanovsky, baritone
Giuseppe de Luca, baritone
Dmitri Hvorostovsky, baritone
Joseph Schmidt, tenor
Arthur Davies, tenor
Elvira Galassi, soprano
Luisa Mandelli,
Ladislav Neshyba, bass
Adriana Lazzarini, contralto
Giuse Gerbino, mezzo-soprano
Vittorio Tatozzi,
Nicola Zaccaria, bass
William Dickie,
Robert Merrill, baritone
Giorgio Tozzi,
Lado Ataneli, baritone
Amelita Galli-Curci, soprano
Flora Perini, mezzo-soprano
Jozef Spacek, baritone
Robert Szucs, tenor
Jozef Abel, tenor
Ivica Neshybova, soprano
Peter Subert, tenor
Jitka Saparova, contralto
Jorma Hynninen, baritone
Martha Lipton, mezzo-soprano
Thelma Altman, mezzo-soprano
Salvatore Cottone, piano
Maria Callas, soprano
Tito Gobbi, baritone
Arturo la Porta, bass-baritone
Tommaso Frascati,
Leonardo Monreale,
Lidia Grandi,
Silvana Celli,
Santa Chissari,
Andrea Mineo,
Lily Pons, soprano
John Engelman, percussion
Yordy Ramiro, tenor
Indra Thomas, soprano
Kristine Jepson, mezzo-soprano
Matthew Polenzani, tenor
Mariusz Kwiecien, baritone
Mario Sammarco, baritone
Jean Rigby, contralto
Louis Quilico, baritone
Bidu Sayao, soprano
Jose Van Dam, baritone
Dinah Bryant, soprano
Jerome Pruett, tenor
Jeanne Gordon, contralto
Jussi Bjorling, tenor
Alain Trudel, sackbut
Eduard Tumagian, baritone
Leo Slezak, tenor
Cornelia Ptassek, soprano
Edna Thornton, contralto
Teruhiko Komori, baritone
Giovanni Paltrinieri, tenor
Luba Orgonasova, soprano
Marion Talley, soprano
Allan Monk, baritone
Annamaria Popescu, mezzo-soprano
Recording date: 28 December 1935

