Decca Sound 55 Great Vocal Recitals

~ Release by Various Artists (see all versions of this release, 1 available)

Tracklist

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1▼CD: Suzanne Danco - Operatic Recital (LXT 2557)
#TitleArtistRatingLength
1Louise : Acte III, scène 1. "Depuis le jour“
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Alberto Erede (conductor)
recording of:
Louise: Acte III, Scène I. “Depuis le jour” (Louise)
composer:
Gustave Charpentier (French composer)
part of:
Louise: Acte III, Scène I.
Marc‐Antoine Charpentier4:52
2La traviata: Atto I. "E strano!" - "Ah, fors'è lui" - "Sempre libera"
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Alberto Erede (conductor)
recording of:
La traviata: Atto I. “Ah, fors’è lui” (Violetta)
composer:
Giuseppe Verdi (Italian opera composer)
librettist:
Francesco Maria Piave
part of:
La traviata: Atto I (La traviata: Act I)
recording of:
La traviata: Atto I. “Sempre libera” (Violetta)
composer:
Giuseppe Verdi (Italian opera composer)
librettist:
Francesco Maria Piave
part of:
La traviata: Atto I (La traviata: Act I)
recording of:
La traviata: Atto I. Recitativo “È strano! è strano!” (Violetta)
composer:
Giuseppe Verdi (Italian opera composer)
librettist:
Francesco Maria Piave
part of:
La traviata: Atto I (La traviata: Act I)
Giuseppe Verdi6:30
3Manon : Acte II. "Allons, il le faut" - "Adieu, notre petite table"
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Alberto Erede (conductor)
recording of:
Manon : Acte II. « Adieu, notre petite table » (Manon)
composer:
Jules Massenet (French Romantic composer)
librettist:
Philippe Gille and Henri Meilhac
part of:
Manon : Acte II
Jules Massenet4:28
4Carmen, WD 31: Acte 3. "C'est les contrabandiers" - "Je dis que rien"
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Alberto Erede (conductor)
recording of:
Carmen : Acte III. No. 22. Air « Je dis que rien ne m’épouvante » (Micaëla)
composer:
Georges Bizet (French composer)
librettist:
Ludovic Halévy (French librettist) and Henri Meilhac
part of:
Carmen : Acte III
Georges Bizet6:31
5Alceste, Wq. 44: Acte 1. "Divinités du Styx"
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Alberto Erede (conductor)
recording of:
Alceste, Wq. 44 : Acte I. Air « Divinités du Styx » (Alceste)
composer:
Christoph Willibald Gluck (composer)
librettist:
Ranieri de’ Calzabigi
translator:
François Louis Gaud Lebland du Roullet
part of:
Alceste, Wq. 44 : Acte I
Christoph Willibald Gluck4:50
6Dido and Aeneas: "Thy hand, Belinda" - "When I am laid in earth"
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Alberto Erede (conductor)
recording of:
Dido and Aeneas, Z. 626: Act III, 36. Recitative “Thy hand, Belinda; darkness shades me” (Dido)
composer:
Henry Purcell (Baroque composer)
librettist:
Nahum Tate
part of:
Dido and Aeneas, Z. 626: Act III
recording of:
Dido and Aeneas, Z. 626: Act III, 37. Ground, Aria and Ritornello “When I am laid in earth” (Dido)
composer:
Henry Purcell (Baroque composer) (in 1689)
librettist:
Nahum Tate
part of:
Dido and Aeneas, Z. 626: Act III
Henry Purcell5:09
7Pelleas et Mélisande, L. 88: Acte IV. "C'est le dernier soir"
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Ernest Ansermet (conductor)
recording of:
Pelléas et Mélisande: Act IV, Scene IV. "C'est le dernier soir ..." (Pelléas, Mélisande)
composer:
Claude Debussy (French composer) (from 1893 until 1902)
librettist:
Maurice Maeterlinck (Belgian playwriter & poet)
part of:
Pelléas et Mélisande: Acte IV, Scène 4 : le même lieu
Claude Debussy3:34
8Pelleas et Mélisande, L. 88: Acte IV. "Nous sommes venus ici il y a bien longtemps"
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Ernest Ansermet (conductor)
partial recording of:
Pelléas et Mélisande: Acte IV, Scène 4 : le même lieu
composer:
Claude Debussy (French composer) (from 1893 until 1902)
librettist:
Maurice Maeterlinck (Belgian playwriter & poet)
part of:
Pelléas et Mélisande, L. 88, CD 93: Acte IV
Claude Debussy1:49
9Pelleas et Mélisande, L. 88: Acte IV. "On dirait que ta voix"
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Ernest Ansermet (conductor)
recording of:
Pelléas et Mélisande: Act IV, Scene IV. "On dirait que ta voix a passé sur la mer au printemps!" (Choeur, Mélisande, Pelléas, Geneviève)
composer:
Claude Debussy (French composer) (from 1893 until 1902)
librettist:
Maurice Maeterlinck (Belgian playwriter & poet)
part of:
Pelléas et Mélisande: Acte IV, Scène 4 : le même lieu
Claude Debussy3:45
10Pelleas et Mélisande, L. 88: Acte IV. "Quel est ce bruit?"
