SUMMER 2008!!!!

There are many new items here. Please skim carefully! :-)

If you see anything that interests you, please e-mail me ASAP at valflacc2@aol.com!


ADIEU, FIÈRE CITÉ #1

 Dame Janet Baker [1969, in English]
 Régine Crespin [1966]
 Rita Gorr [1960]
 Lorraine Hunt Lieberson [2003]
 Christa Ludwig [1974]
 Waltraud Meier [2006]
 Jessye Norman [1984]
 Regina Resnik [1960]
 Giulietta Simionato [1960, in Italian]
 Blanche Thebom [1957, in English]
 Tatiana Troyanos [1983]
 Shirley Verrett [1969]


AH, PERFIDO! #1

 Christa Ludwig [1965]
 Montserrat Caballé [1966]
 Renata Tebaldi [1974]
 Leontyne Price [mid-’70s]
 Gundula Janowitz [1978, conducted by Bernard Haitink]
 Grace Bumbry [1978, conducted by Lorin Maazel]


AIDA vs. AMNERIS!, Vol. I

 Belén Amparan vs. Régine Crespin [1962]
 Mignon Dunn vs. Martina Arroyo [1983]
 Brigitte Fassbaender vs. Anna Tomowa-Sintow [1979]
 Irene Kramarich vs. Beverly Sills [1956]
 Christa Ludwig vs. Gloria Davy [1961]
 Jean Madeira vs. Leonie Rysanek [1955]
 Tatiana Troyanos vs. Gilda Cruz-Romo [1976]


Laura AIKIN #1

 ARABELLA: most of Fiakermilli’s music from Act II, including her entrance (“Die Wiener Herrn versteh’n sich auf die Astronomie”) and the final stretch of the act (beginning at “Mein Herr, schon wieder muß ich kommen”), with Hans-Joachim Ketelsen, Adam Klein, Judith Forst and Eric Halfvarson [2001]
 ARIADNE AUF NAXOS: much of Zerbinetta’s music, including the gorgeous duet from the Prologue (“Ein Augenblick ist wenig”), a quintet (“Die Dame gibt mit trübem Sinn”) and of course the great aria (“Großmächtige Prinzessin”); her colleagues here include Susan Graham, John Osborn, Stanley Jackson, Russell Braun and Wilbur Pauley [1998]
 DIE ENTFÜHRUNG AUS DEM SERAIL: four of Konstanze’s numbers, including her three arias (“Ach, ich liebte,” “Traurigkeit” and “Martern aller Arten”) and the great duet with Belmonte (“Meinetwegen sollst du sterben,” with Stanford Olsen); N.B.: “Ach, ich liebte” is missing its first 30 seconds or so, but I’ve included it anyway thanks to Miss Aikin’s accomplished singing [2001]
 DER ROSENKAVALIER: the first 16 minutes of Act II, including the glorious Presentation of the Rose (“Mir ist die Ehre widerfahren”), with Håkan Hagegård, Claudia Waite, Mark Schowalter and Miss Graham [2005]


John ALEXANDER #1

 ARIADNE AUF NAXOS: the 27-minute final scene, sung in English, with the underrecorded soprano Johanna Meier in the title rôle [1974]
 BEETHOVEN’S 9TH SYMPHONY the first vocal passage in the finale, including the tenor’s march solo with the male chorus, with fellow soloists Beverly Sills, Florence Kopleff and Justino Díaz under the direction of Erich Leinsdorf [1969]
 FAUST: the famous aria “Salut, demeure chaste et pure!” from Act III [1965]
 LA FILLE DU RÉGIMENT: the famous cabaletta “Pour mon âme” from Act I [1975]
 IDOMENEO, RE DI CRETA: both of Arbace’s virtuoso arias (“Se il tuo duol” and “Se colà ne’ fati è scritto”) [1986]
 LUCIA DI LAMMERMOOR: the last 15 minutes, encompassing Edgardo’s double aria (“Fra poco a me ricovero” and “Tu che a Dio spiegasti l’ali”) [1973]
 MADAMA BUTTERFLY: from Act III, the trio “Io so che alle sue pene” (with Theodor Uppman and Marcia Baldwin) and the aria “Addio, fiorito asil” [1970]
 VANESSA: the lyrical solo “Outside this house the world has changed” from Act II [1965]


John ALEXANDER #2

 FAUST: the opening scene of Act I, including Faust’s monologue (“Rien! En vain j’interroge”) and duet with Méphistophélès (“À moi les plaisirs,” with Justino Díaz) [1965]
 LUCIA DI LAMMERMOOR: the 12-minute love duet (“Sulla tomba”/“Verranno a te”) from Act I, with Renata Scotto [1973]
 MADAMA BUTTERFLY: the 15-minute love duet (“Bimba, non piangere”) that closes Act I, with Martina Arroyo [1970]
 NORMA: scenes from three different performances — Pollione’s entrance aria (“Meco all’altar di Venere”/“Me protegge, me difende”/1975), duet with Adalgisa (“Va, crudele”/“Vieni in Roma”/1976, with Shirley Verrett) and confrontation with Norma (“In mia man alfin tu sei”/1971, with Beverly Sills)
 VANESSA: the intense duet (“Love has a bitter core, Vanessa”) from Act III, with Mary Costa [1965]


John ALEXANDER #3

 DIE ENTFÜHRUNG AUS DEM SERAIL: two of Belmonte’s arias (Act I’s “Hier soll ich dich denn sehen” and Act II’s “Wenn der Freude Tränen fließen”), plus the Act I trio finale (“Marsch, marsch, marsch!,” with Ara Berberian and James Atherton), conducted by James Levine [1980]
 FAUST: the lovers’ first meeting (Act II’s “Ne permettrez-vous pas”) and love duet (Act III’s “Laisse-moi contempler ton visage”), with Montserrat Caballé and Justino Díaz [1965]
 DIE FEEN: Arindal’s two arias (Act I’s “Wo bist du? Ach!” and Act III’s “Ich seh’ den Himmel dort sich öffnen”), conducted by Wolfgang Sawallisch [1983]
 MADAMA BUTTERFLY: the Pinkerton-Sharpless duet (“Dovunque al mondo”/“Amore o grillo”) from Act I, with Theodor Uppman and Paul Franke [1970]
 MANON: both arias (Act II’s “En fermant les yeux” and Act III’s “Ah, fuyez, douce image!”) and an ensemble (Act IV’s “Manon, sphinx étonnant”), with Mme Caballé and Louis Quilico [1967]
 RINALDO: both of Goffredo’s arias (Act I’s “Sovra bale scoscesi e pungenti” and Act III’s “Mio cor, che mi sai dir”) [1982]
 LA TRAVIATA: both Act I duets (“Libiamo ne’ lieti calici” and “Un dì felice”) and Act II’s aria (“De’ miei bollenti spiriti”), with Anna Moffo [1967]
 VANESSA: the famous quintet (“To leave, to break”) from Act III, with Johanna Meier, Rosalind Elias, Regina Resnik and John Macurdy [1983]


Lucine AMARA #1

 ARIADNE AUF NAXOS: both of the heroine’s monologues (“Ein Schönes war” and “Es gibt ein Reich”) [1958]
 CARMEN: the Micaëla-José duet (“Parle-moi de ma mère!”) from Act I, with Giuseppe di Stefano [1956]
 LES CONTES D’HOFFMANN: the great trio (“Tu ne chanteras plus?”) from Act II, with Martial Singher as Miracle and Sandra Warfield as the Mother’s Voice [1955]
 DON CARLO: the Celestial Voice’s solo from the end of Act III [1950]
 LA FORZA DEL DESTINO: from Act IV, Leonora’s last aria (“Pace, pace, mio Dio!”) [1975]
 LA GIOCONDA: the stormy duet (“L’amo come il fulgor del creato”) from Act II, with Bianca Berini [1983]
 I LOMBARDI ALLA PRIMA CROCIATA: the great trio (“Qual voluttà trascorrere”) from Act III, with Enrico di Giuseppe and Cesare Siepi [1972]
 PETER GRIMES: Ellen and Peter’s bitonal duet at the end of the first scene (“The truth, the pity and the truth!”) and Ellen’s beautiful aria (“Embroidery in childhood”) [1967]
 SIMON BOCCANEGRA: the long Recognition Duet (“Dinne, perchè in quest’eremo”) from Act I, with Tito Gobbi [1960]
 DIE ZAUBERFLÖTE: Pamina’s long duet with Tamino (“Tamino mein!”) from Act II, sung in English, with Brian Sullivan [1956]


Lucine AMARA #2

 ARIADNE AUF NAXOS: the opera’s finale, a 19-minute duet (beginning with the eponymous heroine’s cry “Theseus! Nein, nein!”), with Richard Lewis, Jacqueline Delman, Pilar Lorengar, Monica Sinclair and Rita Streich, conducted by Sir John Pritchard [1958]
 CARMEN: Micaëla’s famous aria (“Je dis que rien ne m’épouvante”) from Act III [1956]
 LES CONTES D’HOFFMANN: an aria (“Elle a fui, la tourterelle!”) and duet (“C’est une chanson d’amour”) from Act II, the latter with Nicolai Gedda, conducted by Jean Morel [1959]
 LA FORZA DEL DESTINO: from Act II, both of Leonora’s arias (“Madre, pietosa Vergine” and “La Vergine degli angeli”), conducted by James Levine [1975]
 PETER GRIMES: Ellen’s dramatic defiance of the mob (“Let her among you without fault”), with Louis Sgarro and Gene Boucher, conducted by Sir Colin Davis [1967]
 SIMON BOCCANEGRA: the Amelia-Gabriele duet (“Vieni a mirar”) from Act I, with Giuseppe Zampieri [1960]
 DIE TOTE STADT: Marietta’s Lied (“Glück, das mir verblieb”) from Act I [1976]
 TURANDOT: Liù’s final pair of arias (“Tanto amore segreto” and “Tu che di gel sei cinta”) from Act III, with Birgit Nilsson, Mr. Uppman and Plácido Domingo [1970]
 DIE ZAUBERFLÖTE: from two different performances, sung in English, these three items: the opening scene for Tamino and the Ladies (“Zu Hilfe!,” with Richard Tucker, Thelma Votipka and Martha Lipton [1950]), the Pamina-Papageno duet (“Bei Männern,” with Theodor Uppman) and Pamina’s famous aria (“Ach, ich fühl’s”) [1956]; both of Pamina’s numbers are conducted by Bruno Walter


June ANDERSON #1

 LA BATTAGLIA DI LEGNANO: Lida’s Act I aria (“Quante volte come un dono”) [1984]
 Mozart’s greatest concert aria (“CH’IO MI SCORDI DI TE?,” KV 505), conducted by Gerard Schwarz, with André Watts playing the piano obbligato [1993]
 DIE ENTFÜHRUNG AUS DEM SERAIL: Konstanze’s defiant “Martern aller Arten,” from Act II, conducted by Gerard Schwarz [1993]
 DIE FEEN: Lora’s aria (“Oh, mußt du Hoffnung schwinden”) from Act II, conducted by Wolfgang Sawallisch [1983]
 DIE LUSTIGE WITWE: Hanna Glawari’s Vilja-Lied from Act II, conducted by Zubin Mehta [1990]
 ROBERT LE DIABLE: Isabelle’s 12-minute scena (“En vain j’espère”/“Idole de ma vie”) that opens Act II [1985]
 SEMIRAMIDE: from Act I, the eponymous heroine’s aria (“Bel raggio lusinghier”) and first duet with Arsace (“Serbami ognor si fido,” with Marilyn Horne), conducted by James Conlon [1990]
 LA SONNAMBULA: Amina’s entrance aria (“Come per me sereno”) from Act I [1984]


June ANDERSON #2

 LA BOHEME: the Act III quartet (“Dunque è proprio finita?”), with Luciano Pavarotti, Raina Kabaivanska and Sherrill Milnes [1992]
 DIE FLEDERMAUS: Rosalinde’s Act II csárdás (“Klänge der Heimat”), conducted by Zubin Mehta [1990]
 LUCIA DI LAMMERMOOR: all 20+ minutes of the famous Act III Mad Scene, with Paul Plishka and Haijing Fu [1992]
 I PURITANI DI SCOZIA: Act I’s Elvira-Giorgio duet (“Sai com’arde in petto mio”) and polacca (“Son vergin vezzosa”) and Act III’s Elvira-Arturo duet (“Nel mirarti un solo istante”) and cabaletta finale (“Ah, sento, o mio bell’angelo”), with Mr. Plishka, Chris Merritt, Nancy Maultsby and Paolo Coni
 IL RE PASTORE: Aminta’s famous aria (“L’amerò, sarò costante) [1993]
 SEMIRAMIDE: the Act I quartet (“Di tanti regi e popoli”) and ensuing stretta finaletto (“Ah, già il sacro foco è spento!”), with John Cheek, Stanford Olsen, Samuel Ramey and Young-Ok Shin [1990]


June ANDERSON #3

 IL BARBIERE DI SIVIGLIA: the Rosina-Figaro duet (“Dunque io son?”), with Sherrill Milnes [1992]
 FAUST: the Final Trio, with Marcello Giordani and Jeffrey Wells [1996]
 I PURITANI DI SCOZIA: the Act I finale (“Oh, viene al tempio”) and the Act II mad scene (“Qui la voce”/“Vien, diletto”), with Paolo Coni, Paul Plishka, Herbert Perry and Brad Cresswell [1991]
 SEMIRAMIDE: the Act II mother-son duet (“Giorno d’orrore”), with Marilyn Horne [1990]
 IL VIAGGIO A REIMS: Madame Cortese’s entrance aria (“Di vaghi raggi adorno”) and little duet with Don Profondo (“Più vivace e più fecondo”), with Filippo Morace and Ruggero Raimondi [2005]
 VIER LETZTE LIEDER: the first three songs (“Frühling,” “September” and “Beim Schlafengehen” [1991?]


June ANDERSON #4

 MAOMETTO SECONDO: the opera’s long scena finale, centered on Anna, a series of four fiendish solos — “Nume, cui ’l sole è trono,” “Quella morte che s’avanza, ” “Sì, ferite” and “Madre, a te che sull’Empiro,” with Simone Alaimo [1988]
 RICCIARDO E ZORAIDE: from Act I, the Zoraide-Zomira duet (“Invan tu fingi, ingrata”), the Agorante-Zoraid-Zomira trio (“Cruda sorte! -- O amor tiranno!”) and the Agorante-Ricciardo-Ernesto-Zoraide quartet finale (“Cessi omai quel tuo rigore”); from Act II, the Ricciardo-Zoraide duet (“Tra i teneri amplessi”) and Zoraide’s aria (“Per poco ti calma”), with Gloria Scalchi, Bruce Ford, William Matteuzzi, Jorio Zennaro and Giovanni Furlanetto [1990]


June ANDERSON #5

 ARMIDA: the heroine’s Act II duet with Rinaldo (“Dove son io? -- Al fianco mio”) and great variation-aria (“D’Amore al dolce impero”), plus the final 20+ minutes of Act III, a showpiece sequence for her and three tenors (Rockwell Blake, Christer Blandin and Raúl Giménez) [1988]
 LUCIA DI LAMMERMOOR: the Act I aria (“Regnava nel silenzio”) and love duet (“Sulla tomba”), plus Act II’s famous sextet (“Chi mi frena in tal momento?”) and the ensuing finale, with Judith Christin, Richard Leech, Paul Groves, Haijing Fu and Paul Plishka [1992]


Martina ARROYO #1

 ANDREA CHÉNIER: “Ora soave,” with Plácido Domingo [1977]
 LA BOHÈME: the love duet (“O soave fanciulla”) from Act I, with Richard Tucker, conducted by James Levine [1970]
 DON CARLO: “Non pianger, mia compagna” [1965]
 ERNANI: “Ernani, involami” [1970]
 LA GIOCONDA: “L’amo come il fulgor del creato,” with Nell Rankin [1976]
 LOHENGRIN: Elsa’s aria (“Euch Lüften”) from Act II [1968]
 MACBETH: “Una macchia è qui tutt’ora!” (the Sleepwalking Scene) [1973]
 MADAMA BUTTERFLY: Cio-cio-san’s death (“Con onor muore”/“Tu, tu, piccolo Iddio?”) from Act III, with John Alexander [1970]
 DAS RHEINGOLD: the entire first scene (“Weia! Waga! Woge, du Welle”), with Rosalind Elias, Mignon Dunn and Ralph Herbert [1961]
 SIMON BOCCANEGRA: “Come in quest’ora bruna” [1974]
 IL TROVATORE: “D’amor sull’ali rosee” [1971]
 TURANDOT: the princess’ entrance aria (“In questa reggia”) from Act II, with Ermanno Mauro [1983]
 VIER LETZTE LIEDER: the third (“Beim Schlafengehen”) [1967]


Martina ARROYO #2

 L’AFRICAINE: Sélika’s famous aria (“Sur mes genoux”) from Act II [1977]
 ANDREA CHÉNIER: the final duet (“Vicino a te s’acqueta”), with Plácido Domingo; the conductor is James Levine [1977]
 ERNANI: the final trio (“Solingo, errante, misero”) from Act III, with Carlo Bergonzi and Ruggero Raimondi [1970]
 LA GIOCONDA: the glorious trio from Act IV, with Nell Rankin and Misha Raitzin; Miss Arroyo caps this number with a stunning high C [1976]
 MACBETH: Lady Macbeth’s second aria (“La luce langue”), from Act II [1973]
 SIEGFRIED: the three “appearances” of the Wood Bird in Act II, with Hans Hopf, conducted by Erich Leinsdorf [1962]
 SIMON BOCCANEGRA: the great Recognition Duet (“Dinne, perchè in quest’eremo”) from Act I, with Piero Cappuccilli [1974]
 TURANDOT: Liù’s entrance scene (“Indietro, cani!”) and first aria (“Signore, ascolta!”), from Act I, with James McCracken and Bonaldo Giaiotti, conducted by Zubin Mehta [1969]; and, as Turandot, the Riddle Scene (“Straniero, ascolta!”) from Act II, with Ermanno Mauro [1983]
 IL TROVATORE: two trios (“Ha quest’infame l’amor venduto” and “Prima che d’altri vivere”), with Richard Tucker, Shirley Verrett and Mario Sereni [1971]


Martina ARROYO Grace BUMBRY Richard TUCKER

 Mr. Tucker’s solo contributions include “Cielo e mar!” (La gioconda), “Guardate: pazzo son!” (MANON LESCAUT) and “Che gelida manina” (La bohème)
 Miss Arroyo’s solos: “Ma dall’arido stelo divulsa” (Un ballo in maschera), “Mi chiamano Mimì” (La bohème) and “Vissi d’arte” (TOSCA), all conducted by James Levine
 Miss Bumbry’s solos: “Suicidio!” (La gioconda) and “Mon cœur s’ouvre à ta voix” (Samson et Dalila)
 Arroyo-Tucker duets: “Teco io sto!” (Un ballo in maschera), “Vicino a te” (Andrea Chénier), “O soave fanciulla” (La bohème), all also conducted by Maestro Levine
 Bumbry-Tucker scenes: “Mal reggendo” and “Ai nostri monti” (Il trovatore); “Là-bas est la chaumière” and “C’est toi? — C’est moi!” (Carmen), the former also featuring the Micaëla of Mirella Freni


Arleen AUGÉR #1

 ARIADNE AUF NAXOS: Zerbinetta’s great aria “Großmächtige Prinzessin” [1969]
 I CAPULETI ED I MONTECCHI: “Oh, quante volte” [1988]
 LES CONTES D’HOFFMANN: the famous Doll Song (“Les oiseaux dans la charmille”) [1980]
 DON PASQUALE: Norina’s Act I aria “So anch’io la virtù magica” [1988]
 EXSULTATE, JUBILATE: “Alleluia!” [1984]
 LAKMÉ: the famous Bell Song [1969]
 LINDA DI CHAMOUNIX: “O luce di quest’anima” [1988]
 LE NOZZE DI FIGARO: the Act IV aria “Deh, vieni: non tardar” [1968]
 Cimarosa’s lovely motet “Quoniam tu solus sanctus” [1975]
 DER ROSENKAVALIER: the final duet between Octavian (Tatiana Troyanos) and Sophie: “Ist ein Traum” [1968]
 SEMIRAMIDE: “Bel raggio lusinghier” [1988]
 Mozart’s concert aria “Voi avete un cor fedele” (KV 217) [1984]
 DIE ZAUBERFLÖTE: the Queen of Night’s Act I aria “Oh, zittre nicht, mein lieber Sohn!” [1968]


Arleen AUGÉR #2

 ARABELLA: the Act I duet “Aber der Richtige” (with Gundula Janowitz in the title rôle) [1968]
 ARIADNE AUF NAXOS: the Nymphs’ two big scenes (“Schläft sie?” and “Ein schönes Wunder!”), with Margarita Lilowa, Gerda Scheyrer, James King and Leonie Rysanek, conducted by Karl Böhm [1967]
 DON PASQUALE: Norina’s Act I aria “So anch’io la virtù magica” [1970]
 MITRIDATE, RE DI PONTO: Sifare’s three big arias (“Soffre il mio cor con pace,” “Parto: nel gran cimento” and “Se il rigor d’ingrata sorte”), plus his showstopping duet with Aspasia (“Se viver non degg’io,” with Edda Moser) [1970]
 DER ROSENKAVALIER: the final trio (with Gundula Janowitz as the Marschallin and Tatiana Troyanos as Octavian) [1968]
 DER VAMPYR: three numbers featuring Malwina (the solo “Heiter lacht die goldne Frühlingssonne,” the ensuing duet “Du bist's: es ist kein Traum!,” the trio “Wie? Mein Vater!” and the duet “Halt ein, ich kann es nicht ertragen”), with Donald Grobe and Nikolaus Hillebrand [1974]


Agnes BALTSA #1

 ARIADNE AUF NAXOS: the final 14 minutes of the Prologue, including the duet with Zerbinetta (“Ein Augenblick ist wenig”) and the Composer’s aria (“Musik ist eine heilige Kunst”), with colleagues James King, Gundula Janowitz, Walter Berry, Heinz Zednik and Edita Gruberová, conducted by Karl Böhm [1976]
 MASS IN B MINOR: “Christe, eleison” (with Kathleen Battle), “Laudamus te,” “Qui sedes ad dexteram Patris,” “Et in unum Dominum” (with Miss Battle) and “Agnus Dei,” all conducted by Herbert von Karajan [1985]
 NORMA: both Norma-Adalgisa scenes, including the duets “O rimembranza!,” “Deh, con te li prendi” and “Mira, o Norma,” with Sylvia Sass; neither of these ladies recorded this music commercially [1980]
 STABAT MATER (Rossini): the soprano-alto duet (“Quis est homo,” with Jessye Norman) and the alto cavatina (“Fac ut portem”), conducted by Riccardo Muti [1983]


Kathleen BATTLE #1

 ARABELLA: the famous sister duet from Act I (“Aber der Richtige,” with Kiri Te Kanawa) [1983]
 UN BALLO IN MASCHERA: Oscar’s charming “Saper vorreste,” complete with an interpolated high D unventured on her commercial recording [1977]
 CARMINA BURANA: the dazzling coloratura flourish “Dulcissime!,” conducted by Seiji Ozawa [1989]
 DON PASQUALE: the three big duets — Act I’s scene with Malatesta (“Pronta io son!,” with Thomas Allen) and Act III’s confrontation with Pasquale (“Signorina, in tanta fretta,” with Paolo Montarsolo) and love duet with Ernesto (“Tornami a dir,” with Raúl Giménez) [1990]
 FALSTAFF: Nannetta’s lyrical “Sul fil d’un soffio etesio,” conducted by Sir Georg Solti [1985]
 GIULIO CESARE IN EGITTO: three of Cleopatra’s arias — “Tu la mia stella sei,” “Venere bella” and “Se pietà,” conducted by Trevor Pinnock [1988]
 DER ROSENKAVALIER: the Rose Presentation from Act II (“Mir ist die Ehre widerfahren,” with Anne Sofie von Otter) [1989]


Kathleen BATTLE #2

 IL BARBIERE DI SIVIGLIA: both of Rosina’s arias (“Una voce poco fa” and “Contro un cor”), plus her duet with Figaro (“Dunque io son?”) and her trio with him and Almaviva (“Ah, qual colpo inaspettato!”), with William Workman and Rockwell Blake [1982]
 LA DAMNATION DE FAUST: a true rarity — the last 5 minutes (“Alors l’enfer se tut”), in which a very young Battle can be heard as the solo voice, conducted by James Levine [1974]
 DIE ENTFÜHRUNG AUS DEM SERAIL: both of Blonde’s arias (“Durch Zärtlichkeit und Schmeicheln” and “Welche Wonne, welche Lust”), her duet with Osmin (“Ich gehe, doch rate ich dir,” with Ara Berberian), and Konstanze’s blazing defiance of the Pasha (“Martern aller Arten”) [Blondchen’s numbers: 1980; Konstanze: mid-’90s]
 FALSTAFF: the two delicious little duets for Nannetta and Fenton from Act I, Scene 2, with Yordi Ramiro, conducted by Sir Georg Solti [1985]
 GIULIO CESARE IN EGITTO: three of Cleopatra’s arias — “Non disperar: chi sa?,” “V’adoro, pupille” and “Da tempeste,” conducted by Trevor Pinnock [1988]
 THE RAKE’S PROGRESS: Anne Trulove’s aria (“No word from Tom”), which closes Act I [1996]
 WEST SIDE STORY: the heartbreaking song “Somewhere” [1993]


Kathleen BATTLE #3

 ELIJAH: the scene in which Elijah prays to God for rain, as a boy (Miss Battle!) keeps watch, with Philip Creech and Sherrill Milnes, conducted by James Levine [1978]
 LA FILLE DU RÉGIMENT: the hilarious Act II Lesson Scene, with Felicity Palmer and Michel Trempont [1993]
 GREAT MASS IN C MINOR (Mozart): her two biggest solos (“Kyrie” and “Et incarnatus est”), conducted by Maestro Levine
 MASS IN B MINOR (Bach): three duets (“Christe, eleison,” “Domine Deus” and “Et in unum Dominum”), with Agnes Baltsa and Gösta Winbergh, conducted by Herbert von Karajan [1985]
 SOLOMON: the five big numbers of the two Queens, including three arias (“Bless’d the day when first my eyes,” “Ev’ry sight these eyes behold” and “Will the sun forget to streak”) and two duets (“Welcome as the dawn of day” and “Ev’ry joy that wisdom knows,” both with James Bowman) [1984]
 LES TROYENS: the Act III finale, beginning with Ascagne’s solo (“Auguste reine, un peuple errant”); Miss Battle plays Ascagne, with colleagues including Shirley Verrett, John Cheek, Ara Berberian, David Kuebler and Guy Chauvet, all conducted by James Levine [1978]