Gualtier Malde... Caro nome - 6:32

Aida

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Performed by: Polish National Opera Orchestra Victor Orchestra Vienna Symphony Orchestra Vienna State Opera Orchestra Stockholm Symphony Orchestra RCA Victor Orchestra Sofia National Opera Orchestra Ireland National Symphony Orchestra Ljubljana Radio Symphony Orchestra Bruno Seidler-Winkler Orchestra Rome Opera Orchestra Toronto Symphony Orchestra Finnish Radio Symphony Orchestra Hungarian State Opera Orchestra Philharmonia Orchestra Slovak Radio Symphony Orchestra Irish Army No. 1 Band Berlin State Opera Orchestra San Francisco Symphony Orchestra Milan La Scala Orchestra Studio orchestra Stuttgart State Orchestra Nuremberg Symphony Orchestra Europa Symphony Linz Bruckner Orchestra Russian Philharmonia Russia Philharmonia
Composed by: Enrico Caruso Giuseppe Verdi Colin Mawby
Conducted by: Jacek Kaspszyk Gaetano Merola Clemens Schmalstich Alberto Erede Giulio Setti Lorenzo Molajoli Rosario Bourdon Renato Cellini Herman Weigert Mario Bernardi Oliver Dohnanyi Hanspeter Gmur Nils Grevillius Michael Halasz Ondrej Lenard Pier Giorgio Morandi Ricco Saccani Tullio Serafin Ivan Marinov Karl Alwin Jukka-Pekka Saraste Jonel Perlea Lothar Zagrosek Bruno Seidler-Winkler Constantine Orbelian David Parry Ivan Anguelov Wolfgang Grohs Marko Munih Bernhard Klee
John McCormack, tenor
Sondra Radvanovsky, soprano
Louise Homer, contralto
Lina Bruna-Rasa, soprano
Carlo Galeffi, baritone
Beata Ulas, soprano
Agnieszka Wolna, alto
Maria Nemeth, soprano
Mario Carlin, tenor
Plinio Clabassi, bass
Peter Rose, bass
Giuseppe Conca, choirmaster
Gregory Yurisich, baritone
Dennis O'Neill, tenor
Bruna Rizzoli, soprano
Beniamino Gigli, tenor
Frida Leider, soprano
Leonard Warren, baritone
Ebe Stignani, mezzo-soprano
Maria Caniglia, soprano
Italo Tajo, bass
Francesco Ellero d' Artegna, bass
Maria Dragoni, soprano
Richard Crooks, tenor
Peter Dvorsky, tenor
Karita Mattila, soprano
Fedora Barbieri, mezzo-soprano
Giovanni Martinelli, tenor
Barbara Dever, mezzo-soprano
Mark Rucker, baritone
Thomas Harper, tenor
Astrid Varnay, soprano
Zinka Milanov, soprano
Fernando Corena, baritone
Piero De Palma, tenor
Kristjan Johannson, tenor
Galina Gorchakova,
Marian Vach, choirmaster
Alfred Boe, tenor
Lucy Isabelle Marsh,
Elvira Galassi, soprano
Rosalind Plowright, mezzo-soprano
Nicola Zaccaria, bass
Franco Ricciardi,
Nicola Ghiuselev, bass
Richard Tucker, tenor
Giuseppe Modesti,
Riccardo Ferrari, bass
Antonio Marceno, tenor
Monica Trini, soprano
Susan Gritton, soprano
Mario Del Monaco, tenor
Aldo Protti, baritone
Dario Caselli, bass
Salvatore Cottone, piano
Maria Callas, soprano
Tito Gobbi, baritone
Elsie Baker,
Jane Eaglen, soprano
Boris Christoff, bass
Emil Schipper, baritone
Hui He, soprano
Rosa Ponselle, soprano
Jussi Bjorling, tenor
Alastair Miles, bass
Renata Tebaldi, soprano
Alexandrina Milcheva, mezzo-soprano
Maria Dimchevska, soprano
Verter Vrachovsky, tenor
Yulia Wiener-Chinesheva, soprano
Nikola Nikolov, tenor
Nikolay Smochevsky, baritone
Stefan Tsiganchev, bass
Leo Slezak, tenor
Richard Margison, tenor
Johanna Gadski, soprano
Juan Perez, tenor
Recording date: 12th May, 1928 / 11th May, 1928