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Ernest Ansermet (conductor)
recording of:
Pelléas et Mélisande: Act IV, Scene IV. "Quel est ce bruit? On ferme les portes" (Pelléas, Mélisande)
composer:
Claude Debussy (French composer) (from 1893 until 1902)
librettist:
Maurice Maeterlinck (Belgian playwriter & poet)
part of:
Pelléas et Mélisande: Acte IV, Scène 4 : le même lieu
Claude Debussy3:54
11Ariettes oubliées, L. 60: "C'est l'extase langoureuse"
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Ariettes oubliées, L. 60, CD 63a : I. Le Vent dans la plaine suspend son haleine “C’est l’extase langoureuse” (for voice and piano)
additional lyricist:
Charles-Simon Favart
lyricist:
Paul Verlaine (French poet)
composer:
Claude Debussy (French composer) (in 1887-03)
part of:
Ariettes oubliées, L. 60, CD 63a (for voice and piano)
Claude Debussy2:45
12Ariettes oubliées, L. 60: "Il pleure dans mon cœur"
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Ariettes oubliées, L. 60, CD 63a : II. Il pleut doucement sur la ville “Il pleure dans mon cœur comme il pleure sur la ville” (for voice and piano)
additional lyricist:
Arthur Rimbaud (French poet of the19th century)
lyricist:
Paul Verlaine (French poet)
composer:
Claude Debussy (French composer) (in 1887-03)
is based on:
Il pleure dans mon cœur (Paul Verlaine's poem)
part of:
Ariettes oubliées, L. 60, CD 63a (for voice and piano)
Claude Debussy2:36
13Ariettes oubliées, L. 60: "L'ombre des arbres"
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Ariettes oubliées, L. 60, CD 63a : III. Le Rossignol qui, du haut d’une branche “L’Ombre des arbres dans la rivière embrumée” (for voice and piano)
lyricist:
Paul Verlaine (French poet)
composer:
Claude Debussy (French composer) (from 1885-01-06 until 1885-01-10)
part of:
Ariettes oubliées, L. 60, CD 63a (for voice and piano)
Claude Debussy2:25
14Ariettes oubliées, L. 60: Paysages belges Chevaux de bois
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Ariettes oubliées, L. 60, CD 63a : IV. Paysages belges. Chevaux de bois “Tournez, tournez, bons chevaux de bois” (for voice and piano)
lyricist:
Paul Verlaine (French poet)
composer:
Claude Debussy (French composer) (from 1885-01-06 until 1885-01-10)
part of:
Ariettes oubliées, L. 60, CD 63a (for voice and piano)
Claude Debussy2:42
15Ariettes oubliées, L. 60: Green (Aquarelle No. 1)
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Ariettes oubliées, L. 60, CD 63a : V. Aquarelles, 1. Green “Voici des fruits, des fleurs, des feuilles” (for voice and piano)
lyricist:
Paul Verlaine (French poet)
composer:
Claude Debussy (French composer) (in 1886-01)
is based on:
Green (Paul Verlaine's poem)
part of:
Ariettes oubliées, L. 60, CD 63a (for voice and piano)
Claude Debussy2:01
16Ariettes oubliées, L. 60: Spleen (Aquarelle No. 2)
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Ariettes oubliées, L. 60, CD 63a : VI. Aquarelles, 2. Spleen “Les Roses étaient toutes rouges” (for voice and piano)
lyricist:
Paul Verlaine (French poet)
composer:
Claude Debussy (French composer) (in 1886-01)
part of:
Ariettes oubliées, L. 60, CD 63a (for voice and piano)
Claude Debussy2:20
17Morgen, Op.27, No.4
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Morgen!, op. 27 no. 4 (for voice and piano)
lyricist:
John Henry Mackay (Scottish-German egoist anarchist, thinker and writer)
composer:
Richard Strauss (German composer) (in 1894)
publisher:
Boosey & Hawkes (publisher; do NOT use as release label)
part of:
4 Lieder, op. 27
Richard Strauss3:42
18Ständchen, Op.17, No.2
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Ständchen, op. 17 no. 2
lyricist:
Adolf Friedrich von Schack
composer:
Richard Strauss (German composer)
part of:
6 Lieder (op. 17; TrV 149)
Richard Strauss2:30
19Traum durch die Dämmerung, Op 29, No.1
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Traum durch die Dämmerung, op. 29 no. 1
lyricist:
Otto Julius Bierbaum (Martin Möbius, German writer)
composer:
Richard Strauss (German composer)
part of:
3 Lieder for voice and piano (op. 29; TrV 172)
Richard Strauss2:34
20Zueignung, Op.10, No.1
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Zueignung, op. 10 no. 1 (for voice and piano)
lyricist:
Hermann von Gilm zu Rosenegg
composer:
Richard Strauss (German composer) (in 1885)
part of:
8 Gedichte aus »Letzte Blätter« (op 10; TrV 141)
Richard Strauss1:48
21Freundliche Vision, Op.48, No. 1
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Freundliche Vision, op. 48 no. 1
lyricist:
Otto Julius Bierbaum (Martin Möbius, German writer)
composer:
Richard Strauss (German composer) (in 1900)
part of:
5 Lieder for voice and piano (op. 48; TrV 202)
Richard Strauss3:02
22Der Hirt auf dem Felsen, D.96
piano:
Guido Agosti (Italian pianist)
soprano vocals:
Suzanne Danco (soprano / mezzo-soprano)
recording of:
Der Hirt auf dem Felsen, D. 965
lyricist:
Karl August Varnhagen von Ense (German biographer, diplomat and soldier) and Wilhelm Müller (German poet)
composer:
Franz Schubert (composer) (in 1828-10)
part of:
Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge (number: D. 965)
Franz Schubert10:43
2▼CD: Paul Schoeffler - Operatic Recital (LXT 2554)
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1Don Giovanni, K. 527: Atto I. “Non più andrai”
bass-baritone vocals:
Paul Schöffler (bass-baritone)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Karl Böhm (Austrian conductor)
recording of:
Le nozze di Figaro, K. 492: Atto I, Scena VIII. (no. 10) Aria “Non più andrai, farfallone amoroso” (Figaro)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Le nozze di Figaro, K. 492: Atto I (The Marriage of Figaro, K. 492: Act I)
Wolfgang Amadeus Mozart3:43
2Otello: Atto I. “Madamina, il catalogo è questo”
bass-baritone vocals:
Paul Schöffler (bass-baritone)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Karl Böhm (Austrian conductor)
recording of:
Don Giovanni: Atto I. No. 4 Aria “Madamina, il catalogo è questo” (Leporello)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Don Giovanni: Atto I
Giuseppe Verdi5:33
3Otello: Atto II. “Era la notte, Cassio dormia”
engineer:
Cyril Windebank
producer:
Victor Olof
baritone vocals:
Paul Schöffler (bass-baritone) (from 1950-09-14 until 1950-09-15)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (from 1950-09-14 until 1950-09-15)
conductor:
Karl Böhm (Austrian conductor) (from 1950-09-14 until 1950-09-15)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1950-09-14 until 1950-09-15)
recording of:
Otello: Atto II. “Era la notte, Cassio dormia…” (Otello, Iago) (from 1950-09-14 until 1950-09-15)
composer:
Giuseppe Verdi (Italian opera composer) (from 1884 until 1886-11-01)
librettist:
Arrigo Boito (librettist, composer)
part of:
Otello: Atto II
Giuseppe Verdi2:36
4Otello: Atto II. “Credo in un Dio crudel”
engineer:
Cyril Windebank
producer:
Victor Olof
baritone vocals:
Paul Schöffler (bass-baritone) (from 1950-09-14 until 1950-09-15)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (from 1950-09-14 until 1950-09-15)
conductor:
Karl Böhm (Austrian conductor) (from 1950-09-14 until 1950-09-15)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1950-09-14 until 1950-09-15)
recording of:
Otello: Atto II. “Credo in un Dio crudel” (Iago) (from 1950-09-14 until 1950-09-15)
composer:
Giuseppe Verdi (Italian opera composer) (from 1884 until 1886-11-01)
librettist:
Arrigo Boito (librettist, composer)
part of:
Otello: Atto II
Giuseppe Verdi4:41
5Die Walküre, WWV 86B: Akt III. "Leb wohl, du kühnes, herrliches Kind"
bass-baritone vocals:
Paul Schöffler (bass-baritone)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Rudolf Moralt (conductor)
recording of:
Die Walküre, WWV 86B: Akt III, Scene III "War es so schmählich, was ich verbrach"
composer:
Richard Wagner (composer) (from 1854-06-28 until 1856-03-23)
librettist:
Richard Wagner (composer)
part of:
Die Walküre, WWV 86B: Akt III
Richard Wagner14:02
6Die Meistersinger von Nürnberg, WWV 96: Akt II. "Was duftet doch der Flieder"
bass-baritone vocals:
Paul Schöffler (bass-baritone)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Hans Knappertsbusch (German conductor)
recording of:
Die Meistersinger von Nürnberg, WWV 96: Akt II, Scene III. "Zeig her! 's ist gut"
composer:
Richard Wagner (composer) (from 1863 until 1867)
librettist:
Richard Wagner (composer) (in 1862)
part of:
Die Meistersinger von Nürnberg, WWV 96: Akt II
Richard Wagner5:54
7Die Meistersinger von Nürnberg, WWV 96: Akt II. "Gut'n Abend, Meister!"