Hildegard BEHRENS #1

 ARIADNE AUF NAXOS: the two big monologues– “Ein Schönes war” and “Es gibt ein Reich” — conducted by Karl Böhm [1979]
 DIE FRAU OHNE SCHATTEN: the Empress’ three solo scenes — Act I’s Awakening Scene (“Ist mein Liebster dahin?,” with Mignon Dunn), Act II’s Nightmare (“Wehe, mein Mann!”) and Act III’s interview with Keikobad (“Vater, bist du’s?”) — all conducted by Christoph von Dohnányi [1980]
 IDOMENEO, RE DI CRETA: Elettra’s three arias — Act I’s “Tutto nel cor vi sento,” Act II’s “Idol mio” and Act III’s “D’Oreste, d’Aiace” — conducted by Jeffrey Tate [1986]


Jussi BJÖRLING #1

 UN BALLO IN MASCHERA: the two Amelia-Riccardo duets — Act II’s “Teco io sto!” and Act III’s “Ah, perchè qui? Fuggite!” — plus the opera’s concertato finale (“Ella è pura”), all with Zinka Milanov [1940]
 CAVALLERIA RUSTICANA: the big confrontation (“Tu qui, Santuzza?”) from Act I, with Giulietta Simionato and Rosalind Elias [1959]
 DON CARLO: Act III’s Garden Scene trio (“A mezzanotte, ai giardin della Regina,” with Fedora Barbieri and Robert Merrill) and Act V’s duet finale (“Ma lassù ci vedremo,” with Delia Rigal) [1950]
 FAUST: the lovers’ first meeting (Act II’s “Ne permettrez-vous pas”), his famous aria (“Salut, demeure chaste et pure!”) and the last 12 minutes of Act III (beginning at “Il se fait tard! Adieu!”), with Dorothy Kirsten and Cesare Siepi [1950]


Rockwell BLAKE #1

 IL BARBIERE DI SIVIGLIA: the Almaviva-Figaro duet (“All’idea di quel metallo”) from Act I, with Pablo Elvira as Figaro [1983]
 LA CENERENTOLA: Ramiro’s entrance scene (“Un soave non so che,” with Maria Ewing as Cinderella) and Act II aria (“Sì, ritrovarla io giuro”) [1979]
 IL CROCIATO IN EGITTO: Adriano di Montfort’s entrance aria (“Popoli dell’Egitto, valorosi guerrieri”) and his long scena with aria (“Suona funerea l’ora di morte”) and cabaletta (“L’acciar della fede”) [1979]
 ERMIONE: two long scenes from Act I — Oreste’s entrance aria (“Che sorda al mesto pianto”) and his duet with Ermione (“Amarti? — Ah, sì, mio ben!,” with Montserrat Caballé [1987]
 SEMELE: four of Jupiter’s arias — “Lay your doubts and fears aside,” “I must with speed amuse her,” “Where’er you walk” and “Ah, take heed what you press!” [1985]


Judith BLEGEN #1

 DON GIOVANNI: Zerlina’s Act I aria (“Batti, batti, o bel Masetto”) [1979]
 DIE ENTFÜHRUNG AUS DEM SERAIL: Blonde’s three big numbers from: the duet “Ich gehe, doch rate ich dir” (with bass Artur Korn) and the two arias (“Durch Zärtlichkeit und Schmeicheln” and “Welche Wonne, welche Lust”) [1984]
 FIDELIO: three items from Act I — Marzelline’s duet with Jacquino (“Jetzt, Schätzchen, sind wir allein”), her aria (“Oh, wär’ ich schon mit dir vereint”) and the famous quartet (“Mir ist so wunderbar”), with colleagues Murray Dickie, Leonie Rysanek and Giorgio Tozzi, conducted by Karl Böhm [1971]
 DIE FLEDERMAUS: Adele’s Laughing Song (“Mein Herr Marquis”) from Act II, sung in English [1975]
 LINDA DI CHAMOUNIX: the heroine’s entrance aria (“O luce di quest’anima”) [1974]
both of Adina’s arias (“Della crudele Isotta” and “Prendi: per me sei libero”) from L’elisir d’amore [1975]
 MIGNON: Philine’s coloratura showpiece “Je suis Titania,” from Act II [1979]
 RIGOLETTO: the famous aria “Caro nome,” plus two duets: Act I’s “È il sol dell’anima” (with Luciano Pavarotti) and Act II’s “Tutte le feste al tempio” (with Matteo Manuguerra) [1979]


Judith BLEGEN #2

 DON CARLO: the Celestial Voice’s solo (with Nicolai Ghiaurov) [1970]
 ENDIMIONE E CINTIA: “Se geloso il mio core” [1979]
 FALSTAFF: both Nannetta-Fenton mini-duets, plus the Act II finale (“Facciamo le viste d'attendere ai panni”), the Act III aria (“Sul fil d'un soffio etesio”) and the final fugue (“Tutto nel mondo è burla”), with Douglas Ahlstedt, Fiorenza Cossotto, Giuseppe Taddei, Carol Neblett, Brenda Boozer, Allan Monk, Anthony Laciura, Italo Tajo, Charles Anthony, conducted by James Levine [1986]
 HÄNSEL UND GRETEL: “Abends will ich schlafen geh'n” (with Frederica von Stade) [1982]
 “JAUCHZET GOTT in allen Landen,” BWV 51 (J. S. Bach) [1983]
 THE KISSING BANDIT: “Love Is Where You Find It” [1979]
 QUATRE CHANSONS DE JEUNESSE (Debussy): “Pantomime,” “Clair de lune,” “Pierrot” and “Apparition” [1982]
 QUATRE CHANSONS DE RONSARD (Milhaud): “À une fontaine,” “À Cupidon,” “Tais-toi, Babillarde” and “Dieu vous gard’” [1982]
 “SCHON LACHT DER HOLDE FRÜHLING,” KV 580 [1980]
 EIN WALZERTRAUM: “Leise, ganz leise” [1974]


Judith BLEGEN #3

 FIDELIO: the Act I trio “Gut, Söhnchen, gut” (with Giorgio Tozzi and Leonie Rysanek, conducted by Karl Böhm) [1971]
 DIE FLEDERMAUS: five of Adele’s numbers, sung in English — her entrance solo (“Da schreibt meine Schwester Ida”), duettino with Rosalinde (“Ach, ich darf nicht hin zu dir”), trio with Rosalinde and Eisenstein (“So muß allein ich bleiben”) and of course the two famous arias (“Mein Herr Marquis” and “Spiel' ich die Unschuld vom Lande”), with Ragnar Ulfung, Joan Sutherland, Nolan van Way, Huguette Tourangeau, Walter Slezak and Angie Reynal, conducted by Richard Bonynge [1973]
 RIGOLETTO: the father-daughter scenes from Acts I (“Figlia! -- Mio padre!”) and III (“V'ho l'ingannato”), with Matteo Manuguerra, Sharon Graham and Luciano Pavarotti [1979]
 DER ROSENKAVALIER: the Act II Rose Presentation (“Mir ist die Ehre widerfahren”) and the complete final scene (beginning at “Mein Gott! Es war nicht mehr als ein Farce!” and encompassing the famous Trio and Duet finale), with Tatiana Troyanos, Teresa Żylis-Gara and William Dooley, conducted by James Levine [1976]
 WERTHER: Sophie’s interruption of Charlotte’s letter-writing (“Bonjour, grande sœur!”), with Christa Ludwig [1971]


Stephanie BLYTHE #1

 CARMEN: Carmen’s card aria (“En vain, pour éviter”) from Act III, with Yvonne Gonzales and Beth Clayton [2001]
 GIULIO CESARE IN EGITTO: the three arias of Cornelia (“Nel tuo seno, amico sasso,” “Deh, piangete, o mesti lumi” and “Cessa omai di sospirare!”) not featured on her commercial Bach-Handel CD [1999]
 LA GRANDE-DUCHESSE DE GÉROLSTEIN: sung in English — (1) “Ah, que j’aime les militaries,” (2) “Ah, c’est un fameux regiment,” (3) “Pour épouser une princesse,” (4) “Dites-lui qu’on l’a remarqué” and (5) “Ô grandes leçons du passé!,” with colleagues Gordon Gietz (Fritz), Daniel Belcher (Paul) and Kevin Glavin (Boum) [2004]
 L’ITALIANA IN ALGERI: Isabella’s showpiece (“Pensa alla patria”) from Act II [2002]
 OEDIPUS REX: Jocasta’s 10-minute scene (“Nonne erubescite, reges”), with Clifton Forbis (Oedipus) [2004]
 THE RAKE’S PROGRESS: Baba the Turk’s three big scenes, including her first appearance (“My love, am I to remain in here forever?”), her aria (“As I was saying, both brothers”) and her return in the auction scene (“Sold! Annoyed!”), with Dawn Upshaw (Anne), Jerry Hadley (Tom), Jerold Siena (Sellem) and Samuel Ramey (Nick) [1998]
 RODELINDA: two of Eduige’s arias — Act I’s “Lo farò, dirò spietato” and Act III’s “Quanto più fiera tempesta freme” [2005]
 Elgar’s song “The Swimmer” [2004]


Barbara BONNEY #1

 ARABELLA: the Act I sister duet (“Aber der Richtige”), with Renée Fleming [2001]
 DON CARLOS: Éboli’s Veil Song (“Nei giardin bel bello”), with Éva Randová as Éboli and Miss Bonney in the pants rôle of Tebaldo [1988]
 DER ROSENKAVALIER: the first 19 minutes of Act II, including the Rose Presentation (“Mir ist die Ehre widerfahren”), with Delores Ziegler [1994]; and the final 19 minutes of the opera, including the great Trio (“Hab’ mir’s gelobt”) and final duet (“Ist ein Traum”), with Brigitte Fassbaender and Judith Beckmann [1984]
 SEMELE: six of the eponymous heroine’s arias (“O Jove, in pity teach me,” “Endless pleasure,” “O sleep, why dost thou leave me?,” “My racking thoughts,” “Myself I shall adore” and “No, no, I’ll take no less!”), sung in German [1986]


Christine BREWER #1

 Strauss’ DREI HYMNEN, op. 71 (“Hymne an die Liebe,” “Rückkehr in die Heimat” and “Die Liebe”) [2005]
 MESSA DA REQUIEM: the long, taxing “Libera me” [2005]
 Berg’s gorgeous SIEBEN FRÜHE LIEDER (SEVEN EARLY SONGS) (“Nacht,” “Schilflied,” “Die Nachtigall,” “Traumgekrönt,” “Im Zimmer,” “Liebesode” and “Sommertage”) [2003]
 VIER LETZTE LIEDER (FOUR LAST SONGS) [2003]
 WAR REQUIEM: the entire “Sanctus” (with Thomas Hampson) [2005]


CHRISTINE BREWER #2

 ARIADNE AUF NAXOS: the famous aria “Ein Schönes war” and the long final duet (beginning at Bacchus’ entrance, “Circe, kannst du mich hören?”); colleagues include Alexandra Deshorties, Nathan Gunn, Natalie Dessay, John del Carlo, Joyce Guyer and Jossie Pérez and Richard Margison [2003]
 ELEKTRA: Chrysothemis’ entrance aria (“Ich hab’s wie Feuer in der Brust”) and duet finale (“Elektra! Schwester!”), with Lisa Gasteen [2004]
 GLORIANA: Elizabeth’s Act I aria (“On rivalries ’tis safe for kings”) [2003]
 GURRE-LIEDER: all four soprano solos (“Oh, wenn des Mondes Strahlen,” “Sterne jubeln,” “Nun sag’ ich dir zum ersten Mal” and “Du sendest mir einen Liebesblick”) [2002]:


Renato BRUSON #1

 DON CARLO: Rodrigo’s death scene (“Per me giunto”), with Plácido Domingo, conducted by Claudio Abbado [1978]
 GIOVANNA D’ARCO: the Act II trio finale (“No, forme d’angelo”), with Vincenzo La Scola and Susan Dunn, conducted by Riccardo Chailly [1989]
 LUCIA DI LAMMERMOOR: the Act II duet (“Il pallor funesto, orrendo”), with Renata Scotto [1973]
 NABUCCO: the Act III Abigaille-Nabucco duet (“Donna, chi sei?”), with Grace Bumbry [1983]
 OTELLO: the end of Act II, including Jago’s dream narration (“Era la notte”) and the ensuing duet with Otello (“Sì, pel ciel”), with Carlo Cossutta, conducted by Riccardo Muti [1980]
 SIMON BOCCANEGRA: the Act I Simon-Amelia duet (“Dinne, perchè in quest’eremo”) and great Council Chamber scene (“Plebe! Patrizi! Popolo”), with Margaret Price, Giorgio Lamberti, Kevin Langan, Cesare Siepi and Frederick Burchinal [1980]


Renato BRUSON #2

 GIOVANNA D’ARCO: Giacomo’s aria (“Franco son io, ma in core”) and two performances of the Giovanna-Giacomo duet (“Tu che all'eletto Sàulo”), one with Susan Dunn, the other with Martile Rowland [1989 and 1993]
 I MASNADIERI: both of Francesco’s arias (“La sua lampada vitale” and “Pareami che sorto da lauto convito”), plus his duet with Amalia (“Io t'amo, Amalia!”), with Thierry Migliorini and Martile Rowland [1992]
 IL TABARRO: the opera’s final 20 minutes, including the Giorgetta-Michele duet (“Come è difficile esser felici!”) and Michele’s searing monologue (“Nulla! Silenzio!”), with Marilyn Zschau, Waltraud Winsauer, Horst Nitsche and Vladimir Atlantov [1979]


Renato BRUSON #3

 MARIA DI ROHAN: the two duets for Chalais and Chevreuse (“Gemea di tetro carcere” and “Ah, no, t'inganni”): ascoltami), plus Chevreuse’s aria (“Bella e di sol vestita”), with Elena Zilio, Umberto Grilli, Alessandro Cassis and Carlo Padoan [1974]
 IL TROVATORE: the Count di Luna’s entrance-cum-trio (“Di geloso amor”), Act II aria (“Il balen del suo sorriso”) and Act IV interview with Leonora (“Mira, d'acerbe lagrime”), with Carlo Bergonzi, Katia Ricciarelli and Francesco Signor [1977]
 I VESPRI SICILIANI: Monforte’s Act III aria (“In braccio alle dovizie”) as well as both his duets with Arrigo (Act I’s “Qual è il tuo nome? ” and Act III’s “Quando al mio seno”), with Veriano Luchetti and Graziano Polidori, conducted by Riccardo Muti [1980]


Renato BRUSON #4

 ERNANI: the Act II confrontation between Carlo and Silva (“Lo vedremo, veglio audace”), plus Act III’s aria (“Oh, de' verd'anni miei”) and concertato finale (“O sommo Carlo”), with Nicolaï Ghiaurov, Mirella Freni, Jolanda Michieli, Gianfranco Manganotti, Plácido Domingo and Alfredo Giacomotti, conducted by Riccardo Muti [1982]
 OTELLO: Jago’s Act I brindisi (“Inaffia l'ugola!”) and Act II solos (“Credo in un Dio crudel” and “Temete, signor, la gelosia!”), with Antonio Bevacqua, Roberto Massetti, Giorgio Giorgetti and Carlo Cossutta, conducted by Maestro Muti [1980]
 POLIUTO: Severo’s entrance aria (“Di tua beltade immagine”) and Act II interview with Paolina (“Il più lieto dei viventi”), with Silvano Pagliuca, Luigi Paolilli, Giorgio Lamberti and Adriana Maliponte [1977]
 SIMON BOCCANEGRA: the opera’s beautiful finale (“Gran Dio, li benedici pietoso dall'empiro”), with Margaret Price, Mr. Lamberti and Cesare Siepi [1980]


Renato BRUSON #5

 DON CARLO: Rodrigo’s big numbers from Act II, including his solo (“Carlo, ch’è sol il nostro amore”) and both big duets, one with Carlo (“Dio, che nell’alma infondere”), the other with Filippo (“O signor, di Fiandra arrivo”), with Plácido Domingo, Giovanni Foiani, Elena Obraztsova, Margaret Price, Maria Fausta Gallamani and Evgeny Nesterenko, conducted by Claudio Abbado [1978]
 LUCIA DI LAMMERMOOR: Enrico’s Act I aria (“Cruda, funesta smania”) and Act III duet with Edgardo (“Qui del padre ancor respira”), with Emilio Salvoldi, Paolo Washington and Umberto Grilli [1973]
 MACBETH: the Act I duet with the Lady (“Fatal mia donna!”) and the Act II banquet scene (“Si colmi il calice”), with Renata Scotto, Phyllis Cannan and Neil Shicoff, conducted by Riccardo Muti [1981]


Grace BUMBRY #1

 AIDA: the Judgment Scene from Act IV, including the duet with Radamès (“Già i sacerdoti adunansi,” with Carlo Bergonzi) and Amneris’ long scena (“Ohimè! Morir mi sento!”) [1967]
 CAVALLERIA RUSTICANA: the Santuzza-Alfio duet (“Turiddu mi tolse l’onore,” with Frank Guarrera) [1970]
 DON CARLO: Eboli’s famous aria (“O don fatale”) from Act IV [1972]
 LA GIOCONDA: an extended sequence from Act II, encompassing the Laura-Enzo love duet (“Deh, non turbare,” with Renato Cioni), Laura’s aria (“Stella del marinar!”) and the confrontation with Gioconda (“L’amo come il fulgor del creato,” with Leyla Gencer) [1967]
 MESSA DA REQUIEM: the “Lux aeterna” movement (with Ezio Flagello and Mr. Corelli) [1967]
 ORFEO ED EURIDICE: three of the hero’s arias (“Chiamo il mio ben così,” “Che puro ciel” and “Che farò senza Euridice?”) [1971]
 SAMSON ET DALILA: the heroine’s first aria (“Amour, viens aider ma faiblesse!”) [1972]
 IL TROVATORE: Azucena’s narrative (“Condotta ell’era in ceppi”) from Act II, with Franco Corelli [1964]


Grace BUMBRY #2

 ERNANI: Elvira’s entrance aria (“Ernani, involami”) from Act I [1980]
 GÖTTERDÄMMERUNG: Brünnhilde’s Immolation Scene (“Starke Scheite schichtet mir dort”) that concludes Act III [1993]
 MACBETH: the Sleepwalking Scene (“Una macchia è qui tutt’ora!”) from Act IV [1977]
 NABUCCO: Abigaille’s taxing aria (“Anch’io dischiuso un giorno”) that opens Act II [1979]
 SALOME: the 15-minute finale (“Ah, du wolltest mich nicht deinen Mund küßen lassen, Jokanaan!”) [1977]
 VIER LETZTE LIEDER (FOUR LAST SONGS) [1991]


Grace BUMBRY #3

 Beethoven’s searing concert aria “AH, PERFIDO!,” conducted by Lorin Maazel [1978]
 CAVALLERIA RUSTICANA: the Easter Prayer scene (“Regina coeli, laetare!”) from Act I, conducted by Leonard Bernstein [1970]
 MESSA DA REQUIEM: “Liber scriptus,” “Recordare” and “Agnus Dei” (the latter two with Dame Gwyneth Jones), conducted by Zubin Mehta [1967]
 SALOME: the long entrance scene (“Ich will nicht bleiben!”) and ensuing interview with Jokanaan, plus the 17-minute final scene (beginning at “Es ist kein Laut zu vernehmen”); colleagues include Kathleen Kuhlmann, Norman Bailey, Ragnar Ulfung and Mignon Dunn, conducted by Berislav Klobučar [1978]


Grace BUMBRY #4

 JENUFA: the eponymous heroine’s Act II awakening and prayer (“Mamičko, mám težkou hlavu”), plus the Act III finale, in which she forgives her stepmother (Magda Olivero) and accepts the love of Lača (Robleto Merolla), all sung in Italian [1974]
 SAMSON ET DALILA: the long final scene of Act II, including the famous aria “Mon cœur s’ouvre à ta voix,” with James McCracken [1972]
 IL TROVATORE: Azucena’s Act II narrative (“Condotta ell’era in ceppi”) and ensuing duet with Manrico (“Mal raggendo”), with Franco Corelli and Robert Schmorr [1964]
 LES TROYENS: Cassandre’s entrance aria (“Malheureux roi!”) and ensuing duet with Chorèbe (“Reviens à toi, vierge adorée!”), with Philippe Rouillon [1990]


Montserrat CABALLÉ #1

 L’AFRICAINE: Sélika’s aria (“Sur mes genoux, fils du soleil”) from Act II [1977]
 Beethoven’s concert scena “AH, PERFIDO!” [1966]
 ARABELLA: the great duet (“Und du wirst mein Gebieter sein”) from Act II, with Siegmund Nimsgern [1973]
 DON GIOVANNI: Donna Elvira’s “Mi tradì” (from Act II) [1960]
 the great concert piece “CH’IO MI SCORDI DI TE?” (KV 505) [1966]
 ERNANI: Elvira’s entrance aria (“Ernani, involami”) from Act I [1969]
 OBERON: Rezia’s grand “Ozean, du Ungeheuer!,” from Act II [1966]
 OTELLO: the duet (“Dio ti giocondi, o sposo”) from Act III (with James McCracken) [1967]
 SEMIRAMIDE: the heroine’s aria (“Bel raggio lusinghier”) from Act I [1980]


Montserrat CABALLÉ #2

 ARABELLA: the aria finale (“Das war sehr gut, Mandryka”) from Act III, with Siegmund Nimsgern [1973]
 IL BARBIERE DI SIVIGLIA: from Act I, “Una voce poco fa” and “Dunque io son?,” the latter with Vincente Sardinero [1981]
 DON GIOVANNI: Donna Elvira’s “Ah, fuggi il traditor!” and “Ah, taci, ingiusto core!” (with Erich Kunz and Eberhard Wächter) [1960]
 LA FORZA DEL DESTINO: “Or siam soli,” with Nicolai Ghiaurov) [1978]
 LA GIOCONDA: the duet finale (“Vo’ farmi più gaia”), with Matteo Manuguerra [1979]
 MANON: two of the heroine’s arias (“Voyons, Manon” and “Obéissons quand leur voix appelle”) [1967]
 the concert aria “NEHMT MEINEN DANK, IHR HOLDEN GÖNNER!” (KV 383) [1966]
 OTELLO: the Act II quartet (“D’un uom che geme”), with James McCracken, Tito Gobbi and Shirley Love, conducted by Zubin Mehta [1967]
 SEMIRAMIDE: the Act II duet “Se la vita ancor t’è cara,” with James Morris [1981]
 I VESPRI SICILIANI: the Act II duet “Presso alla tomba,” with Nicolai Gedda, conducted by James Levine [1974]


MONTSERRAT CABALLÉ #3

 FAUST: Marguerite’s ballad (“Il était un Roi de Thulé”) and Jewel Song, plus the long love duet that closes Act III (“Laisse-moi contempler ton visage”), with Justino Díaz and John Alexander [1965]
 GIULIO CESARE IN EGITTO: three of Cleopatra’s arias — “Tu la mia stella sei,” “V’adoro, pupille” and “Se pietà” [1967]
 SEMIRAMIDE: the Act II mother-son confrontation, including the lyrical “Giorno d’orrore,” with Marilyn Horne [1981]
 TURANDOT: Act II’s long Riddle Scene (“Straniero, ascolta!”), with Luciano Pavarotti, Raymond Manton and Leona Mitchell [1977]


MONTSERRAT CABALLÉ #4

 IL BARBIERE DI SIVIGLIA: the Act II trio (“Ah, qual colpo inaspettato!”), with Vincente Sardinero and Ernesto Palacio [1981]
 ERMIONE: the massive Act II scena (“Essa corre al trionfo!”), with Giorgio Surjan, Daniela Lojarro and Rockwell Blake [1987]
 FAUST: Marguerite’s rarely heard Act IV ballad (“Il ne revient pas!”), plus the ensuing Church Scene, the latter with Justino Díaz [1965]
 LA FORZA DEL DESTINO: Leonora’s passionate Act II aria (“Madre, pietosa Vergine”) [1978]
 MANON: the Act I entrance aria (“Je suis encor tout étourdie”) and duet finale (“Nous vivrons à Paris!”), plus Act II’s famous solo (“Adieu, notre petite table”), with colleagues Louis Quilico and John Alexander [1967]
 I VESPRI SICILIANI: Act IV’s wonderful duet, with the gorgeous aria in the middle (“Arrigo, ah, parli a un core”), with Plácido Domingo, plus the Act V bolero (“Mercè, dilette amiche”) [1975]


MONTSERRAT CABALLÉ #5

 FAUST: the final scene, including the great trio, with John Alexander and Justino Díaz [1965]
 LA FORZA DEL DESTINO: another trio finale, this time with Piero Cappuccilli, José Carreras and Nicolai Ghiaurov [1978]
 GIULIO CESARE IN EGITTO: Cleopatra’s two Act III arias (“Piangerò” and “Da tempeste”) [1967]
 MANON: the famous Saint-Sulpice duet (“N’est-ce plus ma main?”), with Mr. Alexander [1967]
 NORMA: another famous duet (“Mira, o Norma”), with Shirley Verrett [1976]
 OTELLO: the Act I love duet (“Già nella notte densa”) and Act III’s concertato finale (“A terra e piangi!”), with James McCracken, Raymond Michalski, Shirley Love, Tito Gobbi, Gabor Carelli and Ermanno Lorenzi [1967]
 I VESPRI SICILIANI: the Act I scena (“In alto mare”), with Rafael Campos, José Manzaneda, María Asunción Uriz and Dalmacio Gonzales [1975]


MONTSERRAT CABALLÉ #6

 ERMIONE: the Act I duet (Amarti? -- Ah, sì, mio ben!), with Rockwell Blake [1987]
 NORMA: the Act I meeting between Norma and Adalgisa (O rimembranza!), plus the ensuing trio finale (Oh, di qual sei tu vittima), with Shirley Verrett and John Alexander [1976]
 OTELLO: the Act IV Willow Song (Piangea cantando) and Ave Maria, with Shirley Love, conducted by Zubin Mehta [1967]
 I VESPRI SICILIANI: the Act II Elena-Arrigo duet (Presso alla tomba), the Act IV quartet (Addio, mia patria) and ensuing finale (Omai rapito in estasi) and the Act V trio (Sorte fatal !) and finale ultimo, with Plácido Domingo, Justino Díaz and Franco Bordoni [1975]


CARO NOME #1

 Judith Blegen [1979]
 Laura Claycomb [2001]
 Gianna d’Angelo [1961]
 Mariella Devia [1981]
 Sumi Jo [2000]
 Edda Moser [1973]
 Carol Neblett, conducted by James Levine [1972]
 Maureen O’Flynn [1998]
 Roberta Peters [1956]
 Gail Robinson [1972]
 Rita Streich, sung in German, conducted by Ferenc Fricsay [1950]


KRISTIN CHENOWETH

 from an all-Bernstein concert, the songs “Glitter and Be Gay” (CANDIDE) and “Lonely Town” (ON THE TOWN) [2001]
 CANDIDE: the songs “O Happy We,” “Glitter and Be Gay,” “You Were Dead, You Know,” “Quartet Finale,” “We Are Women” and “Make Our Garden Grow,” with Paul Groves, Patti LuPone, Michael McElroy, Stanford Olsen and Thomas Allen [2004]
 the songs “Fever” and “The Wayward Wind” [2001]
 FUNNY GIRL: “His Love Makes Me Beautiful,” with Jason Danieley, Stephen Brinberg, Varla Jean Merman, Edie and Michael Benjamin Washington [2002]
 IT’S A BIRD . . . IT’S A PLANE . . . IT’S SUPERMAN!: the hilarious showstopper “You’ve Got Possibilities” [2001]
 MARY POPPINS: “A Spoonful of Sugar” [2001]
 NAUGHTY MARIETTA: the Italian Street Song, capped with a stunning high F [2001]
 ON A CLEAR DAY YOU CAN SEE FOREVER: “Hurry! It’s Lovely Up Here!,” “Tosy and Cosh,” “On the S.S. Bernard Cohn,” “What Did I Have That I Don’t Have?” and “Wait ‘Til We’re 65,” with Peter Friedman, Brent Barrett and Roger Bart [2000]
 VERY WARM FOR MAY: the gorgeous ballad “All the Things You Are,” with Howard McGillin [2001]
 THE WILD PARTY (Lippa): “How Did It Come to This?” [1998?]