Se quel guerrier io fossi... Celeste Aida - 4:29

Il trovatore

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Performed by: Polish National Opera Orchestra Victor Orchestra Canadian Opera Company Orchestra Laval Symphony Orchestra Vienna State Opera Orchestra Ukrainian National Opera Symphony Orchestra Stockholm Symphony Orchestra RCA Victor Orchestra Estonian State Symphony Orchestra Edmonton Symphony Orchestra London Philharmonic Orchestra Catania Teatro Massimo Bellini Orchestra Rome Opera Orchestra Nils Grevillius Orchestra Hungarian State Opera Orchestra Royal Philharmonic Orchestra Slovak Radio Symphony Orchestra Milan La Scala Orchestra Dresden Staatskapelle Studio orchestra Russia Philharmonia
Composed by: Lawrence Tibbett Enrico Caruso Giuseppe Verdi
Conducted by: Jacek Kaspszyk Herbert von Karajan Eri Klas Will Humburg Clemens Schmalstich Giulio Setti Steven Mercurio Lorenzo Molajoli Walter Goehr Umberto Berrettoni Renato Cellini Mario Bernardi Jacques Lacombe Oliver Dohnanyi Nils Grevillius Michael Halasz Alexander Rahbari Johannes Wildner Uri Mayer Karl Alwin Charles Rosekrans Richard Bradshaw Vincenzo Bellezza Constantine Orbelian David Parry Kurt Striegler Ivan Anguelov
Manon Feubel, soprano
Sondra Radvanovsky, soprano
Louise Homer, contralto
Beata Ulas, soprano
Agnieszka Wolna, alto
Maria Nemeth, soprano
Joseph Schwarz, tenor
Renato Ercolani, tenor
Luisa Villa, mezzo-soprano
Dennis O'Neill, tenor
Clive Bayley, bass-baritone
Beniamino Gigli, tenor
Frida Leider, soprano
Richard Tauber, tenor
Leonard Warren, baritone
Nathaniel Sprinzena, tenor
Giuseppe Di Stefano, tenor
Sharon Sweet, soprano
Bianca Scacciati, soprano
Enrico Molinari, tenor
Giuseppina Zinetti, soprano
Francesco Merli, tenor
Frances Alda, soprano
Ernestine Schumann-Heink, contralto
Fedora Barbieri, mezzo-soprano
Riccardo Stracciari, baritone
Giovanni Martinelli, tenor
Maurizio Frusoni, tenor
Zsuzsa Csonka, soprano
Franco de Grandis, bass
Richard Bonelli, baritone
Irina Tchistjakova, mezzo-soprano
Thomas Harper, tenor
Hans Hopf, tenor
Zinka Milanov, soprano
Nicola Moscona, bass
Margaret Roggero, mezzo-soprano
Paul Franke, tenor
George Cehanovsky, baritone
Dmitri Hvorostovsky, baritone
Alan Opie, baritone
Yaroslava Poberezhna, soprano
Ruslan Tansky, tenor
Joseph Schmidt, tenor
Marian Vach, choirmaster
Nicola Zaccaria, bass
Mark Le Brocq, tenor
Robert Merrill, baritone
Lado Ataneli, baritone
Sandor Pasztor, bass
Janos Tandari, tenor
Daniela Longhi, soprano
Jorma Hynninen, baritone
Marcello Giordani, tenor
Maria Callas, soprano
Rolando Panerai, baritone
Franco Calabrese, bass
Max Saal,
Jozsef Mukk, tenor
Giulio Mauri,
Alexander Vinogradov, bass
Hui He, soprano
Marina Domashenko, mezzo-soprano
Rosa Ponselle, soprano
Indra Thomas, soprano
Louis Quilico, baritone
Roberto Servile, baritone
Jussi Bjorling, tenor
Renata Tebaldi, soprano
Eduard Tumagian, baritone
Richard Margison, tenor
Cloe Elmo, mezzo-soprano
Austin Miskell, tenor
Elsa Gutierrez, contralto
Arnaldo Garcia, piano

D'amor sull' ali rosee - 3:50

Cosi fan tutte, K. 588

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Performed by: Canadian Opera Company Orchestra Slovak Philharmonic Orchestra Trois-Rivieres Symphony Orchestra Philharmonia Cassovia Tampere Philharmonic Orchestra Capella Istropolitana West German Radio Symphony Orchestra Calgary Philharmonic Orchestra Berlin Symphony Orchestra Glyndebourne Festival Orchestra Philharmonia Orchestra Tapiola Sinfonietta Grande Ecurie et la Chambre du Roy, La
Composed by: Wolfgang Amadeus Mozart
Conducted by: Herbert von Karajan Eri Klas Gunter Wand Gilles Bellemare Marcus Creed Fritz Busch Mario Bernardi Jean-Claude Malgoire Johannes Wildner Richard Bradshaw
Sophie Fournier, mezzo-soprano
Patrick Donnelly, baritone
Annie Burgaux, soprano
Jose Canales, vocals
Stephanie Leclercq, vocals
Rigoberto Marin-Polop, baritone
Gaynor Morgan, soprano
Rebecca Ockenden, soprano
Isabelle Senges, mezzo-soprano
Jean-Marc Thoron, vocals
Lisa Otto, soprano
Priti Coles, soprano
Sesto Bruscantini, baritone
Ina Souez, soprano
Luise Helletsgruber, soprano
Nan Merriman, mezzo-soprano
Tommi Hakala, baritone
Martial Defontaine,
John Dickie, tenor
Irene Eisinger, vocals
Peter Schreier, tenor
Ruth Ziesak, soprano
Rohangiz Yachmi, mezzo-soprano
Elisabeth Schwarzkopf, soprano
Nicolas Rivenq, baritone
Sophie Marin-Degor, soprano
Laura Polverelli, mezzo-soprano
Andrea Martin, baritone
Evgueniy Alexiev, baritone
Rolando Panerai, baritone
Heddle Nash, tenor
Willi Domgraf-Fassbaender, baritone
Peter Mikulas, bass
Simon Edwards, tenor
Donna Robin, soprano
Leopold Simoneau, tenor
Soile Isokoski, soprano
Michael Schade, tenor
John Brownlee, baritone
Joanna Borowska, soprano
Evelyne Brun,
James Schwabacher, tenor
Allan Monk, baritone
Gretan Laperriere, baritone
Russell Braun, baritone
Recording date: March 1990