bass-baritone vocals:
Paul Schöffler (bass-baritone)
soprano vocals:
Maria Reining (soprano)
orchestra:
Tonhalle‐Orchester Zürich
conductor:
Hans Knappertsbusch (German conductor)
partial recording of:
Die Meistersinger von Nürnberg, WWV 96: Akt II
composer:
Richard Wagner (composer) (from 1863 until 1867)
librettist:
Richard Wagner (composer) (in 1862)
part of:
Die Meistersinger von Nürnberg, WWV 96
Richard Wagner8:43
8Die Meistersinger von Nürnberg, WWV 96: Akt III. "Wahn! Wahn! Überall Wahn!"
bass-baritone vocals:
Paul Schöffler (bass-baritone)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Hans Knappertsbusch (German conductor)
recording of:
Die Meistersinger von Nürnberg, WWV 96: Akt III, Scene I. "Gleich, Meister! Hier!"
composer:
Richard Wagner (composer) (from 1863 until 1867)
librettist:
Richard Wagner (composer) (in 1862)
part of:
Die Meistersinger von Nürnberg, WWV 96: Akt III
Richard Wagner7:16
9Die Meistersinger von Nürnberg, WWV 96: Akt III. "Grüß Gott, mein Junker"
bass-baritone vocals:
Paul Schöffler (bass-baritone)
tenor vocals:
Günther Treptow (tenor)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Hans Knappertsbusch (German conductor)
recording of:
Die Meistersinger von Nürnberg, WWV 96: Akt III, Scene II. "Grüß Gott, mein Junker!"
composer:
Richard Wagner (composer) (from 1863 until 1867)
librettist:
Richard Wagner (composer) (in 1862)
part of:
Die Meistersinger von Nürnberg, WWV 96: Akt III
Richard Wagner9:10
10Die Meistersinger von Nürnberg, WWV 96: Akt III. "Hat man mit dem Schuhwerk"
bass-baritone vocals:
Paul Schöffler (bass-baritone)
soprano vocals:
Hilde Güden (soprano)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Hans Knappertsbusch (German conductor)
recording of:
Die Meistersinger von Nürnberg, WWV 96: Akt III, Scene IV. "Grüß Gott, mein Evchen!"
composer:
Richard Wagner (composer) (from 1863 until 1867)
librettist:
Richard Wagner (composer) (in 1862)
part of:
Die Meistersinger von Nürnberg, WWV 96: Akt III
Richard Wagner4:30
11Arabella, Op.79, TrV 263: Akt II. "Der Richtige - so hab ich still zu mir gesagt"
bass-baritone vocals:
Paul Schöffler (bass-baritone)
soprano vocals:
Lisa della Casa (soprano)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Heinrich Hollreiser (conductor)
recording of:
Arabella, op. 79: Act II. "Der Richtige - so hab ich still zu mir gesagt" (Arabella, Mandryka)
composer:
Richard Strauss (German composer) (in 1932)
part of:
Arabella, op. 79: Akt II
Richard Strauss7:00
3▼CD: Kathleen Ferrier – A Recital of Bach and Handel Arias (LXT (5382)
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1Mass in B minor, BWV 232, Kyrie: no. 1 Kyrie eleison, Gloria: X. “Qui sedes ad dexteram Patris”
contralto vocals:
Kathleen Ferrier (contralto) (in 1952)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra) (in 1952)
conductor:
Sir Adrian Boult (conductor) (in 1952)
phonographic copyright (℗) by:
The Decca Record Company Limited (not a release label; for copyrights use only) (in 1960)
recording of:
h-Moll-Messe, BWV 232: I. Missa: X. Qui sedes ad dextram Patris (Mass in B minor, BWV 232: IIg. Gloria: Aria "Qui sedes ad dextram Patris") (in 1952)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1747 until 1749)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
h-Moll-Messe, BWV 232 (Mass in B minor, BWV 232, Mass in B minor)
Johann Sebastian Bach5:51
2St. Matthew Passion, BWV 244, English version: Aria, “Grief for Sin”
contralto vocals:
Kathleen Ferrier (contralto) (in 1952)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra) (in 1952)
conductor:
Sir Adrian Boult (conductor) (in 1952)
phonographic copyright (℗) by:
The Decca Record Company Limited (not a release label; for copyrights use only) (in 1960)
recording of:
St. Matthew Passion, BWV 244: Part I, X. Aria (Alt) "Grief for Sin" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
translator:
John Troutbeck (clergyman and translator)
translated version of:
Matthäus-Passion, BWV 244: Teil I, VI. Arie (Alt) "Buß und Reu"
part of:
St Matthew Passion, BWV 244: Part I (EN trans. by Troutbeck)
Johann Sebastian Bach6:08
3Johannes-Passion, BWV 245, English Version, Part Two: “All is fulfilled”
viola da gamba:
Ambrose Gauntlett (in 1952)
contralto vocals:
Kathleen Ferrier (contralto) (in 1952)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra) (in 1952)
conductor:
Sir Adrian Boult (conductor) (in 1952)
phonographic copyright (℗) by:
The Decca Record Company Limited (not a release label; for copyrights use only) (in 1960)
recording of:
Johannes-Passion, BWV 245: Teil II. No. 30 Aria (Alt) "Es ist vollbracht!" (English translation "All is fulfilled") (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
arrangement of:
Johannes-Passion, BWV 245: Teil II. No. 30 Aria (Alt) "Es ist vollbracht!"