CH’IO MI SCORDI DI TE? #1

 June Anderson [1993]
 Montserrat Caballé [1966]
 Mirella Freni [1970]
 Elizabeth Harwood [1971]
 Sena Jurinac [1952]
 Christa Ludwig [1963]
 Frederica von Stade [1988]


Fiorenza COSSOTTO #1

 ADRIANA LECOUVREUR: three scenes from Act II — the Princess’ aria (“Acerba voluttà”), duet with Maurizio (“Principessa! — Finalmente!,” with José Carreras) and confrontation with Adriana (“Sia! Non risponde,” with Montserrat Caballé) [1976]
 IL BARBIERE DI SIVIGLIA: Rosina’s entrance aria (“Una voce poco fa”) and duet with Figaro (“Dunque io son?”) from Act I, with Sesto Bruscantini [1968]
 LA FAVORITA: the Act I duet (“Ah, mio bene”), Act III aria (“O mio Fernando”) and Act IV finale, with Alfredo Kraus and Ruggero Raimondi [1971]
 LES HUGUENOTS: Urbain’s entrance aria (“Nobles seigneurs, salut!”) and the Act I finale (“Les plaisirs, les honneurs, la puissance”), sung in Italian, with colleagues Wladimiro Ganzarolli, Nicolai Ghiaurov, Franco Corelli, Antonio Cassinelli, Giuseppe Bertinazzo, Piero de Palma and Manuel Spatafora [1962]
 MEDEA: Neris’ aria (“Solo un pianto”) [1977]
 a bonus interview, with Jim McAndrew of the program “Camera Three”


Fiorenza COSSOTTO #2

 FALSTAFF: four scenes, including all of Act I, Scene 2 (“Alice! -- Meg! -- Nannetta!”), the Act II interview with Falstaff (“Reverenza!”) and concertato finale (“Facciamo le viste d'attendere ai panni”), and the great final fugue (“Tutto nel mondo è burla”), with Brenda Boozer, Carol Neblett, Judith Blegen, Anthony Laciura, Charles Anthony, Italo Tajo, Allan Monk, Douglas Ahlstedt and Giuseppe Taddei, conducted by James Levine [1986]
 IPHIGÉNIE EN TAURIDE: her cameo as Diana in the opera’s final scene, sung in Italian, with Anselmo Colzani, Maria Callas, Dino Dondi and Francesco Albanese [1957]
 NORMA: both Norma-Adalgisa duets (Act I’s “O rimembranza!” and Act II’s “Deh, con te li prendi”/“Mira, o Norma”), with Elinor Ross [1968]
 LES TROYENS A CARTHAGE: the Act III finale, beginning with Cossotto’s solo in the trouser rôle of Ascagne (“Auguste reine, un peuple errant”), sung in Italian, with Giulietta Simionato, Nicola Zaccaria, Agostino Ferrin, Regolo Romani and Mario del Monaco, conducted by Rafael Kubelík [1960]


Carlo COSSUTTA #1

 UN BALLO IN MASCHERA: the love duet (“Teco io sto!”) from Act II, with Rita Orlandi-Malaspina [1969]
 DON CARLO: the second Elisabetta-Carlo duet (“Io vengo a domandar”), from Act II, with Pilar Lorengar [1971]
 ERNANI: the final scene, including the great trio “Solingo, errante, misero,” with Grace Bumbry (Elvira) and Hans Sotin (Silva) [1980]
 OTELLO: both Otello-Desdemona duets — Act I’s “Già nella notte densa” and Act III’s “Dio ti giocondi, o sposo” — with Julia Varady, conducted by Carlos Kleiber [1977]
 SIMON BOCCANEGRA: Gabriele’s first appearance, an offstage serenade (“Cielo di stelle orbato”) followed by a duet with Amelia (“Vieni a mirar,” with Gundula Janowitz) [1969]
 TOSCA: the love duet from Act I, with the great Sena Jurinac [1966]
 IL TROVATORE: the Act I trio (“Di geloso amor”) and Act IV duet (“Miserere”), with Matteo Manuguerra (di Luna) and Gilda Cruz-Romo (Leonora), conducted by Riccardo Muti [1977]


Mary COSTA #1

 LA BOHÈME: the arias “Quando m’en vo” and “Donde lieta uscì”
 CANDIDE: Cunegonde’s mock-tragic lament (“Glitter and Be Gay”) from Act I; Miss Costa originated this rôle in the show’s 1959 London premiere
 I CAPULETI ED I MONTECCHI: “Oh, quante volte”
 ERNANI: “Ernani, involami”
 FAUST: the Jewel Song (“Ah, je ris”) from Act III
 MANON: “Adieu, notre petite table” and “Obéissons, quand leur voix appelle” (the famous Gavotte)
 MEFISTOFELE: Margherita’s harrowing aria (“L’altra notte”) that opens Act III
 ROMÉO ET JULIETTE: the Waltz (“Je veux vivre”) from Act I
 LA RONDINE: “Chi il bel sogno di Doretta”
 RUSALKA: the Song to the Moon (“Mesicku na nebi hlubokém”), sung in English
 LA SONNAMBULA: “Ah, non credea mirarti”/“Ah, non giunge”
 LA TRAVIATA: “Sempre libera”
 VANESSA: the eponymous heroine’s first aria (“Do not utter a word, Anatol”), from Act I


Régine CRESPIN #1

 AIDA: the Aida-Amneris confrontation (“Fu la sorte dell’armi”) from Act II, with Belén Amparan [1962]
 UN BALLO IN MASCHERA: the love duet (“Teco io sto!”) from Act II, with Richard Tucker [1966]
 CAVALLERIA RUSTICANA: the long confrontation “Tu qui, Santuzza?,” with Enrico di Giuseppe and Judith Forst [1973]
 LA DAMNATION DE FAUST: Marguerite’s entrance aria (“Que l’air est étouffant! . . . Autrefois un roi de Thulé”) from Part II [1959]
 FIDELIO: Leonore’s aria (“Abscheulicher! Wo eilst du hin?”) from Act I [1964]
 LA GIOCONDA: the women’s duet (“L’amo come il fulgor del creato”) from Act II, with Biserka Cvejic [1966]
 LOHENGRIN: the 13-minute Elsa-Ortrud interview (“Elsa! — Wer ruft?”) from Act II, with Nell Rankin [1964]
 the 14-minute finale of Massenet’s rarely heard Marie-Magdeleine (“Qu’elle est lente à venir . . . Christ est vivant!”) [1976]


RÉGINE CRESPIN #2

 LA DAMNATION DE FAUST: the Duet and Trio that close Part Two, with Nicolai Gedda and Ernest Blanc [1959]
 DIALOGUES DES CARMÉLITES: Mme de Croissy’s two big scenes from Act I (“N’allez pas croire que ce fauteuil” and “Ayez la bonté de relever ce coussin”), sung in English, with Carol Vaness, Virginia Zeani and James Meyer [1982]
 LES TROYENS: the Cassandre-led finales of Acts I and II [1966]
 DIE WALKÜRE: Sieglinde’s short scene from Act III (“Nicht sehre dich Sorge um mich”), with Astrid Varnay, conducted by Rudolf Kempe [1961]
 WERTHER: the opera’s devastating final scene, with Alfredo Kraus [1979]


Gilda CRUZ-ROMO #1

 AIDA: the Act I trio (“Quale insolita gioia”) and aria (“Ritorna vincitor!”), plus the Act III aria (“O patria mia”), with Mignon Dunn and Carlo Bergonzi, conducted by Sir Charles Mackerras [1973]
 ATTILA: Odabella’s fiendish entrance number (“Allor che i forti corrono”), the Act I aria (“Oh, nel fuggente nuvolo”) and the famous Act III trio (“Te sol quest’anima”), with Nicolai Ghiaurov, Gregory Kunde, Silvano Carroli and Veriano Luchetti [1980]
 LUISA MILLER: the heroine’s entrance solo (“Lo vidi, e ‘l primo palpito”) and Act II’s impassioned aria (“Tu puniscimi, o Signore”), with Matteo Manuguerra, Anna di Stasio, Luciano Pavarotti & Ferruccio Mazzoli [1974]
 LA TRAVIATA: Violetta’s Act I scena (“Ah, fors’è lui”) and Act III aria (“Addio, del passato”), plus the opera’s concertato finale (“Se una pudica vergine”), with Enrico di Giuseppe, Robert Merrill, Betsy Norden and Louis Sgarro [1973]


Gilda CRUZ-ROMO #2

 UN BALLO IN MASCHERA: both of Amelia’s arias (“Ma dall’arido stelo divulsa” and “Morrò, ma prima in grazia,” the latter with Sherrill Milnes) [1973]
 DON CARLO: both of Elisabetta’s arias (“Non pianger, mia compagna” and “Tu che le vanità”), plus the duets with Carlo from Acts II (“Io vengo a domandar”) and V (“Ma lassù ci vedremo”), with Giuseppe Giacomini, Paul Plishka, Jerome Hines and John Cheek [1980]
 IL TROVATORE: both of Leonora’s arias (“Tacea la notte placida” and “D’amor sull’ali rosee”), the latter including the ensuing duet (“Miserere”) and cabaletta (“Tu vedrai che amore in terra”), conducted by Riccardo Muti, with Giuliana Matteini and Carlo Cossutta [1977]


Irene DALIS #1

 AIDA: the Act IV duet (“Già i sacerdoti adunansi”) and scena (“Ohimè! Morir mi sento!”), with Jon Vickers and Giorgio Tozzi [1960]
 UN BALLO IN MASCHERA: Ulrica’s aria (“Re dell’abisso, affrettati!”), with Richard Tucker [1973]
 DON CARLO: the Act III trio (“A mezzanotte, ai giardin della Regina”), with Franco Corelli and Mario Sereni [1961]
 GÖTTERDÄMMERUNG: the Norns Scene (“Welch Licht leuchtet dort?”), with Jean Madeira and Martina Arroyo, conducted by Erich Leinsdorf [1962]
 MACBETH: the Lady’s first and last scenes: Act I’s entrance aria (“Vieni: t’affretta!”) and Act IV’s Sleepwalking Scene (“Una macchia è qui tutt’ora!”), with Edward Ghazal, Gerhard Pechner and Carlotta Ordassy [1964]
 IL TROVATORE: both of Azucena’s solos from Act II (“Stride la vampa!” and “Condotta ell’era in ceppi”), with Franco Corelli [1961]


Gianna D’ANGELO #1

 ARIADNE AUF NAXOS: Zerbinetta’s big aria (“Großmächtige Prinzessin”) [1962]
 I CAPULETI ED I MONTECCHI: “Oh, quante volte” [1961]
 DON PASQUALE: Act I’s aria (“Quel guardo il cavaliere”) and scene with Malatesta (“Pronta io son!,” with Renato Capecchi), and Act III’s love duet with Ernesto (“Tornami a dir,” with Alfredo Kraus) [1963]
 FALSTAFF: “Sul fil d’un soffio etesio” (from Act III) [1961]
 LAKMÉ: the Bell Song from Act II [1961]
 I PURITANI DI SCOZIA: “Qui la voce”/“Vien, diletto,” from Act II [1961]
 RIGOLETTO: Act I’s aria (“Caro nome”) and the duets with Rigoletto that close Acts II (“Tutte le feste al tempio”) and III (“V’ho l’ingannato: colpevole fui”), with Aldo Protti [1961]


David DANIELS #1

 GIULIO CESARE IN EGITTO: Sesto’s first aria (“Svegliatevi nel core”) and duet with Cornelia (“Son nata a lagrimar,” with Stephanie Blythe), conducted by John Nelson [1999]; from another performance — this time with Mr. Daniels in the title rôle — six arias (“Presti ormai l’Egizia terra,” “Empio, dirò, tu sei,” “Alma del gran Pompeo,” “Non è si vago e bello,” “Se in fiorito ameno prato” and “Quel torrente”) and the opera’s duet finale (“Più amabile beltà,” with Ruth Ann Swenson), conducted by Nicholas McGegan [2002]
 Vaughan Williams’ song “Orpheus with His Lute” [2004]
 RODELINDA: four arias (“Confusa si miri l’infida consorte,” “Con rauco mormorio,” “Chi di voi fu più infedele” and “Vivi, tiranno!”) and a duet (“Io t’abbraccio,” with Renée Fleming), conducted by Harry Bicket [2005]
 TANCREDI: the hero’s entrance aria (“Di tanti palpiti”) [1997]


Lisa DELLA CASA #1

 ARABELLA: the gorgeous duet with Mandryka (“Und du wirst mein Gebieter sein”) from Act II, with Dietrich Fischer-Dieskau [1963]
 ARIADNE AUF NAXOS: Ariadne’s awakening (“Ach! Wo war ich?”) and first monologue (“Ein Schönes war”), with Lisa Otto, Alfred Poell, Hilde Güden, Oskar Czerwenka, Rita Streich and Hilde Rößl-Majdan, conducted by Karl Böhm [1954]
 ELEKTRA: the soaring duet finale, with Inge Borkh as the eponymous heroine, conducted by Dimitri Mitropoulos [1957]
 IDOMENEO, RE DI CRETA: Ilia’s aria (“Zeffiretti lusinghieri”) and duet with Idamante (“Spiegarti non poss’io”) from Act III, the latter item with Werner Krenn [1971]
 LOHENGRIN: Elsa’s entrance and aria (“Einsam in trüben Tagen”) from Act I, with Otto Edelmann and Walter Cassel, conducted by Thomas Schippers [1959]
 DIE MEISTERSINGER VON NÜRNBERG: the famous quintet (“Selig, wie die Sonne”) from Act III, with Paul Schöffler, Albert da Costa, Paul Franke and Herta Glaz, conducted by Rudolf Kempe [1956]
 DER ROSENKAVALIER: the opening 17 minutes of Act II, culminating in the Rose Presentation (“Mir ist die Ehre widerfahren”), with Sena Jurinac as Octavian and Herbert von Karajan conducting [1952]


Lisa DELLA CASA #2

 ARABELLA: the gorgeous duet with Zdenka (“Aber der Richtige”) from Act II, with Elfriede Trötschel [1953]
 ARIADNE AUF NAXOS: the final 21 minutes (beginning at heroine’s cry “Theseus! Nein, nein!”), with Rudolf Schock, Rita Streich, Lisa Otto, Hilde Rößl-Majdan and Hilde Güden, conducted by Karl Böhm [1954]
 ELEKTRA: Chrysothemis’ entrance scene (including her aria “Ich hab’s wie Feuer in der Brust”), with Inge Borkh as the eponymous heroine, conducted by Dimitri Mitropoulos [1957]
 IDOMENEO, RE DI CRETA: Ilia’s first two arias (“Padre, germani, addio!” and “Se il padre perdei”) [1971]
 LOHENGRIN: Elsa’s aria (“Euch Lüften”) and duet with Ortrud (“In ferner Einsamkeit des Waldes”) from Act II, with Margaret Harshaw and Walter Cassel, conducted by Thomas Schippers [1959]
 DIE MEISTERSINGER VON NÜRNBERG: Eva’s aria (“O Sachs, mein Freund!”) from Act III, conducted by Rudolf Kempe [1956]


Natalie DESSAY #1

 ARABELLA: 10 minutes of Fiakermilli’s fiendish music, including her entrance solo (“Die Wiener Herrn versteh’n sich auf die Astronomie”) and the Act II finale, with colleagues including Wolfgang Brendel, Helga Dernesch and Sir Donald McIntyre, conducted by Christian Thielemann [1994]
 ROMÉO ET JULIETTE: 36 minutes of the eponymous heroine’s music, including both her arias (Act I’s “Je veux vivre” and Act IV’s “Amour, ranime mon courage”) and three of the love duets (Act I’s “Ange adorable,” Act II’s “Ô nuit divine!” and Act IV’s “Nuit d’hyménée!,” with Ramón Vargas), conducted by Bertrand de Billy [2006]
 DIE SCHWEIGSAME FRAU: the final 19 minutes of Act II, including Aminta’s first explosion in front of Morosus (“Du bist so still und scheinst bedrückt?”) and the lyrical duet with Henry (“Du süßester Engel!”), with Sten Byriel and Juan José Lopera [2001]
 LA SONNAMBULA: the 13-minute finale of Act III, including the aria “Ah, non credea mirarti” and the cabaletta “Ah, non giunge,” conducted by Patrick Summers [2006]


Cristina DEUTEKOM #1

 ALCINA: the heroine’s first aria (“Di, cor mio, quanto t’amai”) from Act I [1974]
 LA CLEMENZA DI TITO: Vitellia’s final solo (“Non più di fiori”) from Act II [1980]
 MEDEA: Medea’s first aria (“Dei tuoi figli la madre”) from Act I [1978]
 LUCIA DI LAMMERMOOR: part of the Mad Scene (“Ardon gl’incensi!”) from Act III [1970]
 NABUCCO: Abigaille’s duet with her father (“Donna, chi sei?,” with Siegmund Nimsgern) from Act III; the conductor is Riccardo Muti [1977]
 I PURITANI DI SCOZIA: Elvira’s duet with Giorgio (“Sai com’arde in petto mio”) from Act I, with Bonaldo Giaiotti; again, Mr. Muti conducts, even allowing Miss Deutekom a high D at the end! [1970]
 SIMON BOCCANEGRA: Amelia’s entrance aria (“Come in quest’ora bruna”) from Act I [1982]
 IL TROVATORE: Leonora’s entrance aria (“Tacea la notte placida”) from Act I [1976]
 TURANDOT: the princess’ entrance aria (“In questa reggia”) from Act II, featuring Carlo Bini [1982]
 I VESPRI SICILIANI: Elena’s duet with Arrigo (“Presso alla tomba,” with Franco Bonisolli) from Act II [1974]


Mariella DEVIA #1

 DON GIOVANNI: both of Donna Anna’s arias (“Or sai chi l’onore” and “Non mi dir”), conducted by Zubin Mehta, with Giuseppe Filianoti as Ottavio [2005]
 LAKMÉ: two lyrical solos (“Blanche Dourga, pâle Siva!” and “Les fleurs me paraissent plus belles”) [1981]
 RIGOLETTO: Gilda’s aria (“Caro nome”) and Act II duet with her father (“Tutte le feste al tempio,” with Matteo Manuguerra) [1981]
 SEMIRAMIDE: the eponymous heroine’s two solos (“Bel raggio lusinghier” and “Al mio pregar t’arrendi”) and two big duets with Arsace (“Serbami ognor si fido” and “Giorno d’orrore,” with Ewa Podles) [1992]
 DIE ZAUBERFLÖTE: both of the Queen of Night’s arias (“Oh, zittre nicht” and “Der Hölle Rache”) [1989]


Joyce DI DONATO #1

 ADINA (Rossini): the dazzling finale (“Ah, che per piangerlo”), with Raúl Giménez and Marco Vinco [2003]
 IL BARBIERE DI SIVIGLIA: both of Rosina’s arias (“Una voce poco fa” and “Contro un cor”), the duet with Figaro (“Dunque io son?”), the last 11 minutes of Act I (“Fredda ed immobile”) and the Act II quintet (“Buona sera, mio signore”) and trio (“Ah, qual colpo inaspettato!”), with Richard Croft, Earle Patriarco, Amy Cofield, John del Carlo, Vladimir Ognovenko and Nikolai Didenko [2004]
 COSÌ FAN TUTTE: both of Dorabella’s arias (“Smanie implacabili” and “È amore un ladroncello”), her two duets with Fiordiligi (“Ah, guarda, sorella” and “Prenderò quel brunettino,” with Christine Goerke), the Act I farewell trio (“Soave sia il vento,” with Miss Goerke and Alfonso Antoniozzi) and the Act II duet with Guglielmo (“Il core vi dono,” with Nathan Gunn) [2001]


Giuseppe DI STEFANO #1

 CARMEN: two of José’s numbers — the Act I duet (“Parle-moi de ma mère!,” with Lucine Amara) and Act II’s Flower Song (“La fleur que tu m’avais jetée”) [1956]
 CAVALLERIA RUSTICANA: the long confrontation (“Tu qui, Santuzza?”) from Act I, with Giulietta Simionato
 FALSTAFF: Fenton’s aria (“Dal labbro il canto”), from Act III, with Licia Albanese (Nannetta) [1949]
 FAUST: the hero’s Act I duet (“À moi les plaisirs,” with Italo Tajo) and Act III aria (“Salut, demeure chaste et pure!”) [1949]
 LA FAVORITE: both of Fernand’s arias (“Un ange, une femme inconnue” and “Ange si pur”), sung in Italian [1949]
 MIGNON: two of Wilhelm Meister’s arias (“Adieu, Mignon: courage!” and “Elle ne croyait pas”), sung in Italian [1949]
 DER ROSENKAVALIER: the Italian Singer’s aria (“Di rigori armato”) from Act I [1949]
 TURANDOT: both of Calàf’s arias (Act I’s “Non piangere, Liù!” and Act III’s “Nessun dorma!”), with Leontyne Price and Nicola Zaccaria [1961]


Helen DONATH #1

 DIE ÄGYPTISCHE HELENA: a long scene from Act II (“Aithra! Liebe Herrliche! O Zauberin! Schnellhörende!”), with Deborah Voigt (Helena); Mrs. Donath, who assumed the part of Aithra on short notice, sails through its high-lying line with aplomb [2003]
 CARMEN: Micaëla’s aria “Je dis que rien ne m’épouvante,” from Act III [1995]
 COSÌ FAN TUTTE: both of Despina’s arias (“In uomini, in soldati” and “Una donna a quindici anni”) [2004]
 DER FREISCHÜTZ: Agathe’s aria “Leise, leise,” from Act II [1995]
 IDOMENEO, RE DI CRETA: the duet “Spiegarti non poss’io” (from Act III, with Peter Schreier as Idamante) [1973]
 DIE LUSTIGE WITWE: the famous Vilja-Lied, from Act II [2005]
 MADAMA BUTTERFLY: Cio-cio-san’s “Un bel dì,” from Act II [2005]
 LE NOZZE DI FIGARO: the Countess’ aria “Dove sono” (from Act III) [2005]
 Mozart’s concert aria “VADO, MA DOVE? O DEI!” (KV 583) [1976]
 DER VETTER AUS DINGSDA: “Strahlender Mond, der am Himmelszelt Thront” [2005]
 VIER LETZTE LIEDER (FOUR LAST SONGS) [1995]
 WAR REQUIEM: the solo with chorus (“Liber scriptus”) from the Dies irae [2005]


DOVE SONO #1 (Le nozze di Figaro)

 Lucine Amara [1961, conducted by Erich Leinsdorf]
 Régine Crespin [1956]
 Victoria de los Angeles [1952, conducted by Fritz Reiner]
 Helen Donath [1995]
 Mirella Freni [1974, conducted by Claudio Abbado]
 Elisabeth Grümmer [1963]
 Elizabeth Harwood [1974, conducted by Herbert von Karajan]
 Soile Isokoski [2002]
 Gundula Janowitz [1968]
 Leontyne Price [1972]
 Margaret Price [1981]
 Elisabeth Söderström [1987, conducted by James Levine]


Mignon DUNN #1

 AIDA: Amneris’ massive scena (“Ohimè! Morir mi sento!”) from Act IV, with Forbes Robinson [1973]
 UN BALLO IN MASCHERA: Ulrica’s aria (“Re dell’abisso, affrettati!”) from Act I, with a brief appearance by Carlo Bergonzi [1966]
 CARMEN: the Gypsy Song (“Les tringles des sistres tintaient”) that opens Act II, with Joan August and Linda Cook [1968]
 LES CONTES D’HOFFMANN: the great trio (“Tu ne chanteras plus?”) from Act II, with George London and Lucine Amara [1959]
 LA GIOCONDA: a 13-minute scene from Act I, culminating in La Cieca’s famous aria (“Voce di donna”), with colleagues Robert Merrill, George Cehanovsky, Alessio de Paolis, Eileen Farrell, Franco Corelli, Giorgio Tozzi and Nell Rankin [1962]
 LOHENGRIN: the last four minutes, including Ortrud’s blazing final lines (“Fahr heim!”), with Pilar Lorengar, Mr. Kollo and Bonaldo Giaiotti [1976]
 DAS RHEINGOLD: the Rhinemaidens’ offstage cries (“Rheingold! Reines Gold!”) in the final scene, with Martina Arroyo, Rosalind Elias, Mr. London and Karl Liebl, conducted by Erich Leinsdorf [1961]
 TANNHÄUSER: Venus’ aria (“Geliebter, komm!”) from Act I, with René Kollo [1972]
 IL TROVATORE: Azucena’s two arias (“Stride la vampa!” and “Condotta ell’era in ceppi”) from Act II, the latter with Richard Tucker [1973]
 LES TROYENS: the charming Anna-Narbal duet (“De quels revers menaces-tu Carthage”) from Act IV, with John Macurdy [1974]
 DIE ZAUBERFLÖTE: the quintet (“Wie? Wie? Wie?”) from Act II, sung in English, with Heidi Krall, Belén Amparan, Theodor Uppman and Nicolai Gedda [1958]


Mignon DUNN #2

 AIDA: the long duet (“Fu la sorte dell’armi”) from Act II, with Martina Arroyo, conducted by James Levine [1983]
 LA FAVORITE: the 20-minute final scene, sung in Italian, with Luciano Pavarotti [1975]
 DIE FRAU OHNE SCHATTEN: the Empress-Nurse duet (“Amme, um alles, wo find’ ich den Schatten?”) from Act I, with Hildegard Behrens, conducted by Christoph von Dohnányi [1980]
 GÖTTERDÄMMERUNG: the Waltraute scene (“Seit er von dir geschieden”), with Rita Hunter as Brünnhilde, also conducted by Maestro Kubelík [1974]
 IL TROVATORE: the Azucena-Manrico duet (“Ai nostri monti”) from Act IV, the latter with Richard Tucker [1973]
 LES TROYENS: the lovely Didon-Anna duet (“Reine d’un jeune empire”) from Act III, with Christa Ludwig, conducted by Rafael Kubelík [1974]
 DIE ZAUBERFLÖTE: the opening scene (“Zu Hilfe! Zu Hilfe!”) of Act I, sung in English, with Nicolai Gedda, Heidi Krall and Belén Amparan, conducted by Erich Leinsdorf [1958]