Un' aura amorosa - 5:05

Lucia di Lammermoor

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Performed by: Victor Orchestra Canadian Opera Company Orchestra Rosario Bourdon Orchestra RCA Victor Orchestra RAI Symphony Orchestra, Turin New York Metropolitan Opera Orchestra Vancouver Symphony Orchestra Frankfurt Brandenburg State Orchestra Toronto Symphony Orchestra Danish National Radio Symphony Orchestra Fiorentino Maggio Musicale Orchestra Philharmonia Orchestra Slovak Radio Symphony Orchestra Wurttemberg Philharmonic Orchestra Berlin State Opera Orchestra Studio orchestra Bergamo Musica Festival Orchestra Sofia Philharmonic Orchestra Vitaphone Orchestra
Composed by: Emil Tabakov Enrico Caruso Gaetano Donizetti
Conducted by: Lodovico Zocche Josef A. Pasternack Will Humburg Antonino Fogliani Giulio Setti Carlo Sabajno Walter B. Rogers Rosario Bourdon Renato Cellini Ugo Tansini Bruce Pullan Gustav Kuhn Tullio Serafin Johannes Wildner Richard Bradshaw Heribert Beissel Bruno Seidler-Winkler David Parry Herman Heller
Gary Relyea, bass-baritone
John McCormack, tenor
Louise Homer, contralto
Nellie Melba, soprano
Miliza Korjus, soprano
Matteo Barca, tenor
Tiziana Falco, soprano
Peter Rose, bass
Dennis O'Neill, tenor
Igor Morozov, baritone
Clive Bayley, bass-baritone
Beniamino Gigli, tenor
Enrico Giuseppe Iori,
Giuseppe Di Stefano, tenor
Robert Pomakov, bass
Lina Pagliughi, soprano
Giovanni Malipiero, tenor
Giuseppe Manacchini, baritone
Luciano Neroni, bass
Luisa Tetrazzini, soprano
Angelo Bada, tenor
Pasquale Amato, baritone
Marcel Journet, bass
Josephine Jacoby, mezzo-soprano
Gino Quilico, baritone
Riccardo Stracciari, baritone
Toti Dal Monte, soprano
Tito Schipa, tenor
Landon Ronald, piano
Charles Hackett, tenor
Giuseppe de Luca, baritone
Alan Opie, baritone
Robert Merrill, baritone
Hye Hun Chung Bennett, harp
Lado Ataneli, baritone
Stephen Chaundy, tenor
Amelita Galli-Curci, soprano
Minnie Egener, mezzo-soprano
Janez Lotric, tenor
Maria Callas, soprano
Tito Gobbi, baritone
Desiree Rancatore, soprano
Luca Grassi, baritone
Roberto de Biasio, tenor
Ezio Pinza, bass
Maria Elena Barrientos, piano
Michael Schade, tenor
Charles K. North, flute
Raffaele Arie, bass
Valiano Natali, tenor
Anna Maria Canali, mezzo-soprano
Gino Sarri, tenor
Andrea Morosini, choirmaster
Luigi Vellucci, tenor
Jose Mardones, bass
George Meader, tenor
Emma Noe, soprano
Vincenzo Maria Sarinelli, tenor
Marco Jentzsch, tenor
Michele Pertusi, bass-baritone
John Lemmone, flute
Jean Stilwell, mezzo-soprano
Richard Margison, tenor
Tracy Dahl, soprano
Inga Nielsen, soprano
Luba Orgonasova, soprano
Marion Talley, soprano
Russell Braun, baritone
Recording date: 10 April 1925

Il dolce suono ('Mad Scene') - 16:07

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