part of:
Johannes-Passion, BWV 245 (English translation)
Johann Sebastian Bach5:24
4Mass in B minor, BWV 23, Agnus Dei: 2VI. “Agnus Dei”
contralto vocals:
Kathleen Ferrier (contralto) (in 1952)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra) (in 1952)
conductor:
Sir Adrian Boult (conductor) (in 1952)
phonographic copyright (℗) by:
The Decca Record Company Limited (not a release label; for copyrights use only) (in 1960)
recording of:
h-Moll-Messe, BWV 232: IV. Osanna, Benedictus, Agnus Dei, Dona nobis pacem: IV. Agnus Dei (Mass in B minor, BWV 232: IVe. Aria "Agnus Dei") (in 1952)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1747 until 1749)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
h-Moll-Messe, BWV 232 (Mass in B minor, BWV 232, Mass in B minor)
Johann Sebastian Bach5:47
5Samson, HWV 57, Act 1: “Return, O God of hosts”
contralto vocals:
Kathleen Ferrier (contralto)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra)
performer:
Sir Adrian Boult (conductor)
partial recording of:
Samson, HWV 57: Act I
composer:
George Frideric Handel (German‐British baroque composer)
librettist:
Newburgh Hamilton
part of:
Samson, HWV 57
George Frideric Handel4:32
6Messiah, HWV 56, Pt. 1: “O thou that tellest good tidings to Zion”
contralto vocals:
Kathleen Ferrier (contralto) (in 1952)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra) (in 1952)
conductor:
Sir Adrian Boult (conductor) (in 1952)
performer:
Sir Adrian Boult (conductor)
phonographic copyright (℗) by:
The Decca Record Company Limited (not a release label; for copyrights use only) (in 1960)
recording of:
Messiah, HWV 56: Part I, no. 9. Air “O thou that tellest good tidings to Zion” (Alto, Chorus)
composer:
George Frideric Handel (German‐British baroque composer) (in 1741)
part of:
Messiah, HWV 56: Part I
George Frideric Handel5:44
7Judas Maccabaeus HWV 63: “Father of Heaven”
contralto vocals:
Kathleen Ferrier (contralto) (in 1952)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra) (in 1952)
conductor:
Sir Adrian Boult (conductor) (in 1952)
phonographic copyright (℗) by:
The Decca Record Company Limited (not a release label; for copyrights use only) (in 1960)
partial recording of:
Judas Maccabaeus, HWV 63
composer:
George Frideric Handel (German‐British baroque composer) (in 1746)
librettist:
Thomas Morell
premiered at:
Covent Garden Theatre (1732-1808) in London (Greater London), England, United Kingdom (on 1747-04-01)
part of:
Händel-Werke-Verzeichnis (number: HWV 63)
recording of:
Judas Maccabaeus, HWV 63: Act III, no. 53: Air "Father of Heav'n" (Priest)
composer:
George Frideric Handel (German‐British baroque composer) (in 1746)
librettist:
Thomas Morell
part of:
Judas Maccabaeus, HWV 63: Act III
George Frideric Handel7:56
8Messiah, HWV 56, Pt. 2: “He Was Despised”
contralto vocals:
Kathleen Ferrier (contralto)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra)
performer:
Sir Adrian Boult (conductor)
recording of:
Messiah, HWV 56: Part II, no. 23. Air “He was despised” (Alto)
composer:
George Frideric Handel (German‐British baroque composer) (in 1741)
part of:
Messiah, HWV 56: Part II
George Frideric Handel6:43
9Rückert-Lieder, op. 44: IV. “Ich bin der Welt abhanden gekommen”
piano:
John Newmark (Canadian pianist)
contralto vocals:
Kathleen Ferrier (contralto)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Bruno Walter (conductor)
recording of:
Rückert Lieder: III. Ich bin der Welt abhanden gekommen
lyricist:
Friedrich Rückert (German poet)
composer:
Gustav Mahler (composer)
premiered at:
[concert] (1905-01-29)
part of:
Gustav Mahler Werke (number: GMW 41)
part of:
Rückert-Lieder
Gustav Mahler5:36
10Rückert-Lieder, op. 44: I. “Ich atmet' einen linden Duft”
piano:
John Newmark (Canadian pianist)
contralto vocals:
Kathleen Ferrier (contralto)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Bruno Walter (conductor)
recording of:
Rückert Lieder: II. Ich atmet' einen linden Duft
lyricist:
Friedrich Rückert (German poet)
composer:
Gustav Mahler (composer)
premiered at:
[concert] (1905-01-29)
part of:
Gustav Mahler Werke (number: GMW 40)
part of:
Rückert-Lieder
Gustav Mahler2:50
11Rückert-Lieder, op. 44: V. “Um Mitternacht”
piano:
John Newmark (Canadian pianist)
contralto vocals:
Kathleen Ferrier (contralto)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Bruno Walter (conductor)
recording of:
Rückert Lieder: IV. Um Mitternacht
lyricist:
Friedrich Rückert (German poet)
composer:
Gustav Mahler (composer)
premiered at:
[concert] (1905-01-29)
part of:
Gustav Mahler Werke (number: GMW 42)
part of:
Rückert-Lieder
Gustav Mahler6:31
12Frauenliebe und -leben op. 42: I. “Seit ich ihn gesehen”
contralto vocals:
Kathleen Ferrier (contralto)
recording of:
Frauenliebe und -leben, op. 42: Nr. 1. Seit ich ihn gesehen
lyricist:
Adelbert von Chamisso
composer:
Robert Schumann (German classical composer)
part of:
Frauenliebe und -leben, op. 42
Robert Schumann2:06
13Frauenliebe und -leben op. 42: II. “Er, der Herrlichste von allen”
piano:
John Newmark (Canadian pianist)
contralto vocals:
Kathleen Ferrier (contralto)
recording of:
Frauenliebe und -leben, op. 42: Nr. 2. Er, der Herrlichste von allen
lyricist:
Adelbert von Chamisso
composer:
Robert Schumann (German classical composer)
part of:
Frauenliebe und -leben, op. 42
Robert Schumann3:00
14Frauenliebe und -leben op. 42: III. “Ich kann's nicht fassen, nicht glauben”
piano:
John Newmark (Canadian pianist)
contralto vocals:
Kathleen Ferrier (contralto)
recording of:
Frauenliebe und -leben, op. 42: Nr. 3. Ich kann's nicht fassen, nicht glauben
lyricist:
Adelbert von Chamisso
composer:
Robert Schumann (German classical composer)
part of:
Frauenliebe und -leben, op. 42
Robert Schumann1:43
15Frauenliebe und -leben op. 42: IV. “Du Ring an meinem Finger”
piano:
John Newmark (Canadian pianist)
contralto vocals:
Kathleen Ferrier (contralto)
recording of:
Frauenliebe und -leben, op. 42: Nr. 4. Du Ring an meinem Finger
lyricist:
Adelbert von Chamisso