Susan DUNN #2

 AIDA: both of the eponymous heroine’s arias (Act I’s “Ritorna vincitor!” and Act III’s “O patria mia”) [1988]
 UN BALLO IN MASCHERA: from Act II, the famous love duet (“Teco io sto!,” with Luis Lima), conducted by Riccardo Chailly [1986]
 LA FORZA DEL DESTINO: two of Leonora di Vargas’ scenes — the duet and finale of the first scene (“Ah, per sempre,” with Giuseppe Giacomini) and the concertato (“Padre eterno Signor”) of the ensuing Inn Scene, conducted by James Conlon [1988]
 LE NOZZE DI FIGARO: the Countess’ first aria (“Porgi, Amor”) [1981?]
 I VESPRI SICILIANI: Elena’s Act I scena (“In alto mare”/“Coraggio, su, coraggio”), Act II duet (“Presso alla tomba,” with Allan Glassman) [1990] and Act V bolero (“Mercè, dilette amiche”) [1986]
 VIER LETZTE LIEDER (FOUR LAST SONGS) [1984]


ECCO L’ORRIDO CAMPO #1 (Un ballo in maschera)

 Gilda Cruz-Romo [1973]
 Sena Jurinac [1950]
 Karita Mattila [2005, conducted by Antonio Pappano]
 Carol Neblett [1983]
 Katia Ricciarelli [1977]
 Elinor Ross [1975]
 Renata Scotto [1980]
 Amy Shuard [1966]
 Gabriella Tucci [1965]
 Ljuba Welitsch [1949]
 Mara Zampieri [1978, conducted by Claudio Abbado]


Rosalind ELIAS #1

 ANTONY AND CLEOPATRA: a comic scene (“Lord Alexas, sweet Alexas”) from Act II, with Belén Amparan and Raymond Michalski [1966]
 CARMEN: the Act I Habañera (“L’amour est un oiseau rebelle”) and final 3 minutes (“Mais que je vive ou que je meure”), with Mr. Gedda [1959]
 CAVALLERIA RUSTICANA: Lola’s little song (“Fior di giaggiolo”) and scene from Act I, with Jussi Björling and Giulietta Simionato [1959]
 LES CONTES D’HOFFMANN: the Giulietta-Hoffmann duet (“Vous me quittez?”/“Aujourd’hui, cependant, affermis mon courage”) with Nicolai Gedda [1959]
 LA FILLE DU RÉGIMENT: the hilarious Lesson Scene (“Le jour naissait dans le bocage”) that opens Act II, with Harolyn Blackwell and Bruno Praticò [1994]
 GÖTTERDÄMMERUNG: the scene with Siegfried and the Rhinemaidens (“Frau Sonne sendet lichte Strahlen”) from Act III, with Martina Arroyo, Mignon Dunn and Hans Hopf [1962]
 NABUCCO: the trio (“Io t’amava!”) from Act I, with Eugenio Fernandi and Leonie Rysanek [1960]
 OTELLO: the quartet (“D’un uom che geme”) from Act II, with Victoria de los Angeles, Mario del Monaco and Leonard Warren [1958]
 PIKOVAYA DAMA (THE QUEEN OF SPADES): two numbers from Act I, Scene 2 — the Lisa-Pauline duet and Pauline’s ensuing song with chorus — sung in English, with Teresa Stratas [1966]
 DER ROSENKAVALIER: the Final Trio (“Hab’ mir’s gelobt”) from Act III, with Montserrat Caballé and Judith Raskin [1966]
 DIE ZAUBERFLÖTE: Pamina’s scene with the Three Boys (“Bald prangt, den Morgen zu verkünden”), sung in English, from Act II, with Emilia Cundari, Margaret Roggero and Lucine Amara [1956]


Eileen FARRELL #1

 Beethoven’s concert aria “AH, PERFIDO!” [1948]
 ARIADNE AUF NAXOS: the heroine’s two big monologues: “Ein Schönes war” and “Es gibt ein Reich”
 LE CID: “Plus de tourments et plus de peine” [1945]
 LA FORZA DEL DESTINO: from Act II, Leonora’s aria “Madre, pietosa Vergine” [1944]
 LA GIOCONDA: from Act IV, the famous aria “Suicidio!” [1947]
 LA JUIVE: “Il va venir!” [1945]
 LOUISE: “Depuis le jour”
 DIE TOTE STADT: two different performances of Marietta’s Lute Song (“Glück, das mir verblieb”), sung in English
 TRISTAN UND ISOLDE: the Liebestod (“Mild und leise”) from Act III
 five lovely songs: “The Hills of Home,” “The Star,” “Let My Song Fill Your Heart,” “When I Have Sung My Songs” and “Songs about Singing”


Eileen FARRELL #2
all conducted by Leonard Bernstein

 GÖTTERDÄMMERUNG: the 13-minute dawn duet (“Zu neuen Taten, teurer Helde!”) from the Prologue, with Mr. Thomas as Siegfried [1970]
 TRISTAN UND ISOLDE: the 28-minute love duet from Act II, with tenor Jess Thomas and mezzo Joanna Simon [1969]
 DIE WALKÜRE: the last 27 minutes of Act I, beginning with Siegmund’s solo (“Ein Schwert verhieß mir der Vater”); the tenor is James King [1968]


Eileen FARRELL #3

 ARIADNE AUF NAXOS: the opera’s long final scene, sung in English, with Jon Crain, Mattiwilda Dobbs et al. [1958]
 CAVALLERIA RUSTICANA: the Easter Prayer, Santuzza’s aria (“Voi lo sapete”) and duet with Alfio (“Turiddu mi tolse l’onore”), with Lili Chookasian and Cesare Bardelli [1964]
 LA GIOCONDA: two duets — Act II’s Gioconda-Laura confrontation (“L’amo come il fulgor del creato,” with Nell Rankin) and Act IV’s finale, Gioconda vs. Barnaba (“Vo’ farmi più gaia,” with Robert Merrill) [1962]
 MEDEA: another long finale, including Medea’s accompagnato (“Numi, venite a me, inferni Dei!”), aria (“Del fiero duol”) and final monologue (“E che? Io son Medea!”), with James McCracken and Martha Lipton [1955]
 OTELLO (Rossini): the Act I Desdemona-Emilia duet (“Vorrei che il tuo pensiero”) and two Act II excerpts — Desdemona’s bravura aria (“L’error d’un’infelice”) and a concertato (“Incerta l’anima vacilla e geme”), with Miss Lipton, Chester Watson, Loren Driscoll and Thomas Hayward [1957]


Eileen FARRELL #4

 CAVALLERIA RUSTICANA: the Santuzza-Turiddu confrontation (“Tu qui, Santuzza?”), with Richard Tucker and Mildred Miller [1964]
 COMPANY: the hilarious trio “You Could Drive a Person Crazy,” delivered with gusto by Miss Farrell, Carol Burnett and Marilyn Horne [1971]
 OTELLO (Rossini): Desdemona’s gorgeous Act III scena, including the Willow Song (“Assisa a’ piè d’un salice”) and final confrontation with Otello (“Non arrestare il colpo”), with Martha Lipton, Giuseppe Baratti and Thomas Hayward [1957]
 TRISTAN UND ISOLDE: the first 40 minutes of Act II, including Isolde’s solo (“Dein Werk, o tör’ge Maid?”) and the famous love duet (“Oh, sink hernieder”), with Nell Rankin, James King and John Davies [1972]


Brigitte FASSBAENDER #1

 AIDA: Amneris’ two big duets — with Aida (Act II’s “Fu la sorte dell’armi”) and Radamès (Act IV’s “Già i sacerdoti adunansi”) — and the 11-minute Judgment Scene (“Ohimè! Morir mi sento!”), with Anna Tomowa-Sintow, Plácido Domingo and Robert Lloyd, conducted by Riccardo Muti [1979]
 COSÌ FAN TUTTE: the sisters’ entrance duet (“Ah, guarda, sorella”), with Dame Margaret Price, conducted by Wolfgang Sawallisch [1978]
 LULU: the searing 12-minute finale, including Geschwitz’s gorgeous solo “Lulu, mein Engel!,” with Hans Hotter, Julia Migenes and Theo Adam, conducted by Lorin Maazel [1983]
 DER ROSENKAVALIER: the 11-minute scene between Ochs and Annina that closes Act II (“Da lieg’ ich!”), with Kurt Böhme [1965], and the opera’s 19-minute finale, including the famous Trio (“Hab’ mir’s gelobt”) and final duet (“Ist ein Traum”), with Barbara Bonney, Judith Beckmann and Benno Kusche [1984]


Renée FLEMING #1

 Mozart’s great showpiece EXSULTATE, JUBILATE, conducted by Kurt Masur [1997]
 LUCREZIA BORGIA: the aria “Com’è bello!” from the Prologue [1998]
 IL PIRATA: the aria “Lo sognai ferito, esanime” from Act I [2003]
 RODELINDA: the aria “Spietati, io vi giurai,” conducted by Harry Bicket [2005]
 SIMON BOCCANEGRA: the duet “Orfanella il tetto umile” from Act I (with Alexandru Agache, conducted by Bernard Haitink) [1995]
 LA SONNAMBULA: the aria “Come per me sereno” from Act I [1991]
 IL VIAGGIO A REIMS: the aria “Partir, o ciel! desio” from Act I [1992]
 DIE ZAUBERFLÖTE: Pamina’s big scene with the Boys (“Bald prangt, den Morgen zu verkünden”) from Act II [1993]


Renée FLEMING #2

 ARABELLA: the eponymous heroine’s Act I monologue (“Mein Elemer!”), with Barbara Bonney [2001]
 COSÌ FAN TUTTE: the farewell trio (“Soave sia il vento”), with Susan Graham and Thomas Hampson [2006]
 FAUST: the last 16 minutes of Act III, a long love duet (“Laisse-moi contempler ton visage”), and the 13-minute final scene, including the celebrated trio (“Alerte, alerte!”), with Samuel Ramey and Richard Leech [1996]
 MY FAIR LADY: two different performances of “I Could Have Danced All Night” [1997 and 2006]
 RODELINDA: the gorgeous duet with Bertarido (“Io t’abbraccio”), with David Daniels, conducted by Harry Bicket [2005]
 IL TROVATORE: Leonora’s Act I aria (“Tacea la notte placida”) [2006]
 the old favorite “WHEN I HAVE SUNG MY SONGS” [2006]
 DIE ZAUBERFLÖTE: the Pamina-Papageno duet (“Bei Männern, welche Liebe fühlen”), the 11-minute Act I finale (beginning at “Schnelle Füße, rascher Mut”) and the Act II trio (“Soll ich dich, Teurer, nicht mehr seh’n?”), with Manfred Hemm, Heinz Zednik, Matthias Hölle and Deon van der Walt [1993]


Renée FLEMING #3

 ARABELLA: the heroine’s Act II duet (“Und du wirst mein Gebieter sein”) and Act III monologue (“Das war sehr gut, Mandryka!”), both with Hans-Joachim Ketelsen [2001]
 THE BOYS FROM SYRACUSE: the showstopping Act II trio (“Sing for Your Supper”), with Frederica von Stade and Marilyn Horne [1997]
 FAUST: Marguerite’s principal contributions to Act IV, the rare spinning aria (“Il ne revient pas!”) and the searing Church Scene (“Seigneur, daignez permettre”), the latter with Samuel Ramey [1996]
 Barber’s glorious concert aria KNOXVILLE: SUMMER OF 1915 [1998]
 LUCREZIA BORGIA: the stunning aria finale (“Era dessa il figlio mio”), with a cadenza sailing up to F above high C! [2000]
 LE NOZZE DI FIGARO: the Act II trio (“Susanna, or via! sortite!”), the Act III letter duet (“Che soave zeffiretto”) and the Act IV finale (“Contessa, perdono”), with Håkan Hagegård, Elizabeth Futral, Bryn Terfel, Ryland Davies, Wilbur Pauley, Dale Travis, Susan Graham, Catherine Cook and Robin Blitch Wiper [1998]
 1600 PENNSYLVANIA AVENUE: the beautiful song “Take Care of This House” [2001]


Renée FLEMING #4

 FAUST: the opera’s final scene (including the famous trio “Alerte, alerte!”), with Richard Leech and Samuel Ramey [1996]
 LUCREZIA BORGIA: from the Prologue, the Lucrezia-Gennaro duet (“Di pescatore ignobile”) and the ensuing concertato (“Maffio Orsini, signora, son io”), with Marcello Giordani, Sonia Ganassi, Carlo Bosi, Orfeo Zanetti, Roberto Accurso and Marco Camastra [1998]
 DER ROSENKAVALIER: the Act I love duet for Octavian and the Marschallin (“Wie du warst! Wie du bist!”), with Susanne Mentzer [1995]
 LA TRAVIATA: the famous Act II interview between Violetta and Germont père (including the beautiful duet “Dite alla giovine”), with Diane Elias, Marty Singleton and Dmitri Hvorostovsky, conducted by Valery Gergiev [2004]
 THE WIZARD OF OZ: Dorothy’s beloved “Over the Rainbow”
 DIE ZAUBERFLÖTE: Pamina’s Act II aria (“Ach, ich fühl’s”) [1993]


Renée FLEMING #5

 LUCREZIA BORGIA: the long final scene of Act I, including the Lucrezia-Alfonso duet (“Don Alfonso, favore ben lieve“) and ensuing trio (“Guai se ti sfugge un moto”), with Michele Pertusi and Marcello Giordani [1998]
 OTELLO: the Act II quartet (“D’un uom che geme”) and Act III’s confrontation (“Dio ti giocondi, o sposo”) and concertato finale (“A terra, sì: nel livido fango”), with Ben Heppner, Lucio Gallo, Michelle Wrighte, Scott Ramsay, Jonas Kaufmann and Dean Peterson [2001]
 RODELINDA: the eponymous heroine’s two Act III arias (“Se il mio duol non è si forte” and “Mio caro bene!”) [2005]
 LA STRANIERA: the 19-minute Act I Alaide-Arturo duet (“Sventurato il cor che fida”), with Gregory Kunde [1993]


Mirella FRENI #1

 BEATRICE DI TENDA: the aria finale (“Deh, se un’urna”/“Ah, la morte a cui m’appresso”) [1976]
 LA CECCHINA: from Act I, the aria “Una povera ragazza” [1970]
 Mozart’s “CH’IO MI SCORDI DI TE?,” KV 505 [1970]
 LA GRISELDA: the aria “Finirà barbara sorte,” from Act II [1970]
 MANON: the Saint-Sulpice duet (“N’est-ce plus ma main?”), sung in Italian, with Luciano Pavarotti [1969]
 LE NOZZE DI FIGARO: the Countess’ entrance aria (“Porgi, Amor”) from Act II, conducted by Claudio Abbado [1974]
 I PURITANI DI SCOZIA: the Elvira-Walton duet (“Sai com’arde in petto mio”) from Act I, conducted by the young Riccardo Muti, with bass Bonaldo Giaiotti [1969]
 VIER LETZTE LIEDER (FOUR LAST SONGS), sung in the original German! [1973]


Barbara FRITTOLI #1

 LA CLEMENZA DI TITO: Vitellia’s Act I aria “Deh, se piacer mi vuoi” and trio (“Vengo, aspettate,” with Brindley Sherratt and Vesselina Kasarova) [2002]
 DON GIOVANNI: four of Elvira’s numbers — three arias (“Ah, chi mi dice mai,” “Ah, fuggi il traditor!” and “Mi tradì”) and the Act I quartet “Non ti fidar, o misera” (with Erwin Schrott, Mariella Devia and Giuseppe Filianoti) [2005]
 MARIA STUARDA: the heroine’s entrance aria (“O nube che lieve”) and the duet with Leicester (“Da tutti abbandonata,” with tenor Paul Charles Clarke) [2002]
 OTELLO: the two big duets (“Già nella notte densa” and “Dio ti giocondi, o sposo,” both with Ben Heppner) and the Act III concertato finale (“A terra, sì: nel livido fango”) [2005]


Nicolai GEDDA #1

 UN BALLO IN MASCHERA: Riccardo’s three arias: “La rivedrà nell’estasi,” “Di’ tu se fedele” and “Ma se m’è forza perderti” [1975]
 LES HUGUENOTS: from Act II, the long duet for Raoul de Nangis and Marguerite de Valois (“Beauté divine, enchanteresse,” with Rita Shane) [1971]
 THE LAST SAVAGE: the aria “No, it is better not to ask” [1964]
 ORFEO ED EURIDICE (Haydn): “Cara speme, alme di scoglio” and “In un mar d’acerbe pene” [1967]
 PELLÉAS ET MÉLISANDE: the long scene for the lovers that concludes Act IV (“C’est le dernier soir,” with Anna Moffo) [1962]
 LES TROYENS: from Act V, Énée’s aria “Inutiles regrets!” [1969]
 I VESPRI SICILIANI: Arrigo’s two solos — Act IV’s scena “Giorno di pianto” and Act V’s serenade “La brezza aleggia intorno” (the latter featuring Montserrat Caballé — and Mr. Gedda’s remarkable high D), conducted by James Levine [1974]


Nicolai GEDDA #2

 UN BALLO IN MASCHERA: the love duet from Act II (“Teco io sto!,” with Ljiljana Molnar-Talajic) [1975]
 BENVENUTO CELLINI: Cellini’s “La gloire était ma seule idole” (from Act I) [1966]
 CARMEN: the Micaëla-José duet (“Parle-moi de ma mère!”) from Act I, with Hilde Güden, also conducted by Karajan [1954]
 LES CONTES D’HOFFMANN: Hoffmann’s “Kleinzach” aria from the Prologue [1959]
 LA DAMNATION DE FAUST: Faust’s “Nature immense, impénétrable et fière” (from Part IV) [1969]
 L’ELISIR D’AMORE: Nemorino’s famous aria (“Una furtiva lagrima”) from Act II [1983]
 LES HUGUENOTS: Raoul’s virtuoso turn (“Plus blanche que la blanche hermine”) from Act I [1971]
 LUCIA DI LAMMERMOOR: the love duet from Act I (“Sulla tomba,” with Beverly Sills) [1977]
 OEDIPUS REX: most of Oedipus’ music — “Liberi, vos liberabo,” “Non reperias vetus scelus,” “Invidia fortunam odit” and “Natus sum quo nefastum est,” conducted by Herbert von Karajan [1952]
 ROMÉO ET JULIETTE: an abridged version of the final scene (“Salut, tombeau sombre et silencieux!”), with Roberta Peters [1963]
 DIE ZAUBERFLÖTE: Tamino’s Act I aria (“Dies Bildnis ist bezaubernd schön”), sung in English [1958]


Nicolai GEDDA #3

 THE BARTERED BRIDE: four excerpts, all sung in English, and all conducted by James Levine, including both Marenka-Jeník duets (with Teresa Stratas) and Act II’s Jeník-Kecal duet (with Martti Talvela) and aria [1978]
 MANON: the Saint-Sulpice duet (“N’est-ce plus ma main?”), with Anna Moffo, conducted by Thomas Schippers [1963]
 MASS IN B MINOR (Bach): the soprano-tenor duet (“Domine Deus,” with Leontyne Price) and the tenor aria (“Benedictus qui venit”), conducted by Herbert von Karajan [1961]
 Berlioz’s gorgeous LES NUITS D’ETE


Marcello GIORDANI #1

 ADRIANA LECOUVREUR: Maurizio’s first appearance, including the aria “La dolcissima effigie,” with Aprile Millo [2002]
 L’ARLESIANA: Federico’s lament (“È la solita storia del pastore”) from Act I [2001]
 LA BOHÈME: the Rodolfo-Marcello duet (“O Mimì, tu più non torni”) that opens Act IV, with Dwayne Croft [1997]
 CARMEN: the Flower Song (“La fleur que tu m’avais jetée”) from Act II [2001]
 FAUST: the big duet (“À moi les plaisirs”) that closes Act I, with Paul Plishka [1991]
 LA FILLE DU RÉGIMENT: Tonio’s aria (“Ah, mes amis”) from Act I, complete with nine high Cs [1996]
 LES HUGUENOTS: Raoul’s aria (“Plus blanche que la blanche hermine”) from Act I [2001]
 LES PÊCHEURS DE PERLES: the famous duet (“Au fond du temple saint”) from Act I, with Haijing Fu [1991]
 IL PIRATA: another long Bellini duet with Miss Fleming: “Tu sciagurato! Ah, fuggi!,” from Act I [2003]
 I PURITANI DI SCOZIA: the Arturo-Elvira duet (“Nel mirarti un solo istante”) from Act III, with Renée Fleming [1991]
 TOSCA: the long duet (“O dolci mani”) from Act III, with Deborah Voigt [2001]


Christine GOERKE #1

 COSÌ FAN TUTTE: both of Fiordiligi’s arias (“Come scoglio” and “Per pietà”), both duets with Dorabella (“Ah, guarda, sorella” and “Prenderò quel brunettino”), the Act I farewell trio (“Soave sia il vento”) and the Act II duet with Ferrando (“Fra gli amplessi”), with Joyce di Donato, Alfonso Antoniozzi and Richard Croft [2001]
 DON GIOVANNI: Elvira’s four arias — “Ah, chi mi dice mai,” “Ah, fuggi il traditor!,” “Ah, taci, ingiusto core!” and “Mi tradì” — with René Pape, Thomas Hampson and Hei-Kyung Hong, conducted by James Levine [2004]
 IPHIGÉNIE EN TAURIDE: the eponymous heroine’s four arias (“Ô toi qui prolongeas mes jours,” “Ô malheureuse Iphigénie!,” “D’une image, hélas! trop chérie” and “Je t’implore et je tremble”), plus a trio (“Je pourrai du tyran”), with Nathan Gunn and William Burden [1997]
 I VESPRI SICILIANI: Elena’s Act I aria (“In alto mare”) [2002]


Rita GORR #1

 UN BALLO IN MASCHERA: Ulrica’s three major numbers (the aria “Re dell’abisso, affrettati!,” the trio “Che v’agita così?” and the quintet “È scherzo od’è follia”) from Act I, with Carlo Cossutta, Rita Orlandi Malaspina, Michael Langdon, Elizabeth Harwood and Anthony Raffell [1969]
 GÖTTERDÄMMERUNG: Brünnhilde’s Immolation (“Starke Scheite schichtet mir dort”) from Act III [1962]
 ORPHÉE ET EURYDICE: the hero’s lament (“J’ai perdu mon Eurydice!”) from Act III [1960]
 PADMÂVATÎ: three beautiful solos (“Il est trop tard,” “Siva, laisse ma voix se joindre” and “Ô mes sœurs fidèles”) [1969]
 PARSIFAL: from the latter half of Act II, Kundry’s three big solos: “Ich sah das Kind,” “Grausamer! Fühlst du im Herzen” and the searing “So war es mein Kuß,” with Sándor Kónya and Georg Stern [1960]
 TRISTAN UND ISOLDE: the famous Liebestod (“Mild und leise”) from Act III [1960]
 LES TROYENS: Didon’s farewell (“Adieu, fière cité”) from Act V [1960]


Susan GRAHAM #1

 AN AMERICAN TRAGEDY: Sondra’s Act I aria (“New York has changed me”), with Jennifer Aylmer, conducted by James Conlon [2005]
 ARIADNE AUF NAXOS: much of the Composer’s music from the Prologue, including his improvised melody (“Du allmächtiger Gott!”), the duet with Zerbinetta (“Ein Augenblick ist wenig”) and the famous aria (“Musik ist eine heilige Kunst”); colleagues include Laura Aikin, Victor Braun and Deborah Voigt [1998]
 LA CLEMENZA DI TITO: from a gala, Sesto’s Act I aria “Parto, parto” [2006]
 LA DAMNATION DE FAUST: the duet (“Ange adoré”) and trio (“Allons, il est trop tard!”) that close Part III, with Jonas Kaufmann and José van Dam [2002]
 IPHIGÉNIE EN TAURIDE: the eponymous heroine’s four big arias (“Ô toi qui prolongeas mes jours,” “Ô malheureuse Iphigénie!,” “D’une image, hélas! trop chérie” and “Je t’implore et je tremble”) [2000]
 DIE LUSTIGE WITWE: sung in English, Hanna’s Act I entrance (“Bitte, meine Herr’n! Welche Galantrie’n!”), Act II’s Vilja-Lied, and the famous Act III duet with Danilo (“Lippen schweigen,” with Boje Skovhus) [2004]
 Moore’s “The Audience Song” [2006]


Denyce GRAVES #1

 ADRIANA LECOUVREUR: famous aria “Acerba voluttà,” from Act II [1991]
 CARMEN: the famous Habañera (“L’amour est un oiseau rebelle”) and the Act II finale (“Bel officier, bel officier”), with colleagues including Richard Bernstein and Sergei Larin [1995]
 LUISA MILLER: the Act I duet for Federica and Rodolfo (“Dall’aule raggianti di vano splendor,” with Neil Shicoff) and the Act II concertato (“Come celar le smanie,” with Hao Jiang Tian, Barbara Frittoli and Phillip Ens) [2002]
 SHOW BOAT: Julie’s song (“Can’t Help Lovin’ Dat Man”) from Act I, which Miss Graves ends with an astonishing descent nearly an octave below middle C! [2006]
 IL TROVATORE: nearly all of Azucena’s music, including her Act II arias (“Stride la vampa!” and “Condotta ell’era in ceppi”), both duets with Manrico (Act II’s “Mal raggendo” and Act IV’s “Ai nostri monti”) and the finale of Act III, Scene 1 (“Giorni poveri vivea”), with colleagues Mikhail Davidoff, Donald Schramm, Tim Augustin, Wolfgang Brendel, Mikhail Kazakov and Krassimira Stoyanova [2004]
 the defiant song “WE SHALL OVERCOME” [1991]


Reri GRIST #1

 IL BARBIERE DI SIVIGLIA: Rosina’s entrance aria (“Una voce poco fa”) from Act I, sung in German, conducted by Karl Böhm [1966]
 LES CONTES D’HOFFMANN: Olympia’s Doll Song (“Les oiseaux dans la charmille”) from Act I [1970]
 DON PASQUALE: Norina’s entrance aria (“Quel guardo il cavaliere”/“So anch’io la virtù magica”) from Act I [1970]
 FAURÉ REQUIEM: the lovely “Pie Jesu” [1962]
 LA FILLE DU RÉGIMENT: Marie’s long scena (“Par le rang et par l’opulence”/“Salut à la France!”) from Act II, sung in Italian [1978]
 three Mozart concert arias: “Mia speranza adorata!” (KV 416) [1967], “Vorrei spiegarvi, o Dio!” (KV 418) [1965] and “No, che non sei capace” (KV 419) [1969]
 IL RE PASTORE: Aminta’s aria (“L’amerò, sarò costante”) from Act II [1969]
 DER ROSENKAVALIER: the first 17 minutes of Act II, encompassing the famous Presentation of the Rose; Dame Gwyneth Jones is Octavian, and Leonard Bernstein conducts [1968]
 Strauss’ virtuosic song “Amor,” a mini-Zerbinetta solo [1974]
 DIE ZAUBERFLÖTE: the Papageno-Papagena duet from Act II, with Hermann Prey, conducted by Herbert von Karajan [1974]


Reri GRIST #2

 IL BARBIERE DI SIVIGLIA: Rosina’s Act I duet with Figaro (“Dunque io son?”) and Act II lesson scene with Almaviva (“Contro un cor”), sung in German, with Eberhard Wächter and Fritz Wunderlich, conducted by Karl Böhm [1966]
 LES CONTES D’HOFFMANN: the Act I finale (“Voici les valseurs!”), including Olympia’s virtuosic ascent to a trilled high D, with Paul Franke, Andrea Velis, Nicolai Gedda, Frederica von Stade and Gabriel Bacquier [1970]
 COSI FAN TUTTE: both of Despina’s arias (Act I’s “In uomini, in soldati” and Act II’s “Una donna a quindici anni”), conducted by Wolfgang Sawallisch [1978]
 DON PASQUALE: Norina’s duets with Malatesta (Act I’s “Pronta io son!,” with Tom Krause) and Ernesto (Act III’s “Tornami a dir,” with Alfredo Kraus) [1970]
 LA FILLE DU RÉGIMENT: Marie’s hilarious Act II Lesson Scene (“Le jour naissait dans le bocage”), with Anna di Stasio and Wladimiro Ganzarolli, sung in Italian [1978]
 SIEGFRIED: the hero’s three Act II encounters with the Forest Bird, with Jess Thomas, conducted by Herbert von Karajan [1969]
 DIE SCHWEIGSAME FRAU: the last 17 minutes of Act II, including the Aminta-Morosus interview (“Du bist so still und scheinst bedrückt?”) and the lyrical love music with Henry (“Du süßester Engel!”), with Kurt Böhme and Donald Grobe, conducted by Wolfgang Sawallisch [1971]
 four Strauss songs (“Ständchen,” “Ich wollt’ ein Sträußlein binden,” “Als mir dein Lied erklang” and “Einerlei”) [1974]


Edita GRUBEROVÁ #1

 ARABELLA: Fiakermilli’s dazzling entrance solo (“Die Wiener Herrn versteh’n sich auf die Astronomie”) from Act II [1976]
 DIE ÄGYPTISCHE HELENA: one of her early-career cameo rôles: Hermione, who sings one (beautiful!) line at the close of the opera; also heard here are Mimi Coertse (Aithra), Jess Thomas (Menelas) and Dame Gwyneth Jones (Helena) [1970]
 EIN DEUTSCHES REQUIEM: the fifth movement, a glorious soprano solo (“Ihr habt nun Traurigkeit”) with choral accompaniment, conducted by Nikolaus Harnoncourt [1988]
 JENŮFA: a third cameo rôle in its entirety (sung in German): the shepherd boy Jano, whose appearances in Acts I and III are both here; also heard are Sena Jurinac (Jenůfa), Hilde Rößl-Majdan (Burya), William Cochran (Laca), Astrid Varnay (Kostelnicka) and Jean Cox (Steva) [1972]
 MEDEA: another cameo rôle in its entirety: Maid #1 in the opening number; also heard here are Laurence Dutoit (Maid #2) and Lucia Popp (Glauce) [1972]
 MANON: “Voyons, Manon, plus de chimères,” “Adieu, notre petite table” and “Obéissons, quand leur voix appelle” (the famous Gavotte) [1985]
 DIE SCHWEIGSAME FRAU: over a half-hour of music from Act II; Miss Gruberová has said more than once that Aminta is even more fiendish a part than Zerbinetta! [1976]


Edita GRUBEROVÁ #2

 IL BARBIERE DI SIVIGLIA: both of Rosina’s arias (Act I’s “Una voce poco fa” and Act II’s “Contro un cor”), the latter with Juan Diego Flórez [1997]
 LINDA DI CHAMOUNIX: the heroine’s entrance aria (“O luce di quest'anima”), two duets with her beloved (“Da quel dì che l'incontrai” and “Ah, dimmi, io t'amo!”) and mad scene (“Ah, che il ciel vi benedica”), with Don Bernardini, Ettore Kim and Monika Groop [1993]
 I PURITANI DI SCOZIA: Elvira’s two arias (Act I’s “Son vergin vezzosa” and Act II’s “Qui la voce”), plus her Act III duet with Arturo (“Nel mirarti un solo istante”), with Francisco Araiza, Harald Stamm and Giorgio Zancanaro [1987]


Edita GRUBEROVÁ #3

 two Mozart concert arias — “Misera, dove son?,” KV 369 and “Ah, se in ciel, benigne stelle,” KV 538 — as sung in a Vienna concert conducted by Riccardo Muti [1983]
 DER SCHAUSPIELDIREKTOR: all of Mme Herz’s music (her aria “Da schlägt die Abschiedsstunde,” the duet “Ich bin die erste Sängerin!” and the quartet finale “Jeder Künstler strebt nach Ehre”), with Krisztina Láki, Thomas Moser and István Gáti [1976]
 LA SONNAMBULA: both of Amina’s Act I duets with Elvino (“Prendi: l'anel ti dono” and “Son geloso del zefiro errante”) and both of her great arias (Act I’s Come per me sereno” and Act II’s “Ah, non credea mirarti”/“Ah, non giunge”), with José Bros, Andreas Mogl, Gloria Banditelli, Tim Hennis and Roberto Scandiuzzi [1998]


Elisabeth GRÜMMER #1

 GÖTTERDÄMMERUNG: Gutrune’s big scene from Act III (“War das sein Horn?”), with Josef Greindl, Otto Wiener and Astrid Varnay [1958]
 LE NOZZE DI FIGARO: both of the Countess’ arias (Act II’s “Porgi, Amor” and Act III’s “Dove sono”), plus the Act III letter duet (“Che soave zeffiretto,” with Erika Köth) [1963]
 DER ROSENKAVALIER: the last 25 minutes of Act I, including the Marschallin’s monologue (“Da geht er hin”) and the long ensuing scene with Octavian (Kerstin Meyer) [1959]
 STABAT MATER (Rossini): the searing solo with chorus (“Inflammatus et accensus”) [1953]
 DIE ZAUBERFLÖTE: four of Pamina’s numbers — the Act I duet with Papageno (“Bei Männern, welche Liebe fühlen”) and Act II’s aria (“Ach, ich fühl’s”), scene with the three boys (“Bald prangt, den Morgen zu verkünden”) and long duet with Tamino (“Tamino mein! Oh, welch’ ein Glück!”), with Günther Ambrosius, Ernst Kozub, Wilhelm Ernest and Little Walter, conducted by Sir Georg Solti [1955]


Elisabeth GRÜMMER #2

 CARMEN: nearly all of Micaëla’s music, sung in German, including the Act I duet with José (“Parle-moi de ma mère!”) and the Act III aria (“Je dis que rien ne m’épouvante”) and finale (“Là-bas est la chaumière”), with Rudolf Schock, Heinz-Maria Lins, Karl Ostertag, Georgine von Milinkovic, Hanna Scholl and Hanna Kitzinger [1954]
 DON GIOVANNI: the Act I duet for Anna and Ottavio (“Fuggi, crudele, fuggi!”), plus both of Anna’s arias (Act I’s “Or sai chi l’onore” and Act II’s “Non mi dir”), with Léopold Simoneau [1956]
 IDOMENEO, RE DI CRETA: Elettra’s three fiendish arias (Act I’s “Tutte nel cor vi sento,” Act II’s “Idol mio” and Act III’s “D’Oreste, d’Aiace”), conducted by Ferenc Fricsay [1961]
 DER ROSENKAVALIER: the opera’s final 19 minutes, including the famous trio (“Hab’ mir’s gelobt”) and Sophie-Octavian duet (“Ist ein Traum”), with Erika Köth and Kerstin Meyer [1959]


Hilde GÜDEN #1

 ARIADNE AUF NAXOS: two long excerpts — Zerbinetta’s duet with the Composer (“Ein Augenblick ist wenig,” with the great Irmgard Seefried) and the famous, fiendish aria (“Großmächtige Prinzessin”), conducted by Karl Böhm [1954]
 CARMEN: Micaëla’s contributions to Act III — her aria (“Je dis que rien ne m’épouvante”) and her final plea to José (“Là-bas est la chaumière”); colleagues include Giulietta Simionato, Nicolai Gedda, Graziella Sciutti, Luisa Ribacchi, Mario Carlin, Gino del Signore and Michel Roux; the conductor is Herbert von Karajan [1954]
 DON GIOVANNI: Elvira’s four arias — “Ah, chi mi dice mai,” “Ah, fuggi il traditor!,” “Ah, taci, ingiusto core!” and “Mi tradì,” with Eberhard Wächter and Walter Berry; Maestro Karajan conducts [1963]
 THE RAKE’S PROGRESS: the prayer and cabaletta (“O God, protect dear Tom”/“I go to him”) of Anne Trulove’s aria, which closes Act I; the conductor is Fritz Reiner [1953]
 IL RE PASTORE: Aminta’s famous aria (“L’amerò, sarò costante”) [1963]
 DIE SCHWEIGSAME FRAU: the last 20 minutes of Act II, including Aminta’s first explosion before Morosus (“RUHE hab’ ich dir gesagt!”) and her lyrical duet with Henry (“Du süßester Engel!”); joining her are Hans Hotter and Fritz Wunderlich, with Maestro Böhm in the pit [1959]


Nathan GUNN #1

 AN AMERICAN TRAGEDY: Clyde’s two arias — Act I’s hopeful “A motor car! There he goes!” and Act II’s grim “It will not take too long” [2005]
 IL BARBIERE DI SIVIGLIA: Figaro’s first two numbers (“Largo al factotum” and “All’idea di quel metallo”) from Act I, with John Osborn [1998]
 BILLY BUDD: three of the hero’s scenes — his first interview (with Samuel Ramey as Claggart), the ensuing duets with the Novice (John McVeigh) and Dansker (Kevin Langan), and his long, lyrical scene in the stocks (“Look! Through the port comes”) [2001]
 COSÌ FAN TUTTE: three of Guglielmo’s numbers (“Non siate ritrosi,” “Il core vi dono” and “Donne mie, la fate a tanti”), with Richard Croft, Alfonso Antoniozzi and Joyce di Donato [2001]
 IPHIGÉNIE EN TAURIDE: two sequences, one from Act II (“Dieux, protecteurs de ces affreux rivages”/“Je pourrai du tyran”) and another from Act III (“Et tu pretends encore”), with Christine Goerke and William Burden [1997]


Heather HARPER #1

 FAUST: Marguerite’s Act III Ballad (“Il était un roi de Thulé”) and Jewel Song (“Ah, je ris”), plus the glorious love duet (“Il se fait tard! Adieu!”); from Act IV, the rarely programmed Spinning Song (“Il ne revient pas!”) and the famous Church Scene (“Seigneur, daignez permettre”), with Nicolai Gedda and Nicolai Ghiaurov [1971]
 WERTHER: Charlotte’s two solos from Act III (“Werther! Qui m’aurait dit la place” and “Va: laisse couler mes larmes”), and all of Act IV, with Ronald Hedlund and Giacomo Aragall [1975]


Heather HARPER #2

 REQUIEM IN D MINOR (Mozart): most of the soloists’ music (“Tuba mirum,” “Recordare” and “Benedictus”), conducted by Sir Benjamin Britten, with John Shirley-Quirk, Sir Peter Pears and Alfreda Hodgson [1971]
 Strauss’ gorgeous VIER LETZTE LIEDER (FOUR LAST SONGS) [1981]
 WAR REQUIEM: all the soprano soloist’s music (“Liber scriptus,” “Lacrimosa,” “Sanctus” and “Libera me”), as heard at the work’s world premiere, with Sir Peter and Dietrich Fischer-Dieskau [1962]


Elizabeth HARWOOD #1

Unless noted otherwise, everything is sung in English translation.

 AMADIGI DI GAULA: the aria “Gioie, venite in sen’,” sung in Italian [1971]
 ARIADNE AUF NAXOS: the original — longer, higher and even more difficult — version of Zerbinetta’s aria (“Großmächtige Prinzessin”), sung in German [1968]
 LE COMTE ORY: the virtuoso aria “Une lente souffrance” [1963]
 LES CONTES D’HOFFMANN: the Doll Song (“Les oiseaux dans la charmille”) from Act I [1971]
 COSÌ FAN TUTTE: Fiordiligi’s aria (“Come scoglio”) from Act I [1969]
 FIDELIO: Marzelline’s aria (“Oh, wär’ ich schon mit dir vereint”), sung in German [1971]
 LUCIA DI LAMMERMOOR: from Act I, the heroine’s entrance aria (“Regnava nel silenzio”), sung in Italian [1968]
 MANON: from Act I, the heroine’s entrance aria (“Je suis encor tout étourdie”) [1974]
 DER ROSENKAVALIER: the Presentation of the Silver Rose (“Mir ist die Ehre widerfahren”) from Act II (with Dame Janet Baker) [1971]
 LA TRAVIATA: Violetta’s aria (“Addio, del passato”) from Act III [1973]


Elizabeth HARWOOD #2

 ACIS AND GALATEA: the heroine’s second aria (“As when the dove”) from Act I [1968]
 ARABELLA: Fiakermilli’s entrance and cadenza (“Die Wiener Herrn versteh’n sich auf die Astronomie”) from Act II [1967]
 UN BALLO IN MASCHERA: Oscar’s first major solo (“Volta la terrea”) and the ensuing finaletto (“Ogni cura si doni al diletto”) of Act I, Scene 1, with Carlo Cossutta, Delme Bryn-Jones, Michael Langdon and Anthony Raffell [1969]
 BENVENUTO CELLINI: Teresa’s aria (“Ah, que l’amour une fois dans le cœur”) from Act I [1976]
 Mozart’s glorious concert aria “CH’IO MI SCORDI DI TE?,” KV 505 [1971]
 LES CONTES D’HOFFMANN: the great trio (“Tu ne chanteras plus?”) from Act II, sung in English, with Sir Geraint Evans, Margaret Lensky, John Lorenson and Michael Molese [1971]
 COSÌ FAN TUTTE: Fiordiligi’s long rondo (“Per pietà”) from Act II, sung in English [1969]
 L’ELISIR D’AMORE: Adina’s aria (“Prendi: per me sei libero”) from Act II, with Luciano Pavarotti [1965]
 DIE ENTFÜHRUNG AUS DEM SERAIL: Konstanze’s lament (“Traurigkeit ward mir zum Lose”) from Act II [1975]
 LEONORE: from Act II, the Leonore-Marzelline duet (“Um in der Ehe froh zu leben”), with Berit Lindholm [1969]
 LE NOZZE DI FIGARO: Susanna’s aria (“Deh, vieni: non tardar”) from Act IV, sung in English [1965]


Ben HEPPNER #1

 IDOMENEO, RE DI CRETA: four major solos (“Vedrommi intorno,” “Fuor del mar,” “Accogli, o re del mar” and “Popoli, a voi l’ultima legge”), plus the quartet “Andrò ramingo e solo”; his colleagues are Susanne Mentzer, Carol Vaness and Dawn Upshaw, conducted by James Levine [1991]
 OTELLO: four major solos (“Esultate!,” “Ora e per sempre addio,” “Dio, mi potevi scagliar” and “Niun mi tema”), the two big duets with Desdemona (“Già nella notte densa” and “Dio ti giocondi, o sposo”) and the vengeance duet with Jago (“Sì, pel ciel”); his colleagues include Barbara Frittoli and Frederick Burchinal, conducted by Maestro Levine [2005]
 LES TROYENS: Énée’s great aria (“Ah, quand viendra l’instant”) from Act V, yet again conducted by Maestro Levine [2003]
 TURANDOT: a bonus curiosity item: the Prince of Persia’s offstage cry in Act I, from an early-career turn [1983]


Ben HEPPNER and MARJANA LIPOVŠEK

 from a German radio concert, generous scenes from AIDA (“Celeste Aida” and all of the famous Judgment Scene, a.k.a. Act IV, Scene 1) and IL TROVATORE (the entire Azucena-Manrico interview from Act II, including her solos “Stride la vampa!” and “Condotta ell’era in ceppi”) [1994]
 ELEKTRA: from early in Mr. Heppner’s career, the brief scene for two servants (“Platz da!”), with Christopher Cameron [1983]
 GURRE-LIEDER: Miss Lipovšek’s searing rendition of the Wood-Dove’s solo (“Tauben von Gurre!”), conducted by Claudio Abbado [1992]
 DIE MEISTERSINGER VON NÜRNBERG: Walther’s glorious Prize Song (“Morgenlich leuchtend im rosigen Schein”) [2006]
 LES TROYENS A CARTHAGE: the last 10 minutes of Act V, Scene 1, including Énée’s encounter with the ghosts and painful farewell to Didon, with Julien Robbins, Dwayne Croft, Peter Volpe, Deborah Voigt and Lorraine Hunt Lieberson, conducted by James Levine [2003]



Jerome HINES #1

 IL BARBIERE DI SIVIGLIA: Basilio’s aria (“La calunnia è un venticello”) from Act I [1957]
 LA BOHÈME: Colline’s beloved aria (“Vecchia zimarra, senti”) from Act IV, conducted by Thomas Fulton [1983]
 DON CARLO: the scene (“Giustizia, Sire!”) and quartet (“Ah, sii maledetto, sospetto fatale”) from Act IV, with Martina Arroyo, Biserka Cvejic and Ettore Bastianini, conducted by Thomas Schippers [1965]
 FAUST: the Act IV Serenade (“Vous qui faites l’endormie”) and Act V trio finale (“Alerte! ou vous êtes perdus!”) [1963]
 LA FORZA DEL DESTINO: Act II’s long Convent Scene duet (“Or siam soli”) and Act IV’s trio finale (“Non imprecare, umiliati”), with Leontyne Price and Franco Corelli [1968]
 PELLÉAS ET MÉLISANDE: Act IV, Scene 2 (“Maintenant que le père de Pelléas est sauvé”), with Anna Moffo and George London, conducted by Ernest Ansermet [1962]
 DIE WALKÜRE: Wotan’s Farewell (“Leb’ wohl, du kühnes, herrliches Kind!”), conducted by Rudolf Kempe [1961]
 DIE ZAUBERFLÖTE: both of Sarastro’s arias (“O Isis und Osiris” and “In diesen heil’gen Hallen”) [1970]


Hei-Kyung HONG #1

 DON CARLOS: the Celestial Voice’s solo that concludes Act III [2001]
 DON GIOVANNI: “La ci darem la mano” (from Act I, with René Pape) [2001], and both of Zerlina’s arias (“Batti, batti” and “Vedrai, carino”) [2004]
 THE GHOSTS OF VERSAILLES a long quartet (“Now we go back in time”) from Act I, with Håkan Hagegård, Wendy White and Christine Goerke [1996]
 IDOMENEO, RE DI CRETA: Ilia’s three arias (“Padre, germani, addio!,” “Se il padre perdei” and “Zeffiretti lusinghieri”) and Act III duet with Idamante (“S’io non moro a quest’accenti,” with Anne Sofie von Otter) [2002]
 LOUISE: the aria “Depuis le jour,” from Act II [2001]
 RIGOLETTO: Gilda’s aria (“Caro nome”) from Act I [1990]
 ROMÉO ET JULIETTE: Juliette’s waltz (“Je veux vivre”) from Act I [1994]
 TURANDOT: Liù’s most important music, including her entrance (“Indietro, cani!”) and all three arias (“Signore, ascolta!,” “Tanto amore segreto” and “Tu che di gel sei cinta”), with Richard Margison (Calàf), Sergei Koptchak (Timur) and Sharon Sweet (Turandot) [1997]


Marilyn HORNE #1

 AIDA: Amneris’ 11-minute defiance of the priests (“Ohimè! Morir mi sento!”), conducted by James Levine [1976]
 I CAPULETI ED I MONTECCHI: the 15-minute love duet (“O mia Giulietta!”) that closes Act I, Scene 2, with Patricia Brooks [1970]
 CENDRILLON: the 11-minute finale (“À deux genoux, bonne Marraine!”) of Act III, with Frederica von Stade and Reri Grist [1973]
 LA DAMNATION DE FAUST: Marguerite’s entrance aria, “Autrefois un roi de Thulé” (from Part II)
 DON CARLO: Eboli’s aria (“O don fatale”) [1979], also conducted by Maestro Levine
 LA DONNA DEL LAGO: Malcolm’s second aria (“Ah, si pera: ormai la morte”) [1981]
 ERMIONE: Andromaca’s entrance aria (“Mia delizia, un solo istante”) [1987]
 LES TROYENS: Cassandre’s “Malheureux roi!” (from Act I) [1969]
 DIE WALKÜRE: Sieglinde’s narration (“Der Männer Sippe”) from Act I [1972]


Lorraine HUNT LIEBERSON #1

 PELLÉAS ET MÉLISANDE: the long finale of Act IV (“C’est le dernier soir”), with Simon Keenlyside, conducted by Bernard Haitink [2003]
 THE RAPE OF LUCRETIA: much of the heroine’s music, including the last 20 minutes of Act I and the long sequence in Act II when Lucretia makes her final appearance; her colleagues here include Geraldine McGreevy, Catherine Wyn-Rogers, Lisa Milne, Ian Bostridge, Simon Keenlyside, John Relyea and Neal Davies [1999]
 LES TROYENS: Didon’s death scene from Act V, encompassing a long scene (“Va, ma sœur: l’implorer”), a famous aria (“Adieu, fière cité”) and the finale (“Pluton semble m’être propice”); colleagues heard here include Robert Lloyd and Elena Zaremba, conducted by James Levine [2003]


Rita HUNTER #1

 AIDA: the Act III duet with Radamès (“Pur ti riveggo”) with Carlo Bergonzi [1976]
 GÖTTERDÄMMERUNG: two scenes, sung in German: the long Act I finale (“Blitzend Gewölk, vom Wind getragen”), in which the disguised Siegfried (Helge Brilioth) abducts Brünnhilde, and the still longer finale of Act II (“Welches Unholds List liegt hier verhohlen?”), which includes the Vengeance Trio with Hagen (Bengt Rundgren) and Gunther (William Dooley) [1974]
 NABUCCO: Abigaille’s Act II scena (“Anch’io dischiuso un giorno”)
 NORMA: both Adalgisa duets (“O rimembranza!” and “Mira, o Norma”), with Frederica von Stade [1975]
 TURANDOT: the princess’ Act II aria (“In questa reggia”), with Kenneth Collins


Dmitri HVOROSTOVSKY #1

 FAUST: most of Valentin’s music, including his Act II aria (“Avant de quitter ces lieux”) and Act IV trio and death scene (“Que voulez-vous, messieurs?”), with with Franco Pomponi, Samuel Ramey, Richard Leech, Judith Christin, Renée Fleming and Patricia Risley [1996]
 LA FAVORITA: Alfonso’s Act II entrance aria (“Vien, Leonora”) and ensuing duet with Leonora (“Quando le soglie paterne varcai”), plus the Act III trio with Fernando (“Leonora, ei del suo cor la brama”), with Barton Green, Angela Gilbert and Jennifer Larmore and Gregory Kunde [2001]
 LA FORZA DEL DESTINO: the Act IV confrontation between Alvaro and Carlo (“Invano, Alvaro, ti celasti al mondo”), with Luciano Pavarotti [1991]
 PAGLIACCI: Nedda and Silvio’s love duet from Act I (“Non mi tentar”), with Angela Gheorghiu and Lado Ataneli [2003]
 LES PÊCHEURS DE PERLES: the famous Nadir-Zurga duet from Act I (“Au fond du temple saint”), with Frederica von Stade [1975]
 LA TRAVIATA: Germont’s famous Act II aria (“Di Provenza”), with the cabaletta (“No, non udrai rimproveri”) sung in Verdi’s original, higher arrangement, with Roberto Saccà, conducted by Lorin Maazel [2004]
 IL TROVATORE: the Act IV confrontation between Leonora and di Luna (“Mira: d’acerbe lagrime”), with Veronica Villaroel [2002]


IN QUESTA REGGIA #1

 Martina Arroyo (with Ermanno Mauro) [1983]
 Ingrid Bjoner (with Franco Corelli) [1974]
 Grace Bumbry [1980]
 Cristina Deutekom (with Carlo Bini) [1982]
 Jane Eaglen (with Richard Margison??) [1997?]
 Rita Hunter (with Kenneth Collins) [1979]
 Gwyneth Jones (with Franco Bonisolli) [1987]
 Marion Lippert (with James McCracken) [1969]
 Alessandra Marc (with Kristjan Johannsson) [1995]
 Éva Marton [1983]
 Elinor Ross (with Richard Tucker) [1968]
 Amy Shuard (with Ludovic Spiess) [1968]
 Jennifer Wilson (with Vladimir Galouzine) [2005]


Soile ISOKOSKI #1

 CAPRICCIO: the glorious, 19-minute finale (“Wo ist mein Bruder?”) [2004]
 DON GIOVANNI: the Maskers’ Trio (“Protegga il giusto cielo”) from Act I, with Michael Schade (Ottavio) and Edita Gruberová (Anna) [2005]
 LE NOZZE DI FIGARO: both of the Countess’ arias (“Porgi, Amor” and “Dove sono”) [2002]
 OTELLO: the Act I love duet (“Già nella notte densa”), the Act II quartet (“D’un uom che geme”), the Act III concertato finale (“A terra e piangi!”) and of course the Act IV scena (“Piangea cantando”/“Ave Maria”), with Vladimir Galouzine (Otello), Carlos Álvarez (Jago) and Ekaterina Gubanová (Emilia) [2005]
 DER ROSENKAVALIER: the Final Trio (“Hab’ mir’s gelobt”) from Act III, with Angelika Kirchschlager (Octavian) and Genia Kühmeier (Sophie) [2005]


Gundula JANOWITZ #1

 Beethoven’s great concert aria “AH, PERFIDO!,” conducted by Bernard Haitink [1978]
 ATTILA: Odabella’s “Allor che i forti corrono” (from the Prologue) [1971]
 THE BARTERED BRIDE: Marenka’s first aria, sung in German (“Endlich allein!”)
 CARMEN: Micaëla’s Act III aria (“Je dis que rien ne m’épouvante”)
 DON CARLO: Elisabetta’s “Non pianger, mia compagna” (from Act II) [1970]
 DIE FRAU OHNE SCHATTEN: the Empress’ entrance scena (“Ist mein Liebster dahin?”), with colleagues Lucia Popp and Grace Hoffman, conducted by Herbert von Karajan [1964]
 GURRE-LIEDER: the four soprano solos (“Oh, wenn des Mondes Strahlen,” “Sterne jubeln,” “Nun sag’ ich dir zum ersten Mal” and “Du sendest mir einen Liebesblick”) [1969]
 DIE MEISTERSINGER VON NÜRNBERG: the famous quintet (“Selig, wie die Sonne”) from Act III, with colleagues Thomas Stewart, Sándor Kónya, Gerhard Unger and Brigitte Fassbaender, conducted by Rafael Kubelík [1967]
 SIMON BOCCANEGRA: Amelia’s entrance aria, Act I’s “Come in quest’ora bruna” [1969]
 TOSCA: the famous aria “Vissi d’arte” from Act II [1971]