composer:
Robert Schumann (German classical composer)
part of:
Frauenliebe und -leben, op. 42
Robert Schumann2:49
16Frauenliebe und -leben op. 42: V. “Helft mir, ihr Schwestern”
piano:
John Newmark (Canadian pianist)
contralto vocals:
Kathleen Ferrier (contralto)
recording of:
Frauenliebe und -leben, op. 42: Nr. 5. Helft mir, ihr Schwestern
lyricist:
Adelbert von Chamisso
composer:
Robert Schumann (German classical composer)
part of:
Frauenliebe und -leben, op. 42
Robert Schumann1:56
17Frauenliebe und -leben op. 42: VI. “Süsser Freund, du blickest mich verwundert an”
piano:
John Newmark (Canadian pianist)
contralto vocals:
Kathleen Ferrier (contralto)
recording of:
Frauenliebe und -leben, op. 42: Nr. 6. Süßer Freund, du blickest
lyricist:
Adelbert von Chamisso
composer:
Robert Schumann (German classical composer)
part of:
Frauenliebe und -leben, op. 42
Robert Schumann3:43
18Frauenliebe und -leben op. 42: VII. “An meinem Herzen, an meiner Brust”
piano:
John Newmark (Canadian pianist)
contralto vocals:
Kathleen Ferrier (contralto)
recording of:
Frauenliebe und -leben, op. 42: Nr. 7. An meinem Herzen, an meiner Brust
lyricist:
Adelbert von Chamisso
composer:
Robert Schumann (German classical composer)
part of:
Frauenliebe und -leben, op. 42
Robert Schumann1:24
19Frauenliebe und -leben op. 42: VIII. “Nun hast du mir den ersten Schmerz getan”
piano:
John Newmark (Canadian pianist)
contralto vocals:
Kathleen Ferrier (contralto)
recording of:
Frauenliebe und -leben, op. 42: Nr. 8. Nun hast du mir den ersten Schmerz getan
lyricist:
Adelbert von Chamisso
composer:
Robert Schumann (German classical composer)
part of:
Frauenliebe und -leben, op. 42
Robert Schumann4:04
4▼CD: Cesare Siepi – Operatic Arias for Bass (LXT 5096)
#TitleArtistRatingLength
1Don Carlo: Atto IV. “Ella giammai m'amò“
recording engineer:
Roy Wallace (recording engineer) (in 1954-08) and Gil Went (in 1954-08)
producer:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
bass vocals:
Cesare Siepi (operatic bass) (in 1954-08)
orchestra:
Orchestra dell’Accademia di Santa Cecilia, Roma (Orchestra of the National Academy of Santa Cecilia) (in 1954-08)
conductor:
Alberto Erede (conductor) (in 1954-08)
phonographic copyright (℗) by:
Decca Music Group Limited (not for release label use, for ℗ & © rights holder use only) (in 1956)
recorded at:
Accademia di Santa Cecilia in Roma (Rome), Roma, Lazio, Italy (in 1954-08)
recording of:
Don Carlo: Atto III, scena 1. N°10 “Ella giammai m’amò” … “Dormiro sol” (Filippo)
composer:
Giuseppe Verdi (Italian opera composer)
librettist:
Camille du Locle and Joseph Méry
part of:
Don Carlo: Atto III (IV)
Giuseppe Verdi9:37
2Nabucco: Atto II, Scene 3. “Vieni, o Levita!” … “Tu sul labbro dei veggenti” (Nabucodonosor)
recording engineer:
Roy Wallace (recording engineer) (in 1954-08) and Gil Went (in 1954-08)
producer:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
bass vocals:
Cesare Siepi (operatic bass) (in 1954-08)
orchestra:
Orchestra dell’Accademia di Santa Cecilia, Roma (Orchestra of the National Academy of Santa Cecilia) (in 1954-08)
conductor:
Alberto Erede (conductor) (in 1954-08)
phonographic copyright (℗) by:
Decca Music Group Limited (not for release label use, for ℗ & © rights holder use only) (in 1956)
recorded at:
Accademia di Santa Cecilia in Roma (Rome), Roma, Lazio, Italy (in 1954-08)
recording of:
Nabucco: Parte II, scena 2. “Tu sul labbro dei veggenti” (Zaccaria)
composer:
Giuseppe Verdi (Italian opera composer)
librettist:
Temistocle Solera
part of:
Nabucco: Parte II. L’empio
recording of:
Nabucco: Parte II, scena 2. Preghiera “Vieni, o Levita!” (Zaccaria)
composer:
Giuseppe Verdi (Italian opera composer)
librettist:
Temistocle Solera
part of:
Nabucco: Parte II. L’empio
Giuseppe Verdi5:46
3Ernani: Atto I. “Che mai vegg'io … Infelice! e tu credevi”
recording engineer:
Roy Wallace (recording engineer) (in 1954-08) and Gil Went (in 1954-08)
producer:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
bass vocals:
Cesare Siepi (operatic bass) (in 1954-08)
orchestra:
Orchestra dell’Accademia di Santa Cecilia, Roma (Orchestra of the National Academy of Santa Cecilia) (in 1954-08)
conductor:
Alberto Erede (conductor) (in 1954-08)
phonographic copyright (℗) by:
Decca Music Group Limited (not for release label use, for ℗ & © rights holder use only) (in 1956)
recorded at:
Accademia di Santa Cecilia in Roma (Rome), Roma, Lazio, Italy (in 1954-08)
recording of:
Ernani: Atto I. (no. 6a) Scena “Che mai vegg’io!” (Silva)
composer:
Giuseppe Verdi (Italian opera composer)
part of:
Ernani: Atto I (Il bandito)
recording of:
Ernani: Atto I. (no. 6b) Cavatina “Infelice!… e tuo credevi” (Silva)
composer:
Giuseppe Verdi (Italian opera composer)
part of:
Ernani: Atto I (Il bandito)
Giuseppe Verdi3:34
4Salvator Rosa: Atto II, scena 1. “Di sposo, di padre le gioie serene”
recording engineer:
Roy Wallace (recording engineer) (in 1954-08) and Gil Went (in 1954-08)
producer:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
bass vocals:
Cesare Siepi (operatic bass) (in 1954-08)
orchestra:
Orchestra dell’Accademia di Santa Cecilia, Roma (Orchestra of the National Academy of Santa Cecilia) (in 1954-08)
conductor:
Alberto Erede (conductor) (in 1954-08)
phonographic copyright (℗) by:
Decca Music Group Limited (not for release label use, for ℗ & © rights holder use only) (in 1956)
recorded at:
Accademia di Santa Cecilia in Roma (Rome), Roma, Lazio, Italy (in 1954-08)
partial recording of:
Salvator Rosa
composer:
Antônio Carlos Gomes (composer)
librettist:
Antonio Ghislanzoni
premiered at:
Teatro Carlo Felice in Genova (Genoa), Genova, Liguria, Italy (on 1874-03-21)
Antônio Carlos Gomes5:59
5Simon Boccanegra: Atto I. “Il lacerato spirito”
recording engineer:
Roy Wallace (recording engineer) (in 1954-08) and Gil Went (in 1954-08)
producer:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
bass vocals:
Cesare Siepi (operatic bass) (in 1954-08)
orchestra:
Orchestra dell’Accademia di Santa Cecilia, Roma (Orchestra of the National Academy of Santa Cecilia) (in 1954-08)
conductor:
Alberto Erede (conductor) (in 1954-08)
phonographic copyright (℗) by:
Decca Music Group Limited (not for release label use, for ℗ & © rights holder use only) (in 1956)
recorded at:
Accademia di Santa Cecilia in Roma (Rome), Roma, Lazio, Italy (in 1954-08)
recording of:
Simon Boccanegra: Prologo. “Il lacerato spirito” (Fiesco)
composer:
Giuseppe Verdi (Italian opera composer)
librettist:
Francesco Maria Piave
part of:
Simon Boccanegra: Prologo
Giuseppe Verdi4:27
6Les Huguenots : Acte I, scène 3. « Seigneur, rampart et seul soutien » / « Piff, paff, piff »
recording engineer:
Roy Wallace (recording engineer) (in 1954-08) and Gil Went (in 1954-08)
producer:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
bass vocals:
Cesare Siepi (operatic bass) (in 1954-08)
orchestra:
Orchestra dell’Accademia di Santa Cecilia, Roma (Orchestra of the National Academy of Santa Cecilia) (in 1954-08)
conductor:
Alberto Erede (conductor) (in 1954-08)
phonographic copyright (℗) by:
Decca Music Group Limited (not for release label use, for ℗ & © rights holder use only) (in 1956)
recorded at:
Accademia di Santa Cecilia in Roma (Rome), Roma, Lazio, Italy (in 1954-08)
recording of:
Les Huguenots: Acte I. Chanson huguenote "Piff, paff, piff, paff" (Marcel)
composer:
Giacomo Meyerbeer (composer)
part of:
Les Huguenots: Acte I, Scène III
Giacomo Meyerbeer5:56
7Robert le diable : Acte III, scène 7. « Nonnes, qui reposez »
recording engineer:
Roy Wallace (recording engineer) (in 1954-08) and Gil Went (in 1954-08)
producer:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
bass vocals:
Cesare Siepi (operatic bass) (in 1954-08)
orchestra:
Orchestra dell’Accademia di Santa Cecilia, Roma (Orchestra of the National Academy of Santa Cecilia) (in 1954-08)
conductor:
Alberto Erede (conductor) (in 1954-08)
phonographic copyright (℗) by:
Decca Music Group Limited (not for release label use, for ℗ & © rights holder use only) (in 1956)
recorded at:
Accademia di Santa Cecilia in Roma (Rome), Roma, Lazio, Italy (in 1954-08)
recording of:
Robert le Diable: Act III. "Nonnes, qui reposez" (Bertram)
composer:
Giacomo Meyerbeer (composer)
part of:
Robert le Diable: Acte III
Giacomo Meyerbeer3:15
8La Juive: Acte I. « Si la rigeur »
recording engineer:
Roy Wallace (recording engineer) (in 1954-08) and Gil Went (in 1954-08)
producer:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
bass vocals:
Cesare Siepi (operatic bass) (in 1954-08)
orchestra:
Orchestra dell’Accademia di Santa Cecilia, Roma (Orchestra of the National Academy of Santa Cecilia) (in 1954-08)
conductor:
Alberto Erede (conductor) (in 1954-08)
phonographic copyright (℗) by:
Decca Music Group Limited (not for release label use, for ℗ & © rights holder use only) (in 1956)
recorded at:
Accademia di Santa Cecilia in Roma (Rome), Roma, Lazio, Italy (in 1954-08)
recording of:
La Juive : Acte I. « Si la rigueur et la vengeance »
composer:
Fromental Halévy (French composer)
part of:
La Juive: Acte I
Fromental Halévy4:03
9La Gioconda: Atto III. “Si, morir ella de” / “Là turbini è farnetichi”
bass vocals:
Cesare Siepi (operatic bass)
orchestra:
Orchestra del Maggio Musicale Fiorentino
conductor:
Gianandrea Gavazzeni (conductor)
recording of:
La Gioconda: Atto III, scena 1. “Ombre di mia prosapia” (Alvise)
composer:
Amilcare Ponchielli (composer)
librettist:
Arrigo Boito (librettist, composer)
part of:
La Gioconda: Atto III. Cà d'Oro
recording of:
La Gioconda: Atto III, scena 1. “Sì! morir ella de’!” (Alvise)
composer:
Amilcare Ponchielli (composer)
librettist:
Arrigo Boito (librettist, composer)
part of:
La Gioconda: Atto III. Cà d'Oro
recording of:
La Gioconda: Atto III, scena 1. “Sì! morir ella de’!” (Alvise)
composer:
Amilcare Ponchielli (composer)
librettist:
Arrigo Boito (librettist, composer)
part of:
La Gioconda: Atto III. Cà d'Oro
Amilcare Ponchielli4:48
10Mefistofele: Prologo. “Ave Signor”
bass vocals:
Cesare Siepi (operatic bass)
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
Tullio Serafin (conductor)
recording of:
Mefistofele: Prologo. "Ave Signor" (Mefistofele)
composer and librettist:
Arrigo Boito (librettist, composer)
part of:
Mefistofele: Prologo
Arrigo Boito4:20
11Mefistofele: Atto I. “Son lo spirito che nnega”
bass vocals:
Cesare Siepi (operatic bass)
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
Tullio Serafin (conductor)
recording of:
Mefistofele: Atto I, Scena IIb. “Son lo Spirito che nega sempre” (Mefistofele)
composer and librettist:
Arrigo Boito (librettist, composer)
part of:
Mefistofele: Atto I
Arrigo Boito3:34
12Le nozze di Figaro: Atto I. “Bravo, signor padrone ... Se vuol ballare”
bass vocals:
Cesare Siepi (operatic bass)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Erich Kleiber (conductor)
recording of:
Le nozze di Figaro, K. 492: Atto I, Scena II. “Bravo, signor padrone” (Figaro)
composer:
Wolfgang Amadeus Mozart (classical composer)
part of:
Le nozze di Figaro, K. 492: Atto I (The Marriage of Figaro, K. 492: Act I)
recording of:
Le nozze di Figaro, K. 492: Atto I, Scena II. (no. 3) Cavatina “Se vuol ballare, signor Contino” (Figaro)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Le nozze di Figaro, K. 492: Atto I (The Marriage of Figaro, K. 492: Act I)
Wolfgang Amadeus Mozart3:23
13Le nozze di Figaro: Atto I. “Non pìu andrai”
bass vocals:
Cesare Siepi (operatic bass)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Erich Kleiber (conductor)
recording of:
Le nozze di Figaro, K. 492: Atto I, Scena VIII. (no. 10) Aria “Non più andrai, farfallone amoroso” (Figaro)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Le nozze di Figaro, K. 492: Atto I (The Marriage of Figaro, K. 492: Act I)
Wolfgang Amadeus Mozart3:48
14Don Giovanni: Atto I, Scene 5. “Fin ch'han dal vino“
bass vocals:
Cesare Siepi (operatic bass)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
conductor:
Josef Krips (conductor/violinist)
recording of:
Don Giovanni: Atto I. No. 11 Aria “Fin ch’han dal vino” (Don Giovanni)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte (in 1787)
part of:
Don Giovanni: Atto I
Wolfgang Amadeus Mozart1:27
15Don Giovanni: Atto II. Scene 1. “Deh! Vieni alla finestra“
bass vocals:
Cesare Siepi (operatic bass)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic)
performer:
Josef Krips (conductor/violinist)
recording of:
Don Giovanni: Atto II. No. 16 Canzonetta “Deh vieni alla finestra” (Don Giovanni)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte (in 1787)
part of:
Don Giovanni: Atto II
Wolfgang Amadeus Mozart2:03
5▼CD: Fernando Corena – Operatic Arias For Bass Vol. 2 (LXT 5307)
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1La Cenerentola: Act I. "Miei rampolli femminini"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestra del Maggio Musicale Fiorentino
conductor:
Gianandrea Gavazzeni (conductor)
recording of:
La Cenerentola: Atto I, scena 1. Cavatina “Miei rampolli femminini” (Magnifico)
composer:
Gioachino Rossini (composer)
librettist:
Jacopo Ferretti
part of:
La Cenerentola: Atto I
Gioachino Rossini5:23
2L'italiana in Algeri: Act II. "Kaimakan!...Ho un gran peso"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestra del Maggio Musicale Fiorentino
conductor:
Gianandrea Gavazzeni (conductor)
recording of:
L'italiana in Algeri: Atto II, scena 4. No. 10. Coro, recitativo ed aria: “Ho un gran peso sulla testa” (Taddeo, Coro)
composer:
Gioachino Rossini (composer)
librettist:
Angelo Anelli
part of:
L’italiana in Algeri: Atto II
recording of:
L'italiana in Algeri: Atto II, scena 4. No. 10. Coro, recitativo ed aria: “Kaimakan! Io non capisco niente” (Taddeo, Mustafà)
composer:
Gioachino Rossini (composer)
librettist:
Angelo Anelli
part of:
L’italiana in Algeri: Atto II
Gioachino Rossini4:31
3Il Matrimonio Segreto: "Udite, tutti, udite"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestra del Maggio Musicale Fiorentino
conductor:
Gianandrea Gavazzeni (conductor)
partial recording of:
Il matrimonio segreto
composer:
Domenico Cimarosa (composer)
librettist:
Giovanni Bertati
premiered at:
Burgtheater in Innere Stadt, Wien (Vienna), Austria (on 1792-02-07)
Domenico Cimarosa5:02
4La Cenerentola: Act II. "Sia qualunque delle figlie"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestra del Maggio Musicale Fiorentino
conductor:
Gianandrea Gavazzeni (conductor)
recording of:
La Cenerentola: Atto II, scena 1. Aria “Sia qualunque delle figlie” (Magnifico)
composer:
Gioachino Rossini (composer)
librettist:
Jacopo Ferretti
part of:
La Cenerentola: Atto II
Gioachino Rossini4:50
5Grisélidis: "Jusqu'ici sans dangers"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
recording of:
Grisélidis : Acte II. Air « Jusqu’ici, sans dangers »
composer:
Jules Massenet (French Romantic composer)
part of:
Grisélidis
Jules Massenet4:15
6Le Caïd: Act I. "Je comprends que la belle aime le militaire"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
recording of:
Le caïd: “Je comprends que la belle aime le militaire”
composer:
Ambroise Thomas (opera composer)
librettist:
Thomas-Marie-François Sauvage
part of:
Le Caïd (The Qaid)
Ambroise Thomas5:19
7Les pas d'armes du roi Jean
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
recording of:
Le Pas d'armes du Roi Jean
lyricist:
Victor Hugo (French poet and novelist)
composer:
Camille Saint‐Saëns (composer)
Camille Saint‐Saëns5:05
8Philémon et Baucis: Act I. "Au bruit des lourds marteaux"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
James Walker (ballet/opera conductor, classical recordings producer for Decca)
recording of:
Philémon et Baucis: Acte I. « Au bruit des lourds marteaux d’airain » (Vulcain)
composer:
Charles Gounod (French composer)
part of:
Philémon et Baucis
Charles‐François Gounod2:59
9La Grande-Duchesse de Gérolstein: Act I. "A cheval sur la discipline" - "Pif Paf Pouf"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
recording of:
La Grande‐Duchesse de Gérolstein : Acte I. N° 1C: « Pif, paf, pouf »– Couplets « À cheval sur la discipline » (Boum, tous)
composer:
Jacques Offenbach (German-French composer, cellist and impresario)
librettist:
Ludovic Halévy (French librettist) and Henri Meilhac
part of:
La Grande-Duchesse de Gérolstein: Acte I
Jacques Offenbach1:54
10Le nozze di Figaro, K. 492: Act IV. "Tutto è disposto" - "Aprite un po' quegli occhi"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
Alberto Erede (conductor) and James Walker (ballet/opera conductor, classical recordings producer for Decca)
recording of:
Le nozze di Figaro, K. 492: Atto IV, Scena VIII. (no. 27) Aria “Aprite un po’ quegl’occhi” (Figaro)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Le nozze di Figaro, K. 492: Atto IV (The Marriage of Figaro, K. 492: Act IV)
recording of:
Le nozze di Figaro, K. 492: Atto IV, Scena VIII. (no. 27) Recitativo “Tutto è disposto” (Figaro)
composer:
Wolfgang Amadeus Mozart (classical composer)
part of:
Le nozze di Figaro, K. 492: Atto IV (The Marriage of Figaro, K. 492: Act IV)
Wolfgang Amadeus Mozart4:20
11Le nozze di Figaro, K. 492: Act I. "Non più andrai"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
Alberto Erede (conductor)
recording of:
Le nozze di Figaro, K. 492: Atto I, Scena VIII. (no. 10) Aria “Non più andrai, farfallone amoroso” (Figaro)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Le nozze di Figaro, K. 492: Atto I (The Marriage of Figaro, K. 492: Act I)
Wolfgang Amadeus Mozart3:51
12Die Zauberflöte, K. 620: Act II. "In diesen heil'gen Hallen"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
Alberto Erede (conductor)
recording of:
Die Zauberflöte: Akt II. No. 15 Arie „In diesen heil’gen Hallen” (Sarastro)
composer:
Wolfgang Amadeus Mozart (classical composer) (in 1791)
librettist:
Emanuel Schikaneder
part of:
Die Zauberflöte, K. 620: Akt II
Wolfgang Amadeus Mozart4:25