Gundula JANOWITZ #2

 DON CARLO: Elisabetta’s Act V aria “Tu che le vanità” [1970]
 DON GIOVANNI: three Act I items — the Anna-Ottavio duet (“Fuggi, crudele, fuggi!”), Anna’s aria (“Or sai chi l’onore”) and the Maskers’ Trio (“Protegga il giusto cielo”), with Alfredo Kraus, Sena Jurinac, Sesto Bruscantini and Nicolai Ghiaurov [1970]
 ELEKTRA: Miss Janowitz’s two scenes as Maid #4 — the opera’s opening (“Wo bleibt Elektra?”) and the ladies’ reappearance with Chrysothemis after the murder of Klytämnestra (“Es muß etwas geschehen sein”) — with Margarita Lilowa, Margareta Sjöstedt, Margarete Ast, Gerda Scheyrer, Danica Mastilovic and Leonie Rysanek, conducted by Karl Böhm [1965]
 FEUERSNOT: Diemut’s 12-minute scena (“Mittsommernacht! Wehvolle Wacht!”), with John Shirley-Quirk [1978]
 DIE FRAU OHNE SCHATTEN: the Empress’ Act II nightmare (“Sieh, Amme, sieh!”), with Lucia Popp, conducted by Herbert von Karajan [1964]
 L’INCORONAZIONE DI POPPEA: Drusilla’s Act II solo (“Felice cor mio”), with Otto Wiener, conducted by Herbert von Karajan [1963]
 DIE MEISTERSINGER VON NÜRNBERG: Evchen’s little Act III aria (“O Sachs, mein Freund!”), conducted by Rafael Kubelík [1967]
 LE NOZZE DI FIGARO: Cherubino’s Act II aria (“Voi che sapete”)
 SIMON BOCCANEGRA: Act I’s duet for Amelia and Gabriele (“Vieni a mirar”) [1969]


Gundula JANOWITZ #3

 ARABELLA: the opera’s two most famous duets (Act I’s “Aber der Richtige” and Act II’s “Und du wirst mein Gebieter sein”), with Lucia Popp and Eberhard Wächter [1976]
 DON GIOVANNI: Anna’s glorious Act II aria (“Non mi dir”), with Alfredo Kraus [1970]
 DIE FRAU OHNE SCHATTEN: the Empress’ Act III rejection of the Nurse (“Fort von hier!”) and address to Keikobad (“Vater, bist du’s?”), with Grace Hoffman, Lucia Popp, Gladys Kuchta and Otto Wiener, conducted by Herbert von Karajan [1964]
 SIMON BOCCANEGRA: Act I’s long recognition duet for Amelia and Simone (“Dinne, perchè in quest’eremo”), with Mr. Wächter [1969]
 LA VESTALE: Julia’s arias from Act II (“Toi que j’implore avec effroi”) and Act III (“Toi que je laisse sur la terre”) [1974]


Sumi JO #1

 LUCIA DI LAMMERMOOR: Lucia’s duets with Edgardo (Act I’s “Sulla tomba,” with Frank Lopardo) and Enrico (Act II’s “Soffriva nel pianto,” with Gino Quilico) [1999]
 I PURITANI DI SCOZIA: Elvira’s duets with Giorgio (Act I’s “Sai com’arde in petto mio,” with Robert Lloyd) and Arturo (Act III’s “Nel mirarti un solo istante,” with Giuseppe Sabbatini) [1992]
 RIGOLETTO: two of the father-daughter duets (Act I’s “Figlia! — Mio padre!” and Act II’s “Tutte le feste al tempio,” with Leo Nucci), plus Act I’s Gilda-Duke duet (“È il sol dell’anima,” with Marcelo Álvarez) [2000]


Gwyneth JONES #1

 DIE ÄGYPTISCHE HELENA: Helena’s famous aria (“Zweite Brautnacht!”) from Act II, conducted by Wolfgang Sawallisch [1987]
 ARIADNE AUF NAXOS: the duet finale (“Gibt es kein Hinüber?”) (with Dennis Bailey) [1982]
 ELEKTRA: the heroine’s entrance monologue (“Allein! Weh, ganz allein!”) [1986]
 DON CARLO: Elisabetta di Valois’ farewell to the Countess of Aremberg (“Non pianger, mia compagna”), from Act II [1967]
 DIE FRAU OHNE SCHATTEN: the glorious scene (“Schweigt doch, ihr Stimmen!”) and duet (“Mir anvertraut”) that opens Act III (with Walter Berry), conducted by Christoph von Dohnányi [1980]
 L’INCORONAZIONE DI POPPEA: the famous duet finale (“Pur ti miro”), with Jon Vickers [1978]
 MACBETH: the Act II aria “La luce langue,” sung in English [1965]
 MESSA DA REQUIEM: the entire “Libera me,” conducted by Zubin Mehta [1967]
 IL TROVATORE: the Leonora-di Luna duet (“Mira: d’acerbe lagrime”) from Act IV (with Peter Glossop), conducted by Carlo Maria Giulini [1964]
 TURANDOT: the princess’ entrance aria (“In questa reggia”) from Act II (with Franco Bonisolli) [1987]


JUDGMENT SCENE (Aida Act IV) #1

 Irene Dalis (with Giorgio Tozzi) [1960]
 Mignon Dunn (with Forbes Robinson) [1973]
 Brigitte Fassbaender (with Robert Lloyd) [1979]
 Marilyn Horne (with Bonaldo Giaiotti) [1976]
 Christa Ludwig (with Josef Greindl), in German [1961]
 Regina Resnik (with Walter Kreppel) [1961]
 Tatiana Troyanos (with Jerome Hines) [1976]


JUDGMENT SCENE (Aida Act IV) #2

 Grace Bumbry (with Jerome Hines) [1967]
 Rita Gorr (with Cesare Siepi) [1963]
 Marjana Lipovšek [1994]
 Christa Ludwig (with Tugomir Franc) [1976]
 Giulietta Simionato (with Walter Kreppel) [1963]
 Blanche Thebom (with Giorgio Tozzi) [1957]
 Shirley Verrett (with Luigi Roni) [1969]



Sena JURINAC #1

 ARIADNE AUF NAXOS: the Composer’s aria (“Musik ist eine heilige Kunst”) [1954]
 DIDO AND AENEAS: “When I am laid in earth” [1978]
 EUGEN ONEGIN: Tatyana’s long letter scene, sung in German [1961]
 LA FORZA DEL DESTINO: from Act II, the long interview — “Or siam soli” — between Leonora and Guardiano (Hervey Alan) and the lyrical solo with chorus “La Vergine degli angeli” [1955]
 DER FREISCHÜTZ: both of Agathe’s arias — “Leise, leise” and “Und ob die Wolke” — sung in Italian [1955]
 GIULIO CESARE IN EGITTO: “Piangerò la sorte mia” [1978]
 IDOMENEO, RE DI CRETA: two of Elettra’s arias — Act I’s “Tutto nel cor vi sento” and Act III’s “D’Oreste, d’Aiace” [1971]
 JENŮFA: the duet finale (“Odešli: jdi také!”), with William Cochran — sung in German [1972]
 TOSCA: from Act II, the famous aria “Vissi d’arte” [1967]


Sena JURINAC #2

 AIDA: the eponymous heroine’s Act III aria (“O patria mia”) [1950]
 Mozart’s great concert aria “CH’IO MI SCORDI DI TE?” (KV 505) [1952]
 DIE FLEDERMAUS: Rosalinde’s Act II Csárdás (“Klänge der Heimat”) [1950]
 DER FLIEGENDE HOLLÄNDER: Senta’s Act II interview with the Dutchman (beginning at “Versank ich jetzt in wunderbares Träumen?”), with Norman Bailey [1969]
 LA FORZA DEL DESTINO: Leonora’s famous Act IV aria (“Pace, pace, mio Dio!”) [1955]
 JENŮFA: the Kostelnička’s Act I entrance aria (“A tak bychom sli celým životem”), Act II monologue (“Co chvíla a já si mám zatím”) and the 12-minute finale of Act II (“Kdo to je? -- Jenůfko, ty jsi ješte vzhůru?”), with Elisabeth Söderström, Sona Cervena and Allen Cathcart, conducted by Sir Charles Mackerras [1980]
 SUOR ANGELICA: the heroine’s famous aria (“Senza mamma”), sung in German [1956]
 DIE ZAUBERFLÖTE: from Act II, Pamina’s great aria (“Ach, ich fühl’s”) and scene with the three boys (“Bald prangt, den Morgen zu verkünden”), sung in Italian, conducted by Vittorio Gui [1956]


Sena JURINAC #3

 UN BALLO IN MASCHERA: Amelia’s second aria (“Morrò, ma prima in grazia”) [1950]
 LES CONTES D’HOFFMANN: Antonia’s Act III aria (“Elle a fui, la tourterelle!”) [1978]
 JENŮFA: the eponymous heroine’s Act II prayer (“Mamičko, mám težkou hlavu”) and the Act III finale, including her forgiveness of her stepmother (“Vstante, pestounko moja!”) and her acceptance of Laca’s love (“Odešli: jdi také!”), with William Martha Mödl and Waldemar Kmentt, sung in German [1964]
 MANON: four of the heroine’s arias (Act I’s “Je suis encor tout étourdie” and “Voyons, Manon, plus de chimères,” Act II’s “Adieu, notre petite table” and Act III’s “Obéissons, quand leur voix appelle”), sung in German [1950]
 Mozart’s concert arias “MISERA, DOVE SON?” (KV 369) and “NEHMT MEINEN DANK, IHR HOLDEN GÖNNER!” (KV 383) [1963]
 ORFEO ED EURIDICE: Euridice’s arias from Acts II (“È quest’asilo ameno e grato”) and III (“Che fiero momento!”), sung in German [1953]
 TANNHÄUSER: both of Elisabeth’s arias (Act II’s “Dich, teure Halle” and Act III’s “Allmächt’ge Jungfrau”), plus the Act II duet with Tannhäuser (“Den Gott der Liebe sollst du preisen”), with Victor Braun and Hans Beirer, conducted by Wolfgang Sawallisch [1967]
 DIE ZAUBERFLÖTE: the Act I Pamina-Papageno duet (“Bei Männern, welche Liebe fühlen”), with Giuseppe Taddei, sung in Italian, conducted by Vittorio Gui [1967]


Madeline KAHN #1

 AT LONG LAST LOVE: four classic Cole Porter songs — “Down in the Depths,” “Find Me a Primitive Man,” “You’re the Top” and “At Long Last Love” — with Burt Reynolds, Duilio del Prete et al. [1974?]
 CANDIDE: six selections — “O Happy We,” “Glitter and Be Gay,” “You Were Dead, You Know,” “Quartet Finale,” “We Are Women” and “Make Our Garden Grow” — with David Watson, William Lewis and Irra Petina [1968]
 ON THE TWENTIETH CENTURY: four numbers from the show’s Boston tryout (including music cut, unrecorded or rewritten by the time the cast album was recorded) — “The Indian Maiden’s Lament,” “Véronique,” “This Is the Day” and “Babette” — with John Cullum, Willi Burke and David Horwitz [1978]
 SATURDAY NIGHT LIVE: three hilarious bits — “M-O-T-H-E-R,” “I Feel Pretty” (as sung by the Bride of Frankenstein) and “I Will Follow Him” (a musicalized parody of Chinatown!) [1977]
 SHE LOVES ME: five items from this great score — “I Don’t Know His Name,” “Will He Like Me?,” “Dear Friend,” “Where’s My Shoe?” and “Ice Cream” — with Rita Moreno and Barry Bostwick [1977]


James KING #1

 AIDA: Radamès’ famous aria (“Celeste Aida”) from Act I [1968]
 CARMEN: Act II’s Flower Song (“La fleur que tu m’avais jetée”) and the duet finale of Act IV (“C’est toi? — C’est moi!,” with Christa Ludwig); the conductor is Lorin Maazel [1966]
 ELEKTRA: Aegisth’s scene (“He! Lichter! Ist niemand da zu leuchten?”), with Astrid Varnay in the title rôle; the conductor is Herbert von Karajan [1964]
 LA FORZA DEL DESTINO: two numbers from Act III — Alvaro’s aria (“O tu che in seno agli angeli”) and duet with Carlo (“Solenne in quest’ora,” with Tom Krause) [1968]
 MANON LESCAUT: two from Act I (“Tra voi, belle” and “Donna non vidi mai”) and the Act III finale (“Guardate: pazzo son!”) [1971]
 DIE MEISTERSINGER VON NÜRNBERG: three solos — two from Act I (“Am stillen Herd” and “So rief der Lenz in den Wald”) and of course Act III’s Prize Song (“Morgenlich leuchtend im rosigen Schein”) [1971]
 PAGLIACCI: two of Canio’s solos (“Vesti la giubba” and “No, Pagliaccio non son!”) [1980]
 OTELLO: an aria (“Ora e per sempre addio”) and a duet (“Sì, pel ciel”) from Act II; Mr. Krause sings Jago [1968]
 TOSCA: Cavaradossi’s two arias (“Recondita armonia” and “E lucevan le stelle”) [1975]


Dorothy KIRSTEN #1

 LA BOHÈME: the final numbers of Acts III (“Dunque è proprio finita?”) and IV (“Sono andati? Fingevo di dormire”), with Luciano Pavarotti (Rodolfo), Ingvar Wixell (Marcello), Margit Moser (Musetta) et al. [1969]
 LA FANCIULLA DEL WEST: the final scenes of Acts II (“Che c’è di nuovo, Jack?”) and III (“Le tue parole sono di Dio”), with Anselmo Colzani as Rance and Franco Corelli as Johnson [1966]
 MANON LESCAUT: duets from Acts I (“Vedete? Io son fedele”) and IV (“Fra le tue braccia, amore”), with Carlo Bergonzi as des Grieux [1960]
 LA RONDINE: Magda’s first aria (“Chi il bel sogno di Doretta”), from Act I [1975]
 TOSCA: both love duets (Act I’s “Mario, Mario, Mario!” and Act III’s “O dolci mani”), plus the opera’s finale (“Com’è lunga l’attesa!”), with Plácido Domingo, conducted by James Levine [1970]


Evelyn LEAR #1

 ARABELLA: the heroine’s Act II duet with Mandryka (“Und du wirst mein Gebieter sein”), with Thomas Stewart [1970 or ‘72]
 EUGEN ONEGIN: Tatyana’s famous Letter Scene from Act I, sung in English, including 14 minutes of surrounding conversation between Tatyana and Filipyevna (Donna Petersen), conducted by Sir Charles Mackerras [1971]
 DER ROSENKAVALIER: the opera’s final 17 minutes, including the famous trio (“Hab’ mir’s gelobt”) and Sophie-Octavian duet (“Ist ein Traum”), with Lucia Popp, Brigitte Fassbaender and Raymond Wolansky, conducted by Carlos Kleiber [1976]
 LES TROYENS: Didon’s entrance aria (“Chers Tyriens!”) and ensuing duet with Anna (“Reine d’un jeune empire”), sung in English [1964]


Evelyn LEAR #2

 ARIADNE AUF NAXOS: the Composer’s scene and duet with Zerbinetta (“Ein Augenblick ist wenig”), plus the ensuing aria (“Musik ist eine heilige Kunst”), with Reri Grist, plus James King, Leonie Rysanek, William Dooley and Robert Schmorr [1970]
 EUGEN ONEGIN: the opera’s 13-minute finale, one last encounter between Tatyana and Onegin (Thomas Stewart), sung in English and conducted by Sir Charles Mackerras [1971]
 MOURNING BECOMES ELECTRA: the final scenes of each of the opera’s three acts, with John Macurdy, Raymond Michalski and Ron Bottcher [1967]
 LE NOZZE DI FIGARO: Cherubino’s Act II aria (“Voi che sapete”) [1966]
 PORGY AND BESS: the Act II love duet (“Bess, You Is My Woman Now”), with Mr. Stewart again [1983]
 LES TROYENS: two excerpts from Didon’s Act V death scene (“Adieu, fière cité” and “Pluton semble m’être propice”), sung in English [1964]
 WOZZECK: Marie’s two monologues (“Komm, mein Bub!” and “Und ist kein Betrug”) [1972]


Richard LEECH #1

 LES CONTES D’HOFFMANN: the eponymous hero’s “Kleinzach” ballad from the Prologue [1989]
 DOM SÉBASTIEN: the famous aria (“Seul sur la terre”) [1984]
 LES HUGUENOTS: the long love duet (“Ô ciel! Où courez-vous?”) from Act IV, sung in German, with Pilar Lorengar [1987]
 LUCIA DI LAMMERMOOR: Act I’s love duet (“Sulla tomba”) and the sextet (“Chi mi frena”) and stretto (“Esci, fuggi il furor”) that conclude Act II, with colleagues Paul Groves, Haijing Fu, Paul Plishka, June Anderson and Judith Christin [1992]
 MANON: the St Sulpice duet (“N’est-ce plus ma main?”) that concludes Act III (with Ruth Ann Swenson) [1998]
 LES PÊCHEURS DE PERLES: the famous duet (“Au fond du temple saint”) from Act I, with Roberto Frontali [1992]
 ROMÉO ET JULIETTE: the hero’s Act II aria (“Ah, lève-toi, soleil!”) and the Act IV love duet (“Nuit d’hyménée!,” with Faith Esham) [1989]
 WERTHER: the famous aria (“Pourquoi me réveiller”) from Act III [1998]


Frank LOPARDO #1

 LA FILLE DU REGIMENT: Tonio’s Act I duet with Marie (“De cet aveu si tendre,” with Kathleen Battle) and famous aria (“Ah, mes amis, quel jour de fête!,” with 9 stunning high Cs), plus the Act II plea (“Pour me rapprocher de Marie”) [1993]
 LUCIA DI LAMMERMOOR: the Act I love duet (“Sulla tomba”) and Act II’s famous sextet (“Chi mi frena in tal momento?”) and ensuing finale, with Megan Dey-Tóth, Sumi Jo, Charles Castronovo, Gino Quilico, Gabriel Gonzalez and Jamie Offenbach [1999]
 MESSA DA REQUIEM: the tenor aria (“Ingemisco tamquam reus”) and trio with mezzo and bass (“Lux aeterna”), with Stephanie Blythe and Vitalij Kowaljow, conducted by James Conlon [2006]
 LA SONNAMBULA: both Amina-Elvino duets (“Prendi: l’anel ti dono” and “Son geloso del zefiro errante”), plus Elvino’s Act II scena (“Tutto è sciolto”), with Cecilia Gasdia, Donn Cook, Martha Jane Howe and John Horton Murray [1988]


Verdi REQUIEM #1

This rare, live performance of Verdi’s thrilling MESSA DA REQUIEM features a superb quartet — Leontyne Price, Florence Quivar, Plácido Domingo and John Cheek — in prime form, under the direction of the great James Levine (who has yet to record this work commercially). [1982]


Pilar LORENGAR #1

 LA BOHÈME: the love duet (“O soave fanciulla”) from Act I, with Luciano Pavarotti [1975]
 DON CARLO: Elisabetta’s farewell to the Countess of Aremberg (“Non pianger, mia compagna”) from Act II [1971]
 EUGEN ONEGIN: the Letter Scene from Act II, sung in German [1974]
 FAUST: the Jewel Song (“Ah, je ris”) from Act III [1969]
 DER FREISCHÜTZ: Agathe’s lyrical Act III solo (“Und ob die Wolke”) [1972]
 LOHENGRIN: the Elsa-Ortrud interview from Act II (including the aria “Euch Lüften, die mein Klagen”), with Mignon Dunn [1976]
 MADAMA BUTTERFLY: the lullaby (“Dormi, amor mio”) from Act III [1971]
 MANON LESCAUT: the impassioned duet (“Tu, tu, amore, tu?”) from Act II, with James King [1971]
 DIE MEISTERSINGER VON NÜRNBERG: the famous quintet (“Selig, wie die Sonne”) from Act III, with Theo Adam (Sachs), Mr. King (Walther), Loren Driscoll (David) and Shirley Love (Magdalene), conducted by Thomas Schippers [1972]
 OTELLO: the Act III confrontation (“Dio ti giocondi, o sposo”), with Jon Vickers [1973]
 SUOR ANGELICA: the famous aria “Senza mamma” [1979]


Pilar LORENGAR #2

 FAUST: the Church Scene (“Seigneur, daignez permettre”) from Act IV, with Cesare Siepi [1969]
 LES HUGUENOTS: the long love duet (“Ô ciel! Où courez-vous?”) from Act IV, sung in German, with Richard Leech [1987]
 IDOMENEO, RE DI CRETA: Ilia’s entrance (“Padre, germani, addio!”) from Act I [1961]
 DIE MEISTERSINGER VON NÜRNBERG: Eva’s short solo (“O Sachs, mein Freund!”) from Act III, conducted by Thomas Schippers [1972]
 MESSA DA REQUIEM: the 13-minute finale (“Libera me,” conducted by Lorin Maazel) [1963]
 MITRIDATE, RE DI PONTO: Ismene’s Act III solo (“Tu sai per chi m’accese”) [1971]
 OTELLO: the quartet (“D’un uom che geme”) from Act II, with Jon Vickers, Jean Kraft and Louis Quilico, conducted by James Levine [1973]
 TOSCA: the last 14 minutes (from her entrance on, with Franco Tagliavini, conducted by Maestro Maazel) [1969]
the Act II monologue (“Che tua madre dovrà”) from Madama Butterfly, with Frank Guarrera [1971]
 VIER LETZTE LIEDER (FOUR LAST SONGS): the third (“Beim Schlafengehen”) [1967]


Veriano LUCHETTI #1

 ATTILA: Foresto’s two arias (“Ella in poter del barbaro!” and “Che non avrebbe il misero”), his Act I duet with Odabella (“Per te d'amore, furente, insano”) and the famous Act III trio (“Te sol quest'anima”), with Gilda Cruz-Romo, Gregory Kunde and Silvano Carroli [1980]
 LA FORZA DEL DESTINO: Alvaro’s Act III aria (“O tu che seno agli angeli”) and his three duets with Carlo (“Solenne in quest'ora,” “Sleale!” and “Invano Alvaro”), with Wolfgang Brendel, conducted by Giuseppe Sinopoli [1986]
 TOSCA: both of Cavaradossi’s arias (Act I’s “Recondita armonia” and Act III’s “E lucevan le stelle”), the Act I love duet (“Mario, Mario, Mario!”) and his Act II defiance of Scarpia (“Vittoria! Vittoria!”), with Italo Tajo, Shirley Verrett, Sherrill Milnes and Keith Kibler, conducted by Seiji Ozawa [1980]


Veriano LUCHETTI #2

 DON CARLO: Carlo’s entrance aria (“Io la vidi”) and three duets with Elisabetta (Act I’s “Al mio piè, perchè?,” Act II’s “Io vengo a domandar” and Act V’s “Ma lassù ci vedremo”), with Katia Ricciarelli, Aracelly Haengel, Giorgio Zancanaro, Nicolaï Ghiaurov, Gianfranco Casarini and Alessandro Maddalena [1973]
 LELIO, OU LE RETOUR A LA VIE: both tenor solos (“Le pêcheur” and “Chant de bonheur”) from Berlioz’s wonderful curiosity, with Jean Vilar, conducted by Thomas Schippers [1969]
 LES TROYENS A CARTHAGE: Iopas’ Act IV aria (“Ô blonde Cérès”), with Shirley Verrett, conducted by Georges Prêtre [1969]
 I VESPRI SICILIANI: Arrigo’s first duet with his father (Act I’s “Qual è il tuo nome?”), plus both arias (Act IV’s “Giorno di pianto” and Act V’s “La brezza aleggia intorno”), with Renato Bruson and Renata Scotto, conducted by Riccardo Muti [1978]


Christa LUDWIG #1

 CARMEN: “L’amour est un oiseau rebelle,” “Près des remparts de Séville” (with James King) and “Les tringles des sistres tintaient” (with Lucia Popp and Margarita Lilowa), conducted by Lorin Maazel [1966]
 DON CARLO: Eboli’s aria (“O don fatale”) from Act IV, conducted by Herbert von Karajan [1975]
 L’INCORONAZIONE DI POPPEA: both of Ottavia’s famous solos (“Disprezzata regina” and “Addio, Roma! Addio, patria!”), conducted by Julius Rudel [1978]
 ORFEO ED EURIDICE: “Chiamo il mio ben così,” “Che puro ciel!” and “Che farò senza Euridice?” [1965]
 LES TROYENS: Didon’s two major solos (the entrance aria “Chèrs Tyriens!” and the long death scene, including “Adieu, fière cité”) and the famous love duet (“Nuit d’ivresse,” with Jon Vickers), conducted by Rafael Kubelík [1974]


Christa LUDWIG #2

 Beethoven’s concert aria “AH, PERFIDO!” [1965]
 LA CENERENTOLA: the heroine’s Act I meeting with Ramiro (“Un soave non so che”) and Act II’s brilliant aria finale (“Nacqui all’affanno”/“Non più mesta”), sung in German, with Waldemar Kmentt, Emmy Loose, Dagmar Hermann, Karl Dönch, Walter Berry and Ludwig Welter [1959]
 DON CARLO: the Garden Scene trio (“A mezzanotte, ai giardin della Regina”) from Act III, with Plácido Domingo and Piero Cappuccilli, conducted by Herbert von Karajan [1975]
 GURRE-LIEDER: the Wood-Dove’s aria (“Tauben von Gurre!”) [1969]
 PALESTRINA: the long Act I scene between Silla and Ighino (“Schönste, ungnäd’ge Dame”), with Sena Jurinac [1964]


Christa LUDWIG #3

 AIDA: all of Act IV, Scene 1, including Amneris’ interview with Radamès (“Già i sacerdoti adunansi,” with Jess Thomas) and confrontation with the priests (“Ohimè! Morir mi sento!,” with Josef Greindl), sung in German, conducted by Karl Böhm [1961]
 DER BESUCH DER ALTEN DAME: over 40 minutes of music from von Einem’s opera, which Miss Ludwig created, including both Claire-Ill scenes in the forest (“Wir sind Fichten, Föhren, Buchen”) and her dramatic confrontations with the people of Güllen at the ends of Acts I (“Bürgermeister, Güllener, Eure selbstlose Freude”) and III (“Was ist denn hier los?”), with Karl Terkal, Fritz Sperlbauer, Eberhard Wächter, Hans Beirer, Heinz Zednik, Hans Hotter, Emmy Loose, Elmar Breneis, Wilhelm Lenniger, Siegfried Rudolf Frese, Laurence Dutoit, Margareta Sjöstedt, Manfred Jungwirth and Kurt Equiluz [1971]
 DIE FLEDERMAUS: Orlofsky’s Act II aria (“Ich lade gern mir Gäste ein”) [1979]
 MASS IN B MINOR: both duets (“Christe, eleison” and “Et in unum Dominum”), with Leontyne Price, conducted by Herbert von Karajan [1961]


James McCRACKEN #1

 AIDA: the Act I aria (“Celeste Aida”) and duet finale (“Nume, custode e vindice,” with Ferruccio Furlanetto); and, from Act IV, the opening (“Già i sacerdoti adunansi,” with Elizabeth Connell) and closing (“O terra, addio,” with Miss Verrett) duets, conducted by Sarah Caldwell [1980]
 LA BOHÈME: the love duet (“O soave fanciulla”) that concludes Act I, with Beverly Sills [1972]
 SAMSON ET DALILA: much of Act III, including Samson’s aria (“Vois ma misère, hélas!”) and the 15-minute finale (“Salut au juge d’Israël”), with colleagues Gabriel Bacquier and Grace Bumbry [1972]
 IL TROVATORE: the final scene, encompassing a duet (“Ai nostri monti”) and two trios (“Ha quest’infame l’amor venduto” and “Prima che d’altri vivere”), with colleagues Shirley Verrett, Renata Scotto and Louis Quilico [1977]


James McCRACKEN #2

 AIDA: the 12-minute Nile Duet (“Pur ti riveggo, mia dolce Aida”) from Act III, with Miss Verrett, conducted by Sarah Caldwell [1980]
 UN BALLO IN MASCHERA: an early-career “cameo,” as the Judge in Act I; this 6-minute scene features first-rate work from Roberta Peters and Richard Tucker alongside Josef Metternich, Nicola Moscona and Norman Scott, conducted by Dimitri Mitropoulos [1955]
 OTELLO: the 13-minute final scene, from the eponymous hero’s entrance to the final monologue (“Niun mi tema”), conducted by Zubin Mehta, with Montserrat Caballé, Shirley Love, Ermanno Lorenzi, Tito Gobbi, Raymond Michalski and Clifford Harvuot [1967]
 PIKOVAYA DAMA (THE QUEEN OF SPADES): two sequences — the final scene of Act II and the Act III duet between Lisa and Gherman — with Jean Madeira and Teresa Stratas
 SAMSON ET DALILA: the eponymous hero’s aria (“Arrêtez, ô mes frères!”) from Act I [1972]
 IL TROVATORE: the mother-son duet (“Mal raggendo”) from Act II, with colleagues Shirley Verrett and Lou Marcella [1977]
 TURANDOT: Calàf’s Act I aria (“Non piangere, Liù!”) and the Act II Riddle Scene, with colleagues Martina Arroyo, Bonaldo Giaiotti, Marion Lippert and Mariano Caruso, conducted by Maestro Mehta [1969]


Sylvia McNAIR #1

 GIULIO CESARE IN EGITTO: Cleopatra’s arias — “Non disperar: chi sa?,” “Tutto può donna vezzosa,” “V’adoro, pupille,” “Venere bella,” “Se pietà,” “Piangerò la sorte mia” and “Da tempeste” [N.B.: Cleopatra’s one remaining aria — “Tu la mia stella sei” — was not included in this performance]; also included is the duet finale, “Più amabile beltà” (with Jennifer Larmore as Cesare) [1999]
 SEMELE: Iris’ two scenes — the opening of Act II (including her aria “There, from mortal cares retiring” and Juno’s “Hence, Iris, away”) and the opening of Act III (in which she and Juno confront Somnus); her colleagues here are Marilyn Horne and Samuel Ramey, conducted by John Nelson [1985]


Cornell MacNEIL #1

 AIDA: the father-daughter duet (“Rivedrai le foreste imbalsamate”) from Act III, with Leontyne Price, conducted by James Levine [1973]
 ALZIRA: Gusmano’s aria (“È dolce la tromba”) from Act II, with Virginia Zeani and Gianfranco Cecchele [1967]
 ERNANI: “O de’ verdi anni miei” (from Act III) [1975]
 LA FORZA DEL DESTINO: Carlo’s aria (“Urna fatale”) and two of his duets with Alvaro (Act III’s “Solenne in quest’ora” and Act IV’s “Invano Alvaro”), with Jon Vickers, again conducted by Maestro Levine [1975]
 NABUCCO: the Act III duet (“Donna, chi sei?”), with Leonie Rysanek (Abigaille), conducted by Thomas Schippers [1960]
 PAGLIACCI: the Prologue [1975]
 TOSCA: two of Scarpia’s big scenes — the final 15 minutes of Act I, from his entrance (“Un tal baccano in chiesa!”) through the Te Deum, and the monologue that opens Act II (“Tosca è un buon falco!”); Miss Price is the heroine [1962]


Catherine MALFITANO #1

 LES CONTES D’HOFFMANN: music associated with all three heroines: Olympia’s Doll Song (“Les oiseaux dans la charmille”), Antonia’s aria (“Elle a fui, la tourterelle!”), love duet (“C’est une chanson d’amour,” with Plácido Domingo) and trio (“Tu ne chanteras plus?,” with José van Dam and Jocelyne Taillon) and Giulietta’s Barcarolle (“Belle nuit, ô nuit d’amour,” with Ann Murray); the conductor is James Levine [1981]
 DIE ENTFÜHRUNG AUS DEM SERAIL: most of Konstanze’s music, including all three arias (“Ach, ich liebte,” “Traurigkeit” and “Martern aller Arten”), the big quartet (“Ach, Belmonte! Ach, mein Leben!”) and the duet with Belmonte (“Ah, du solltest für mich du sterben”); colleagues here include Francisco Araiza, Philip Creech and Judith Blegen, and Julius Rudel conducts [1984]


Adriana MALIPONTE #1

 LA BOHÈME: both of Mimì’s arias (“Sì: mi chiamano Mimì” and “Donde lieta uscì”) and the two big duets with Rodolfo (“O soave fanciulla” and “Sono andati? Fingevo di dormire”), with Luciano Pavarotti [1971]
 LES CONTES D’HOFFMANN: Antonia’s aria (“Elle a fui, la tourterelle!”) and duet with Hoffmann (“C’est une chanson d’amour,” with Waldemar Kmentt) [1972]
 MARIA STUARDA: the heroine’s entrance aria (“O nube che lieve”) and the duet “Quando di luce rosea” (with Mario Rinaudo) [1986]
 SIMON BOCCANEGRA: Amelia’s aria (“Come in quest’ora bruna”) and the long Recognition Duet (“Dinne, perchè in quest’eremo,” with Ingvar Wixell) [1974]
 DIE ZAUBERFLÖTE: the duet with Papageno (“Bei Männern, welche Liebe fühlen,” with John Reardon), the aria (“Ach, ich fühl’s”) and the big scene with the Three Boys (“Bald prangt, den Morgen zu verkünden”) [1972]


Adriana MALIPONTE #2

 CARMEN: the José-Micaëla duet (“Parle-moi de ma mère!”) from Act I, with Plácido Domingo [1974]
 FAUST: sung in Italian, the Jewel Song (“Ah, je ris”), the Act III love duet (“Il se fait tard! Adieu!,” with Luciano Saldari) and the Church Scene (“Seigneur, daignez permettre,” with Ruggero Raimondi) [1966]
 I PURITANI DI SCOZIA: Elvira’s two arias — Act I’s “Son vergin vezzosa” and Act II’s “Qui la voce”/“Vien, diletto,” with Alfredo Kraus, Anna di Stasio, Mr. Raimondi and Piero Cappuccilli [1972]
 SIMON BOCCANEGRA: the dramatic 17-minute sequence that closes Act II, running from the confrontation between Amelia and Gabriele (“Parla: in tuo cor virgineo”) through the trio they sing with her father (“Perdono, Amelia”), with Richard Tucker and Ingvar Wixell [1974]
 TURANDOT: Liù’s death scene from Act III, encompassing two arias (“Tanto amore segreto” and “Tu che di gel sei cinta”), with Ingrid Bjoner, Robert Goodloe, Franco Corelli and James Morris [1974]


Adriana MALIPONTE #3

 GIOVANNA D’ARCO: both of the heroine’s arias (the Prologue’s “Sempre all’alba” and Act I’s “O fatidica foresta”), plus the finale ultimo (“S’apre il cielo,” with Luis Lima and Pablo Elvira) [1980]
 MANON LESCAUT: from Act II, the heroine’s aria (“In quelle trine morbide”) and love duet with des Grieux (“Oh, sarò la più bella!”), and all of Act IV, including her second aria (“Sola, perduta, abbandonata”), with Lenus Carlson and Vasile Moldoveanu [1985]
 I MASNADIERI: both of Amalia’s arias (Act I’s “Lo sguardo avea degli angeli” and Act II’s “Tu del mio Carlo al seno,” the latter with with Antonio Savastano) and her Act III duet with Carlo (“Qual mare, qual terra,” with Ottavio Garaventa) [1978]


Adriana MALIPONTE #4

 LUISA MILLER: the heroine's entrance aria (Act I's "Lo vidi, e 'l primo palpito"), Act II aria ("Tu puniscimi, o Signore") and Act III duet with her father ("Andrem, raminghi e poveri"), with Cornell MacNeil, Ivanka Myhal, John Alexander and Paul Plishka, conducted by James Levine [1971]
 PAGLIACCI: Nedda's aria ("Stridono lassù") and the ensuing pair of duets with Tonio ("So ben che difforme") and Silvio ("E allor perchè"), with Peter Glossop and Thomas Allen [1976]
 POLIUTO: Paolina's entrance scena (Act I's "Di quai soavi lagrime") and long duet with Poliuto ("Ah, fuggi da morte orribil cotanto"), with Pier Francesco Poli, Angelo Casertano and Giorgio Lamberti [1977]


Matteo MANUGUERRA #1

 CAVALLERIA RUSTICANA: the Santuzza-Alfio duet (“Turiddu mi tolse l’onore”) that closes Act I, with Régine Crespin [1973]
 FRANCESCA DA RIMINI: Gianciotto entrance scene (“Vittoria! Viva Messer Giovanni Malatesta!”), which closes Act I, with Plácido Domingo and Raina Kabaivanska [1973]
 LA GIOCONDA: from Act I, the Enzo-Barnaba duet (“O grido di quest’anima”) and Barnaba’s monologue (“O monumento!”), with José Carreras [1979]
 LUCIA DI LAMMERMOOR: the rarely heard Edgardo-Enrico duet (“Qui del padre ancor respira”) Donizetti composed to open Act III, with Peter Dvorský [1978]
 LUISA MILLER: the father-daughter duet (“Andrem, raminghi e poveri”) from Act III, with Gilda Cruz-Romo [1974]
 OTELLO: from Act II, Jago’s narration (“Era la notte”) and duet with Otello (“Sì, pel ciel”), with Giuseppe Giacomini [1991]
 RIGOLETTO: the first father-daughter duet (“Figlia! — Mio padre!”) from Act I, with Judith Blegen [1979]
 IL TROVATORE: di Luna’s famous aria (“Il balen del suo sorriso”) from Act II, conducted by Riccardo Muti [1977]
 LES VÊPRES SICILIENNES: the Henri-Montfort duet (“Quel est ton nom?”) that closes Act I (sung in the original French, with Alain Vanzo) [1964]


Alessandra MARC #1

 SALOME: a 31-minute scene, from the heroine’s entrance (“Ich will nicht bleiben!”) and encompassing the entire interview with Jokanaan (Greer Grimsley) [2000]
 four gorgeous Strauss songs with orchestral accompaniment: “Freundliche Vision” (op. 48, no. 1), “Morgen!” (op. 27, no. 4), “Wiegenlied” (op. 41, no. 1) and “Zueignung” (op. 10, no. 1)
 TURANDOT: nearly all of the eponymous heroine’s music — her entrance aria (“In questa reggia”), the ensuing Riddle Scene (“Straniero, ascolta!”) and the 15-minute duet finale (“Principessa di morte!”), with Johan Botha (Calàf), Nicolai Gedda (Altoum) and Hei-Kyung Hong (Liù) [2001]


Alessandra MARC #2

 AIDA: the Act I trio (“Quale insolita gioia”), Act II Aida-Amneris interview (“Fu la sorte dell’armi”) and Act IV finale ultimo (“O terra, addio”), with Luciana d’Intino and Giuseppe Giacomini, conducted by Plácido Domingo [1995]
 ARIADNE AUF NAXOS: the glorious final scene, from Bacchus’ entrance (“Circe, kannst du mich hören?”) to the end of the opera, with Michael Pabst, Yelda Kodalli, Ulrike Sonntag, Waltraud Winsauer and Natalie Dessay [1994]
 SALOME: the 20-minute finale (beginning at “Es ist kein Laut zu vernehmen”), with Neil Rosenshein and Judith Christin [2000]


MARTERN ALLER ARTEN #1

 Laura Aikin [2001]
 June Anderson [1993]
 Mariella Devia [1982, conducted by James Levine]
 Leyla Gencer [1958, in Italian]
 Joyce Guyer [2001, in English]
 Elizabeth Harwood [1975]
 Catherine Malfitano [1984, conducted by Julius Rudel]
 Rita Shane [mid-’70s]
 Teresa Stich-Randall [1954, conducted by Hans Rosbaud]


Ana María MARTÍNEZ #1

 L’ELISIR D’AMORE: the second Adina-Nemorino duet (“Caro elisir, sei mio!”), with Matthew Polenzani [2002]
 ROMEO ET JULIETTE: three of the lovers’ scenes, including their Act I meeting (“Ange adorable”), Act II’s balcony scene (“Ô nuit divine!”) and Act IV’s bridal chamber duet (“Nuit d'hyménée!”), with Ramón Vargas, Joshua Hopkins and Judith Christin [2005]
 SIMON BOCCANEGRA: the heroine’s entrance aria (“Come in quest’ora bruna”), the father-daughter recognition duet (“Dinne, perchè in quest’eremo”) and Act II’s long duet-trio sequence (culminating in the great “Perdono, Amelia”), with Carlos Álvarez and Stefano Secco [2006]
 TURANDOT (17 November): Liù’s Act I aria (“Signore, ascolta!”) [2002]


Éva MARTON #1

 ELEKTRA: Chrysothemis' three big scenes, including her entrance aria ("Ich hab’s wie Feuer in der Brust"), her searing account of her brother's death ("Orest ist tot!") and the opera's duet finale ("Elektra! Schwester!"), with Danica Mastilovic, Charles Anthony and Edward Ghazal, conducted by Erich Leinsdorf [1978]
 DIE FRAU OHNE SCHATTEN: the Empress' three big solos, including Act I's awakening scene ("Ist mein Liebster dahin?") and ensuing duet with the Nurse, Act II's nightmare ("Sieh, Amme, des Männes Aug") and Act III's dismissal of the Nurse and confrontation of Keikobad ("Vater, bist du's?"), with Mignon Dunn, Louise Wohlafka, Franz Ferdinand Nentwig, Eleanor Bergquist and Birgit Nilsson, conducted by Maestro Leinsdorf [1981]


Karita MATTILA #1

 ARABELLA: the aria “Das war sehr gut, Mandryka,” with Thomas Hampson, conducted by Christoph von Dohnányi [2002]
 UN BALLO IN MASCHERA: both of Amelia’s arias (“Ma dall’arido stelo divulsa” and “Morrò, ma prima in grazia”) and the big love duet (“Teco io sto!,” with Marcelo Álvarez); the conductor is Antonio Pappano [2005]
 ELEKTRA: Chrysothemis’ entrance scene, including her aria “Ich hab’s wie Feuer in der Brust”; Deborah Polaski sings the title rôle, and James Levine conducts [2002]
 SALOME: the 19-minute scena beginning with “Es ist kein Laut zu vernehmen,” conducted by Valery Gergiev [2004]
 DIE ZAUBERFLÖTE: the first duet with Papageno (“Bei Männern, welche Liebe fühlen”), the famous aria (“Ach, ich fühl’s”) and the long, taxing scene with the Three Boys (“Bald prangt, den Morgen zu verkünden”) [1989]


Sherrill MILNES #1

 L’AFRICAINE: Nélusko’s aria (“Adamastor, roi des vagues profondes”) from Act III [1977]
 ERNANI: Don Carlo’s entrance scene, a duet with Elvira (“Da quel dì che t’ho veduta”) followed by a short trio (“Tu se’ Ernani!), with colleagues Martina Arroyo and Carlo Bergonzi [1970]
 FAUST: Valentin’s two biggest numbers — the aria (“Avant de quitter ces lieux”) and the trio-cum-death scene (“Que voulez-vous, messieurs? . . . Écoute-moi bien, Marguerite!”), with colleagues including Justino Díaz, John Alexander and Montserrat Caballé [1965]
 LA FAVORITA: the Leonora-Alfonso duet (“Quando le soglie paterne varcai”) from Act II, with Shirley Verrett [1978]
 LOHENGRIN: the opening scene (“Hört, Grafen, Edle, Freie von Brabant!”), in which Mr. Milnes can be heard as the Herald [1968]
 NABUCCO: the Abigaille-Nabucco confrontation (“Donna, chi sei?”) from Act III, with Grace Bumbry [1979]
 OTELLO: the Otello-Jago duet (“Sì, pel ciel”) that closes Act II, with Carlo Cossutta; Mr. Milnes closes this number — as he so often did live — by joining the tenor on his high A! [1979]
 DAS RHEINGOLD: Donner’s solo near the close (“He da! He do!”), conducted by Herbert von Karajan [1969]
 LA TRAVIATA: the last minute of Act II, Scene 1 — in this performance, Germont’s final note sounds an octave higher than usual, making for a stunning high B-flat; the (doubtless stunned) Alfredo is none other than Plácido Domingo; the conductor is James Levine [1971]
 I VESPRI SICILIANI: the Arrigo-Monforte duet (“Quando al mio seno per te parlava”) from Act III, with Nicolai Gedda; the conductor is again Maestro Levine [1974]


Nelly MIRICIOIU #1

 DON CARLOS: both of Élizabeth’s arias (“Ô ma chère compagne” and “Toi qui sus le néant”), sung in the original French [1996]
 LES HUGUENOTS: Valentine’s aria (“Ami, le cœur d’Hélène”) [1991]
 NORMA: the entrance aria (“Casta diva”/“Ah, bello a me ritorna”) [1999]
 IL PIRATA: both of Imogene’s arias (“Lo sognai ferito, esanime” and “Col sorriso d’innocenza”) [2003]
 LES VÊPRES SICILIENNES: Hélène’s three major solos (“Au sein des mers,” “Ami, le cœur d’Hélène” and the famous Bolero “Merci, jeunes amies”), sung in the original French [2002]


Nelly MIRICIOIU #2

 DON CARLOS: Élizabeth’s long first duet with Carlos (“Que faites-vous donc?”), sung in the original French, with Vinson Cole, Anat Efraty and Guy de Mey [1996]
 ERMIONE: the long duet that concludes the opera (“Parmi che ad ogn’istante”), with Bruce Ford and Stanford Olsen [1995]
 LES HUGUENOTS: Valentine’s famous Act IV love duet with Raoul (“Ô ciel! Où courez-vous?”), with Richard Leech [1991]
 NORMA: the eponymous heroine’s Act II confrontation with Pollione (“In mia man alfin tu sei”), with Carlo Ventre and Dimitri Kavrakos [1999]
 THAÏS: the long scene that opens Act III (“L’ardent soleil m’écrase”), with John Bröcheler and Ans van Dam [1985]


Nelly MIRICIOIU #3

 ANNA BOLENA: the stunning 20-minute finale, including two slow solos (“Al dolce guidami” and “Cielo, a’ miei lunghi spasimi”) and a searing cabaletta (“Coppia iniqua,” which Miss Miricioiu caps with a high E-flat), with with James Doing, Mark Glanville, Gregory Kunde and Helene Schneiderman [1989]
 ERMIONE: the eponymous heroine’s fascinating, unconventional 17-minute scena from Act II (“Essa corre al trionfo!”), with Umberto Chiummo, Rachele Stanisci and Bruce Ford [1995]
 MEFISTOFELE: all of Margherita’s music from Act III, including her famous aria (“L’altra notte”) and touching duet with Faust (“Lontano, lontano”), with Piero Visconti and Roberto Scandiuzzi [1985]
 NORMA: the double-duet finale ultimo (“Qual cor tradisti” and “Deh, non volerli vittime”), with with Carlo Ventre and Dimitri Kavrakos [1999]
 THAÏS: the opera’s last six minutes (“Thaïs! -- C’est toi, mon père!”), with John Bröcheler [1985]


Anna MOFFO #1

 FAUST: two of Marguerite’s big scenes — the last 13 minutes of Act III (“Laisse-moi contempler ton visage”) and Act IV’s Church Scene (“Seigneur, daignez permettre”), with Cesare Siepi and Barry Morell [1964]
 LA FILLE DU RÉGIMENT: Marie’s entrance duet (“Au bruit de la guerre”) from Act I, sung in Italian, with Giulio Fioravanti [1960]
 MANON: three of the eponymous heroine’s arias (“Je suis encor tout étourdie,” “Adieu, notre petite table” and “Obéissons quand leur voix appelle”) [1963]
 PELLÉAS ET MÉLISANDE: the heroine’s 13-minute final scene (“Attention: je crois qu’elle s’éveille”) from Act V, with Jerome Hines and George London [1962]
 ROMÉO ET JULIETTE: two duets (Act II’s “Ô nuit divine! Je t’implore” and Act IV’s “Nuit d’hyménée!”), with George Shirley [1968]


James MORRIS #1

 BORIS GODUNOV: the Coronation Scene from the Prologue [1993]
 DON CARLO: the Grand Inquisitor’s first scene, from Act IV, with Nicolai Ghiaurov as Filippo [1979]
 DON GIOVANNI: the Champagne Aria (“Finch’han dal vino”) and Serenade (“Deh, vieni alla finestra”) [1975]
 LA FAVORITA: the duet cabaletta (“Vanne dunque, frenetico insano!”) that ends the first scene, with Alfredo Kraus [1975]
 FIDELIO: Rocco’s aria (“Hat man nicht auch Gold beineben”) from Act I [2005]
 LA FORZA DEL DESTINO: the Marquis di Calatrava’s death scene (“Vil seduttor! Infame figlia”) from the end of Act I, with Lucine Amara and Jon Vickers [1975]
 LA GIOCONDA: Alvise’s confrontation with Laura (“Bella così, madonna”) from Act III, with Nell Rankin [1976]
 I PURITANI DI SCOZIA: the long duet finale (“Il rival salvar tu dêi”/“Suoni la tromba”) of Act II, with Sherrill Milnes [1976]
 RIGOLETTO: Count Monterone’s appearance at the Duke’s court (“Ch’io gli parli!”) in the first scene, with colleagues including Richard Tucker and Robert Merrill [1972]
 SEMIRAMIDE: Assur’s fiendish, 12-minute mad scene (“Il dì già cade”) from Act II [1981]
 IL TROVATORE: the 11-minute first scene, including Ferrando’s long narration (“Di due figli vivea padre beato”) [1978]


James MORRIS #2

 AIDA: the King’s first scene (“Su! del Nilo al sacro lido”), from Act I, with Charles Anthony, James McCracken, Bonaldo Giaiotti, Leontyne Price and Marilyn Horne, all conducted by James Levine [1976]
 UN BALLO IN MASCHERA: Samuel and Tom’s laughter at Renato’s expense (“Ve’, se di notte”) in the final scene of Act II, with Sherrill Milnes and Gilda Cruz-Romo [1973]
 COSÌ FAN TUTTE: Guglielmo’s aria (“Donne mie, la fate a tanti”) from Act II, with Riccardo Muti conducting [1982]
 DON CARLO: the first 20 minutes of Act IV, encompassing Filippo’s aria (“Ella giammai m’amò!”) and his long interview with the Grand Inquisitor (Samuel Ramey) [1993]
 DON GIOVANNI: the famous Giovanni-Zerlina duet (“Là ci darem la mano”) from Act I, with Roberta Peters [1975]
 FIDELIO: the Pizarro-Rocco duet (“Jetzt, Alter, hat es Eile!”) from Act I, with Tom Fox [2005]
 LUISA MILLER: the Walter-Wurm duet (“L’alto retaggio non ho bramato”) from Act II, with Bonaldo Giaiotti (Walter), conducted by Maestro Levine [1979]
 MAN OF LA MANCHA: a medley of three numbers (“I, Don Quixote”/“Dulcinea”/“The Impossible Dream”) [1983]
 TOSCA: the Te Deum that closes Act I [1997]
 TURANDOT: Timur’s lament (“Liù, sorgi!”) from Act III, with Franco Corelli, Robert Goodloe, Andrea Velis and Charles Anthony [1974]
 I VESPRI SICILIANI: the great quartet (“Addio, mia patria”) from Act IV, with Timothy Noble, Chris Merritt and Carol Vaness, conducted by Sir Charles Mackerras [1993]


Edda MOSER #1

 LES CONTES D’HOFFMANN: Olympia’s Doll Song (“Les oiseaux dans la charmille”), Antonia’s long trio with Miracle and her mother’s voice (“Tu ne chanteras plus?”) and Giulietta’s Barcarolle (“Belle nuit, ô nuit d’amour”), with Tom Krause and Ann Murray [1980]
 DON GIOVANNI: Donna Anna’s second aria (“Non mi dir”) [1975]
 L’ITALIANA IN ALGERI: the 9-minute finale (“Pria di divederci da voi, signore”) of Act I, with Gail Dubinbaum, Diane Kesling, David Rendall, John Darrenkamp, Sesto Bruscantini and Ara Berberian, conducted by James Levine [1983]
 MITRIDATE, RE DI PONTO: three of Aspasia’s solos — Act I’s “Al destin che la minaccia” and “Nel sen mi palpita” and Act II’s “Nel grave tormento” [1971]
 RIGOLETTO: two of Gilda’s numbers (Act I’s “Caro nome” and Act II’s “Tutte le feste al tempio”), with Kostas Paskalis [1973]
 DIE ZAUBERFLÖTE: both of the Queen of Night’s arias (“Oh, zittre nicht” and “Der Hölle Rache”), conducted by Peter Maag [1972]


Carol NEBLETT #1

 UN BALLO IN MASCHERA: both of Amelia’s arias: “Ma dall’arido stelo divulsa” and “Morrò, ma prima in grazia” [1983]
 LES CONTES D’HOFFMANN: two of Antonia’s scenes: her aria (“Elle a fui, la tourterelle!”) and the great trio (“Tu ne chanteras plus?,” with Sesto Bruscantini and Joy Williams) [1975]
 RIGOLETTO: Gilda’s aria (“Caro nome”) and her second and third duets with her father (Act II’s “Tutte le feste al tempio” and Act III’s “V’ho l’ingannato, colpevole fui”); the baritone is Louis Quilico, the conductor James Levine [1972]
 TOSCA: the aria “Vissi d’arte,” plus both duets with Cavaradossi (Luciano Pavarotti) — Act I’s “Mario, Mario, Mario!” and Act III’s “O dolci mani” [1976]