13Così fan tutte, K. 588: Act II. "Donne mie, la fate a tanti"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
Alberto Erede (conductor)
recording of:
Così fan tutte: Atto II. No. 26 Aria “Donne mie, la fate a tanti” (Guglielmo)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Così fan tutte: Atto II
Wolfgang Amadeus Mozart3:10
14Don Giovanni, K. 527: Act I. "Madamina, il catalogo è questo"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Peter Maag (conductor)
recording of:
Don Giovanni: Atto I. No. 4 Aria “Madamina, il catalogo è questo” (Leporello)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Don Giovanni: Atto I
Wolfgang Amadeus Mozart6:11
15Don Giovanni, K. 527: Act II. "Ah! pietà, signori miei!"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Peter Maag (conductor)
recording of:
Don Giovanni: Atto II. No. 20 Aria “Ah pietà, signori miei” (Leporello)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Don Giovanni: Atto II
Wolfgang Amadeus Mozart1:55
16Le nozze di Figaro, K. 492: Act I. "Se vuol ballare, signor Contino"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Peter Maag (conductor)
recording of:
Le nozze di Figaro, K. 492: Atto I, Scena II. (no. 3) Cavatina “Se vuol ballare, signor Contino” (Figaro)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Le nozze di Figaro, K. 492: Atto I (The Marriage of Figaro, K. 492: Act I)
Wolfgang Amadeus Mozart2:38
17Le nozze di Figaro, K. 492: Act I. "La vendetta, oh, la vendetta"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Peter Maag (conductor)
recording of:
Le nozze di Figaro, K. 492: Atto I, Scena III. (no. 4) Aria “La vendetta, oh, la vendetta” (Bartolo)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Le nozze di Figaro, K. 492: Atto I (The Marriage of Figaro, K. 492: Act I)
Wolfgang Amadeus Mozart3:30
18La gazza ladra: Act I. "Il mio pianto è preparato"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Alberto Erede (conductor)
partial recording of:
La gazza ladra: Atto I
composer:
Gioachino Rossini (composer)
librettist:
Giovanni Gherardini
part of:
La gazza ladra
Gioachino Rossini4:38
19L'elisir d'amore: Act I. "Udite, udite, o rustici"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Alberto Erede (conductor)
recording of:
L’elisir d’amore: Atto I. Cavatina “Udite, udite, o rustici” … “Così chiaro è come il sole” (Dulcamara, Coro)
composer:
Gaetano Donizetti (Italian opera composer)
part of:
L’elisir d’amore: Atto I
Gaetano Donizetti6:05
20Don Pasquale: Act I. "Ah! Un foco insolito"
bass vocals:
Fernando Corena (operatic bass)
orchestra:
Orchestre de la Suisse Romande (OSR)
conductor:
Alberto Erede (conductor)
recording of:
Don Pasquale: Atto I, Scena 1. “Ah! un foco insolito” (Pasquale, Malatesta)
composer:
Gaetano Donizetti (Italian opera composer)
librettist:
Gaetano Donizetti (Italian opera composer) and Giovanni Ruffini (librettist)
part of:
Don Pasquale: Atto I
Gaetano Donizetti2:23
6▶CD: Mario Del Monaco – Great Tenor Arias (SXL 2122)
7▶CD: Kirsten Flagstad – Wagner Recital (LXT 5249)
8▶CD: Lisa Della Casa – Lieder Recital (LXT 5258)
9▶CD: Giulietta Simionato – Operatic Recital (LXT 5458)
10▶CD: Gérard Souzay – French Operatic Arias (LXT 5269)
11▶CD: Virginia Zeani – Operatic Recital (LXT 5317)
12▶CD: Jennifer Vyvyan – Mozart and Haydn Recital (SXL 2233)
13▶CD: Carlo Bergonzi – Operatic Recital (SXL 2048)
14▶CD: Di Stefano – Operatic Recital (SXL 2111)
15▶CD: Joan Sutherland – Operatic Arias (SXL 2159)
16▶CD: Regina Resnick – On the Wings of Opera (SXL 2304)
17▶CD: Hilde Gueden – Sings Operetta Evergreens (LXT 5658)
18▶CD: Teresa Berganza – Sings Mozart (SXL6045)
19▶CD: Tom Krause – Recital (SXL 6046)
20▶CD: Peter Pears – Winterrreise
21▶CD: Birgit Nilsson – Sings German Opera Arias (SXL 6077)
22▶CD: Robert Merril (SXL 6083) and James McCracken
23▶CD: Marilyn Horne – Recital (SXL5149)
24▶CD: Renata Tebaldi (SXL 6152)
25▶CD: Herman Prey – Schubert Schwanengesang (SXL 6069)
26▶CD: Elena Souliotis – Donizetti Verdi (SXL6306)
27▶CD: Regine Crespin – Recital Schumann Wolf Debussy Poulenc(SXL 6333)
28▶CD: Gwyneth Jones – Scenes From Verdi (SXL 6376)
29▶CD: Luciano Pavarotti – Arias By Verdi And Donizetti (SXL 6377)
30▶CD: Nicolai Ghiaurov – Great Scenes From Verdi (SXL 6443)
31▶CD: Huguette Tourangeau – Arias From Forgotten Operas (SXL 6501)
32▶CD: Maria Chiara Sings Verdi Arias (SXL 6605)
33▶CD: Sherrill Milnes – Great Scenes From Italian Opera (SXL 6609)
34▶CD: The Art of Hans Hotter (SXL 6625)
35▶CD: Sylvia Sass – Opera's Sensational New Star (SXL 6841)
36▶CD: Portrait of Pilar Lorengar
37▶CD: Elisabeth Söderström Sings Songs For Children (SXL 6900)
38▶CD: Mirella Freni and Renata Scotto in Duet (SXL 6970)
39▶CD: Martti Talvela – Mussorgsky Songs & Dances of Death / Rachmaninov Songs (SXL 6974)
40▶CD: Paata Burchuladze – Boris Godunov • Don Carlos • Macbeth • Simon Boccanegra • Ernani (414 335-2)
41▶CD: Leo Nucci – Bel Canto Arias (421 129-2)
42▶CD: Susan Dunn – Verdi • Beethoven • Wagner (421 420-2)
43▶CD: Cecilia Bartoli – Rossini Arias (425 430-2)
44▶CD: Josephine Barstow – Salome • Turandot • Médée • Věc Makropulos: Final Scenes (430 203-2)
45▶CD: Kiri te Kanawa - In Recital Liszt Obradors Ravel (425 820-2)
46▶CD: Brigitte Fassbaender – Liszt Lieder (430 512-2)
47▶CD: Sumi Jo – Carnaval! (French Coloratura Arias) (440 679-2)
48▶CD: Angela Gheorghiu – Arias (452 417-2)
49▶CD: Andreas Scholl – Heroes (Handel, Gluck, Mozart) (466 196-2)
50▶CD: Renée Fleming – Great Opera Scenes (455 760-2)
51▶CD: Barbara Bonney – Diamonds In The Snow (Nordic Songs) (466 762-2)
52▶CD: Matthias Goerne – Arias (467 263-2)
53▶CD: Juan Diego Flórez – Una Furtiva Lagrima (473 440-2)
54▶CD: Jonas Kaufmann – Mozart, Schubert, Beethoven, Wagner (478 1463)
55▶CD: Joseph Calleja – The Maltese Tenor (478 2720)

Credits

Release group

includes:Arias from Forgotten Operas by Huguette Tourangeau (mezzo-soprano), Orchestre de la Suisse Romande (OSR). Richard Bonynge (conductor and pianist)
Heroes by Andreas Scholl (countertenor)