Carol NEBLETT #2

 ARIADNE AUF NAXOS: the famous aria (“Es gibt ein Reich”) [1976]
 EIN DEUTSCHES REQUIEM: the fifth movement (“Ihr habt nun Traurigkeit”) [1976]
 GURRE-LIEDER: Tove’s four gorgeous solos (“Oh, wenn des Mondes Strahlen,” “Sterne jubeln,” “Nun sag’ ich dir zum ersten Mal” and “Du sendest mir einen Liebesblick”), conducted by James Levine [1976]
 LOUISE: the famous Act III aria (“Depuis le jour”) [1971]
 DIE SCHÖPFUNG: Gabriel’s second solo (“Nun beut die Flur”) [1974]
 DIE TOTE STADT: Marietta’s Act III aria (“Mein Sehnen, mein Wähnen”) [1976]
 IL TROVATORE: both of Leonora’s arias (Act I’s “Tacea la notte placida” and Act IV’s “D’amor sull’ali rosee”), with Dora Marasco [1975]
 as a bonus, a 19-minute radio interview with Miss Neblett [1978]


Jessye NORMAN #1

 ANTONY AND CLEOPATRA: the heroine’s first aria (“Give me some music”) [1994]
 CAPRICCIO: the 20-minute finale, beginning with the Countess’ cry “Morgen mittag um elf?” [1994]
 MESSA DA REQUIEM (Verdi): the duet “Agnus Dei,” with Dame Margaret Price, conducted by Claudio Abbado [1982]
 SAMSON ET DALILA: the famous aria “Mon cœur s’ouvre à ta voix” from Act II [1994]
 Haydn’s great SCENA DI BERENICE (“Berenice, che fai?”) [1994]
 STABAT MATER (Rossini): the thrilling “Inflammatus,” conducted by Riccardo Muti [1983]
 LES TROYENS: the complete 26-minute finale, including Didon’s famous aria “Adieu, fière cité”; the conductor is James Levine [1984]


Jessye NORMAN #2

 LA DAMNATION DE FAUST: Marguerite’s four numbers — Part III’s aria (“Autrefois un roi de Thulé”), duet (“Ange adoré”) and trio finale (“Allons, il est trop tard!”), plus Part IV’s famous aria (“D’amour l’ardente flamme”), with Kenneth Riegel and Justino Díaz, conducted by Pierre Boulez [1977]
 ELIJAH: the Widow’s long scene with Elijah (“What have I to do with thee”), the famous soprano aria (“Hear ye, Israel”) and two beautiful quartets (“For He shall give His angels” and “Oh, come, everyone that thirsteth”), with Beverly Wolff, Philip Creech, John Cheek and Sherrill Milnes, conducted by James Levine [1978]
 LES TROYENS: Act I’s Cassandre-Chorèbe duet (“Reviens à toi, vierge adorée!”) and 11-minute finale (“Non, je ne verrai pas la déplorable fête!”), with Allan Monk, Edward Sooter, Ara Berberian, Lucille Beer, Robert Nagy and John Cheek, conducted by Maestro Levine [1984]


Stanford OLSEN #1

 CANDIDE: three numbers from Act II — “My Love,” “Quiet” and “Bon Voyage” — with colleagues Jeff Blumenkrantz, Kristin Chenoweth and Patti LuPone [2004]
 DIE ENTFÜHRUNG AUS DEM SERAIL: Belmonte’s third aria (Act II’s “Wenn der Freude Tränen fließen”), the ensuing quartet (“Ach, Belmonte! Ach, mein Leben!”) and Act III’s impassioned duet (“Meinetwegen sollst du sterben”), with colleagues Laura Aikin, Theodore Green and Esther Heideman [2001]
 ERMIONE: two duets (Act I’s “Che sorda al mesto pianto” and Act II’s “A così trista immagine”), with with Bruce Ford and Umberto Chiummo [1995]
 FIDELIO: Jacquino’s two major numbers (the duet “Jetzt, Schätzchen, sind wir allein” and the quartet “Mir ist so wunderbar”) from Act I, with colleagues Amy Burton, Deborah Voigt and James Morris [2005]
 DER ROSENKAVALIER: the Italian Tenor’s scene (“Di rigori armato il seno”) from Act I, with Eric Halfvarson [1995]
 SEMIRAMIDE: both of Idreno’s arias (“Ah, dov’è il cimento?” and “La speranza più soave”) [1990]
 SWEENEY TODD: Pirelli’s two scenes (“The Contest” and his death) from Act I, with George Hearn, Miss LuPone and Neil Patrick Harris [2000]


O PATRIA MIA (Aida Act III) #1

 Martina Arroyo [1972]
 Régine Crespin [1962]
 Gilda Cruz-Romo [1973]
 Susan Dunn [1988]
 Rita Hunter [1976]
 Sena Jurinac [1950]
 Dame Margaret Price [1981]
 Leonie Rysanek [1960]
 Beverly Sills [1956]
 Gabriella Tucci [1961]
 Violeta Urmana [2005]
 Shirley Verrett [1980]


O TERRA, ADDIO (Aida Act IV) #1

 Susan Dunn and Giuseppe Giacomini (with Dolora Zajick as Amneris) [1988]
 Rita Hunter and Carlo Bergonzi (with Elena Obraztsova) [1976]
 Dame Gwyneth Jones and Jon Vickers (with Lyne Dourian) [1968]
 Beverly Sills and Victor Mincieli (with Irene Kramarich) [1956]
 Gabriella Tucci and Mario del Monaco (with Giulietta Simionato) [1961]
 Shirley Verrett and James McCracken (with Elizabeth Connell) [1980]
 Ljuba Welitsch and Ramón Vinay (with Margaret Harshaw) [1950]


Luba ORGONASOVA #1

 ALCINA: five of the heroine’s arias (“Di, cor mio,” “Sì, son quella!,” “Ah, mio cor,” “Ombre pallide” and “Mi restano le lagrime,” plus the Act III trio (“Non è amor, nè gelosia,” with Ewa Podles and Vesselina Kasarova) [1999]
 I PURITANI DI SCOZIA: 1995the Act I Elvira-Giorgio duet (“Sai com’arde in petto mio”), plus both her arias (Act I’s “Son vergin vezzosa” and Act II’s “Qui la voce,” with Alastair Miles, Stuart Neill, Helene Schneiderman and Roberto Frontali [199515:00]


Felicity PALMER #1

 IL CROCIATO IN EGITTO: Armando’s entrance aria (“Eccomi alfine, ecco ritorno a voi”) [1979]
 ELEKTRA: Klytämnestra’s harrowing nightmare (“Ich habe keine guten Nächte”), with Lisa Gasteen [2004]
 GIULIO CESARE IN EGITTO: Cornelia’s four arias (“Priva son d’ogni conforto”) and her gorgeous duet with Sesto (“Son nata a lagrimar,” with Ruxandra Donose) [2002]
 HAMLET: the “Get thee to a nunnery” scene (“Allez dans un cloître, Ophélie!”) from Act III, with Ruth Welting and Sherrill Milnes [1990]
 THE RAKE’S PROGRESS: Baba the Turk’s three big scenes, including her first appearance (“My love, am I to remain in here forever?”), her aria (“As I was saying, both brothers”) and her return in the auction scene (“Sold! Annoyed!”), with Ruth Ann Swenson, Jerry Hadley, Anthony Laciura and Samuel Ramey [1994]
 SEMELE: from Act II, Juno’s famous aria “Hence, Iris, away,” with Judith Howarth [1996]
 LES TROYENS: the spectacular 14-minute Act I finale (“Non, je ne verrai pas la déplorable fête!”) [1982]


Roberta PETERS #1

 ARABELLA: Fiakermilli’s entrance solo (“Die Wiener Herrn versteh’n sich auf die Astronomie”), sung in English, conducted by Rudolf Kempe [1955]
 UN BALLO IN MASCHERA: Oscar’s first big solo (“Volta la terrea”) and the ensuing finaletto (“Ogni cura si doni al diletto”) from Act I, Scene 1, with colleagues Richard Tucker, James McCracken, Josef Metternich, Nicola Moscona and Norman Scott, conducted by Dimitri Mitropoulos [1955]
 Chapi’s zesty song “Carceleras” [1987]
 LES CONTES D’HOFFMANN: the famous Doll Song (“Les oiseaux dans la charmille”) from Act I [1955]
 DINORAH, OU LE PARDON DE PLOËRMEL: the Shadow Song (“Ombre légère”) from Act II, sung in Italian [1969]
 DON PASQUALE: the love duet (“Tornami a dir”) from Act III, with Cesare Valletti, conducted by Thomas Schippers [1956]
 FALSTAFF: Nannetta’s gorgeous song (“Sul fil d’un soffio etesio”) from Act III, conducted by Christoph von Dohnányi [1972]
 DIE FLEDERMAUS: Adele’s second aria (“Spiel’ ich die Unschuld vom Lande”) from Act III [1967]
 GIANNI SCHICCHI: Lauretta’s famous aria (“O mio babbino caro”), sung in English [1952]
 LAKMÉ: the gorgeous Flower Duet (“Dôme épais le jasmin”) from Act I, with Naomi Marritt [1968]
 THE LAST SAVAGE: the beautiful duet finale (“See how the dying sun”), with George London, conducted by Mr. Schippers [1964]
 MANON LESCAUT (Auber): the Laughing Song (“C’est l’histoire amoureuse”) from Act I [1987]
 LE NOZZE DI FIGARO: Barbarina’s little solo (“L’ho perduta”) that begins Act IV [1952]
 Mozart’s fiendish concert aria “POPOLI DI TESSAGLIA!,” KV 316, which ascends twice to the G above high C! [1964]
 TANNHÄUSER: the Shepherd Boy’s scene (“Frau Holda kam aus dem Berg hervor”) from Act I [1955]
 LA TRAVIATA: Violetta’s last aria (“Addio, del passato”) from Act III [1971]
 VIER LETZTE LIEDER (FOUR LAST SONGS): the third (“Beim Schlafengehen”) [1984]


Roberta PETERS #2

 ARIADNE AUF NAXOS: Zerbinetta’s famous aria (“Großmächtige Prinzessin”), conducted by Karl Böhm [1963]
 UN BALLO IN MASCHERA: Oscar’s Act I solo (“Volta la terrea”) and the ensuing finaletto (“Ogni cura si doni al diletto”), plus the Act II quintet (“Di che fulgor”), with Bruno Prevedi, Andrea Velis, Lorenzo Alvary, Louis Sgarro, Robert Merrill and Leontyne Price [1968]
 DON GIOVANNI: both of Zerlina’s arias (Act I’s “Batti, batti” and Act II’s “Vedrai, carino”), with Raymond Michalski [1975]
 DON PASQUALE: the long Norina-Malatesta duet from Act I (“Pronta io son!”), with Frank Guarrera, conducted by Thomas Schippers [1956]
 L’ELISIR D’AMORE: the first Adina-Nemorino duet from Act I (“Chiedi all’aura lusinghiera”), with Alfredo Kraus [1968]
 GIUDITTA: the famous waltz aria (“Meine Lippen, sie küßen so heiß”) [1987]
 HAMLET: Ophélie’s taxing mad scene (“À vos jeux, mes amis”) [1960]
 LAKMÉ: the eponymous heroine’s first two arias (Act I’s “Sous le ciel tout étoilé” and Act II’s “Pourquoi dans les grands bois”) [1968]
 THE LAST SAVAGE: Kitty’s presentation of the title character (“Just look at him!”) [1964]
 ROMÉO ET JULIETTE: the heroine’s Act I waltz aria (“Je veux vivre”) [1963]
 LA TRAVIATA: the opera’s last six minutes (“Se una pudica vergine”), with Seymour Schwartzman, Giuseppe Campora, Yolanda Antoine and Louis Picciardo [1971]


Rosalind PLOWRIGHT #1

 ARIADNE AUF NAXOS: both of the heroine’s monologues (“Ein Schönes war” and “Es gibt ein Reich”) [1984]
 DON CARLO: Elisabetta’s second aria (“Tu che le vanità”) and the ensuing duet finale (“Ma lassù ci vedremo,” with Neil Shicoff) [1988]
 STIFFELIO: Lina’s two arias (“A te ascenda, o Dio clemente” and “Ah, dagli scanni eterei”), plus her long duet with Stankar (“Dite che il fallo a tergere,” with Brent Ellis) [1985]
 I VESPRI SICILIANI: Elena’s three major solos — Act I’s “In alto mare,” Act IV’s “Arrigo! Ah, parli a un core” and Act V’s Bolero (“Mercè, dilette amiche”), sung in English [1984]


Lucia POPP #1

 ARABELLA: two performances of the duet (“Aber der Richtige”) from Act I: in one, Miss Popp plays Zdenka to Miss Janowitz’s Arabella [1976], while in the other she’s Arabella to Julie Kaufmann’s Zdenka [1985]
 UN BALLO IN MASCHERA: from Act III, Oscar’s saucy aria (“Saper vorreste”) [1966]
 IL BARBIERE DI SIVIGLIA: Rosina’s entrance aria (“Una voce poco fa”) from Act I [1972]
 CARMEN: the Card Scene (“Mêlons! — Coupons!”) from Act III, with Miss Popp’s Frasquita joined by fellow gypsies Margarita Lilowa (Mercédès) and Christa Ludwig (Carmen); Lorin Maazel conducts [1966]
 ELEKTRA: the opening scene (“Wo bleibt Elektra?”), in which Miss Popp is the Fifth Maid alongside Helen Watts, Margarete Sjöstedt, Cvetka Ahlin, Lisa Otto and Judith Hellwig, all conducted by Herbert von Karajan [1964]
 FALSTAFF: the final fugue (“Tutto nel mondo è burla”), with Miss Popp’s Nannetta joined by the likes of Dietrich Fischer-Dieskau, Thomas Hampson, Marjana Lipovsek, Kurt Moll, Peter Seiffert and Julia Varady, conducted by Wolfgang Sawallisch [1992]
 GIULIO CESARE IN EGITTO: Cleopatra’s gorgeous aria “Venere bella” from Act II, sung in German [1965]
 GREAT MASS IN C MINOR: the aria “Et incarnatus est,” conducted by Sir Georg Solti [1978]
 MEDEA: Glauce’s aria (“O Amore, vieni a me”) from Act I [1972]
 PALESTRINA: a long, radiant scene from late in Act I (“Allein in dunkler Tiefe”), in which the composer (Fritz Wunderlich) is inspired by a heavenly chorus led by Mimi Coertse, Miss Popp and Gundula Janowitz, plus the voice of his late wife (Hilde Rößl-Majdan) [1964]
 DER ROSENKAVALIER: the famous trio (“Hab’ mir’s gelobt”) from Act III, with Brigitte Fassbaender (Octavian) and Helen Donath (Sophie) [1985]


Leontyne PRICE #1

 Beethoven’s searing concert aria “AH, PERFIDO!” [1973-74?]
 GIULIO CESARE IN EGITTO: five of Cleopatra’s arias (“Tu la mia stella sei,” “V’adoro, pupille,” “Se pietà,” “Piangerò” and “Da tempeste”) [1956 and 1960]
 IDOMENEO, RE DI CRETA: Elettra’s final aria (“D’Oreste, d’Aiace”) from Act III [1975]
 TANNHÄUSER: “Dich, teure Halle,” conducted by Sir Georg Solti [1980]
 TRISTAN UND ISOLDE: the Liebestod, also conducted by Maestro Solti [1980]
 two items from an appearance at a memorial: “When I’ve Done My Best” and Rodgers & Hammerstein’s “Climb Every Mountain” (THE SOUND OF MUSIC) [1971]
 six encores from a remarkable recital: “Io son l’umile ancella” (ADRIANA LECOUVREUR), “Summertime” (PORGY AND BESS), “Chi il bel sogno di Doretta” (LA RONDINE), “This Little Light of Mine,” “Signore, ascolta!” (TURANDOT) and “Pace, pace” (LA FORZA DEL DESTINO) [1983]
 a bonus performance of the RONDINE aria eight months later [1983]


Leontyne PRICE #2

 AMADIGI DI GAULA: the aria “Ah, spietato!” [1958]
 the hilarious “Cat Duet” long attributed to Rossini, with Régine Crespin [1982]
 DIE LIEBE DER DANAË: the last 17 minutes of Act I, the only portion of this score she ever sang [1959]
 four piano-accompanied selections from a radio show: the gorgeous Rachmaninoff VOCALISE, Barber’s song “Despite and Still” (from the cycle of that name especially written for Miss Price), the spiritual “This Little Light of Mine” and Hamlisch’s song “What I Did for Love” (from A CHORUS LINE!)
 IL TABARRO: the bulk of Giorgetta’s music, including her impassioned solo (“È ben altro il mio sogno!”), duets with Luigi (“O Luigi, bada a te!”) and Michele (“Come è difficile esser felici!”), and the final scene (“Michele, ho paura”), with Betty Allen, Aldo Bottion and Gabriel Bacquier [1971]
 TURANDOT: most of Liù’s music, including her entrance (“Indietro, cani!”) and all three arias (“Signore, ascolta!,” “Tanto amore segreto” and “Tu che di gel sei cinta”), with Giuseppe di Stefano, Nicola Zaccaria and Birgit Nilsson [1961]


Leontyne PRICE #3

 ANTONY AND CLEOPATRA: the glorious scene and trio (“Noblest of men”) that open Act III, with Rosalind Elias, Justino Díaz and Belén Amparan, conducted by Thomas Schippers [1966]
 COSÌ FAN TUTTE: two selections from Act I — the duet “Ah, guarda, sorella” and the trio “Soave sia il vento” — sung in English, with Miss Elias and Francesco Valentino [1965]
 DON GIOVANNI: the Maskers’ Trio (“Protegga il giusto cielo”) from Act I, with Hilde Güden and Fritz Wunderlich, conducted by Herbert von Karajan [1963]
 MADAMA BUTTERFLY: the 16-minute Love Duet (“Bimba, non piangere”) that concludes Act I, with Stuart Burrows [1973]
 MANON LESCAUT: the eponymous heroine’s Lesson Scene (“L’ora, o Tirsi”) from Act II, with Joseph Frank and Renato Capecchi [1974]
 MESSA DA REQUIEM: the long Offertorio (“Domine Jesu Christe”) and Agnus Dei, with Florence Quivar, Plácido Domingo and John Cheek, all conducted by James Levine [1982]
 VIER LETZTE LIEDER (FOUR LAST SONGS) [early ‘70s]


Leontyne PRICE #4

 ANTONY AND CLEOPATRA: the heroine’s first aria (“Give me some music”), with Andrea Velis, Miss Elias and Belén Amparan, conducted by Thomas Schippers [1966]
 ARIADNE AUF NAXOS: the 19-minute duet finale (beginning at “Ich grüße dich, du Bote aller Boten!”), with Allen Cathcart, Eleanor Bergquist, Pamela South, Gwendolyn Jones and Ruth Welting [1977]
 COSÌ FAN TUTTE: three selections from Act II — the duets “Prenderò quel brunettino” (with Rosalind Elias) and “Fra gli amplessi” (with Richard Tucker), plus the grand rondo (“Per pietà”) — sung in English [1965]
 DON GIOVANNI: the Anna-Ottavio duet (“Fuggi, crudele, fuggi!”) from Act I, with Fritz Wunderlich, conducted by Herbert von Karajan [1963]
 MADAMA BUTTERFLY: the heroine’s Act I entrance scene (“Ancora un passo or via”), Act II’s Flower Duet (“Scuoti quella fronda di ciliegio”) and Act III’s lullaby (“Dormi, amor mio”) and death scene (“Tu, tu, piccolo Iddio”) — with Robert Schmorr, Robert Goodloe, Nedda Casei and Stuart Burrows [1973]
 MANON LESCAUT: the lovers’ first two duets (“Cortese damigella” and “Vedete? Io son fedele”) from Act I, with Giorgio Merighi, Julian Patrick and William Harness [1974]


Leontyne PRICE #5

 DON GIOVANNI: both of Anna’s arias (Act I’s “Or sai chi l’onore” and Act II’s “Non mi dir”), plus Act I’s Maskers’ Trio (“Protegga il giusto cielo”) and Act II’s sextet (“Sola, sola in buio loco”), with Stuart Burrows, Teresa Żylis-Gara, Walter Berry, Sherrill Milnes, Teresa Stratas and Raymond Michalski, conducted by James Levine [1974]
 EUGEN ONEGIN: the famous Letter Scene from Act I, including 13 minutes of surrounding conversation between Tatyana and Filipyevna (Lili Chookasian), and the opera’s 13-minute finale, one last encounter between Tatyana and Onegin (William Dooley), all sung in English [1964]
 IL TROVATORE: Act IV’s famous duet (“Miserere d’un alma già vicina”) and finale of successive trios (“Ha quest’infame l’amor venduto” and “Prima che d’altri vivere”), with James McCracken, Giulietta Simionato and Ettore Bastianini, conducted by Herbert von Karajan [1963]


Leontyne PRICE #6

 UN BALLO IN MASCHERA: both of Amelia’s arias (Act II’s “Ma dall’arido stelo divulsa” and Act III’s “Morrò, ma prima in grazia”), plus the famous Act II love duet (“Teco io sto!”), with Bruno Prevedi and Robert Merrill [1968]
 COSÌ FAN TUTTE: three selections from Act II — the duets “Prenderò quel brunettino” (with Rosalind Elias) and “Fra gli amplessi” (with Richard Tucker), plus the grand rondo (“Per pietà”) — sung in English [1965]
 DIALOGUES DES CARMÉLITES: Lidoine’s two big scenes (Act II’s “Mes chères filles, j’ai encore à vous dire” and Act III’s “Mes filles, voilà que s’achève”), sung in English, as heard in two different performances, with Rosemary Kuhlmann, Judith Raskin et al. [1957] and with Virginia Zeani, Leslie Richards, Betsy Norden, Donna Petersen and Carl Glaum [1982]
 MISSA SOLEMNIS (Beethoven): two successive movements (“Sanctus” and “Benedictus”), with Christa Ludwig, Nicolai Gedda and Nicola Zaccaria, conducted by Herbert von Karajan [1959]
 PRAYERS OF KIERKEGAARD (Barber): the solo “Lord Jesus Christ, Who suffered all life long,” written expressly for her [1959]


Leontyne PRICE #7

 MADAMA BUTTERFLY: most of Cio-cio-san’s key music, including her entrance (“Ancora un passo or via,” capped with a luminous high D-flat), the love duet (“Bimba, non piangere”), both Act II monologues (“Un bel dì” and “Che tua madre”) and the Flower Duet, and Act III’s lullaby (“Dormi, amor mio”) and death scene (“Con onor muore”), with Howard Fried, Vladimir Ruzdak, Sándor Kónya and Mildred Miller [1961]
 MANON LESCAUT: Act II’s love duet (“Tu, tu, amore, tu?”) and finale (“Ah, Manon, mi tradisce”), plus all of Act IV, including her final aria (“Sola, perduta, abbandonata”), with Giorgio Merighi and Renato Capecchi [1974]


Leontyne PRICE #8

 MASS IN B MINOR (Bach): all three duets featuring the soprano soloist (“Christe, eleison,” “Domine Deus” and “Et in unum Dominum”), with Christa Ludwig and Nicolai Gedda, conducted by Herbert von Karajan [1961]
from a Salzburg recital, four Schubert songs (“Die Allmacht,” “Auflösung,” “Gretchen am Spinnrade” and “Lied der Mignon”), five by Richard Strauss (“Breit’ über mein Haupt,” “Cäcilie,” “Heimliche Aufforderung,” “Morgen!” and “Wasserrose”) and three spirituals (“Every Time I Feel the Spirit,” “He’s Got the Whole World in His Hands” and “Ride On, Jesus!”) [1977]
 STABAT MATER (Rossini): all Miss Price’s contributions to this rarity, including three quartets (“Stabat mater dolorosa,” “Sancta mater” and “Quando corpus morietur”), the duet with the mezzo (“Quis est homo”) and the searing solo with chorus (“Inflammatus et accensus”), with Susanne Marsee, John Alexander and Robert Hale, conducted by Julius Rudel [1971]


Leontyne PRICE and Franco CORELLI #1

The American soprano LEONTYNE PRICE and the Italian tenor FRANCO CORELLI appeared dozens of times onstage together, but the only studio recording they made together was of an opera she never did onstage (Carmen). This one-of-a-kind collection, consisting entirely of rare, live performances, is a unique commemoration of their stage collaborations in five great operas, all in the same venue where they jointly debuted in 1961.

 AIDA: the two big duets for the lovers — Act III’s “Pur ti riveggo, mia dolce Aida” and Act IV’s “O terra, addio” [1966]
 ERNANI: the 15-minute finale, including the great trio “Solingo, errante, misero” (with Cesare Siepi) [1965]
 LA FORZA DEL DESTINO: the duet (“Ah, per sempre”) that closes Act I [1968]
 TOSCA: the two big duets for the lovers — Act I’s “Mario, Mario, Mario!” and Act III’s “O dolci mani” [1962]
 IL TROVATORE: the “Miserere” from Act IV [1961]


Margaret PRICE #1

 ARIADNE AUF NAXOS: the aria “Es gibt ein Reich” [1984]
 ADRIANA LECOUVREUR: the aria “Poveri fiori” from Act IV [1990]
 CENDRILLON: Cinderella’s aria (“Adieu, mes souvenirs de joie”) from Act III, sung in English [1970]
 DON CARLO: “Non pianger, mia compagna” (from Act II) [1978]
 EUGEN ONEGIN: Tatyana’s famous Letter Scene (“Пускай погибну я, но прежде”) from Act II, sung in English [1968]
 FALSTAFF: “Sul fil d’un soffio etesio” (from Act III) [1970]
 DER FREISCHÜTZ: Agathe’s first aria (“Leise, leise”), from Act II [1973]
 GIOVANNA D’ARCO: the heroine’s Act I aria (“O fatidica foresta”) [1985]
 LUCREZIA BORGIA: “Com’è bello!,” from the Prologue [1981]
 NORMA: “Casta diva” (from Act I) [1979]
 SEMELE: the defiant aria “No, no, I’ll take no less!” from Act III [1969]
 VESPERAE SOLENNES DE CONFESSORE: the celebrated “Laudate Dominum” [1975]


Margaret PRICE #2

 LA BOHEME: the heroine’s Act I aria (“Sì: mi chiamano Mimì”) and love duet (“O soave fanciulla”), with Piero Visconti [1984]
 CENDRILLON: the heroine’s Act III aria (“À l'heure dite je fuyais”), sung in English [1970]
 ERNANI: Elvira’s entrance aria (“Ernani, involami”) [1984]
 EUGEN ONEGIN: the searing final scene, sung in English, with John Shirley-Quirk [1967]
 LA FORZA DEL DESTINO: Leonora’s Act IV aria (“Pace, pace, mio Dio!”) [1984]
 DER FREISCHÜTZ: Agathe’s Act III aria (“Und ob die Wolke”) [1973]
 GIOVANNA D’ARCO: the heroine’s entrance aria (“Sempre all’alba”), from the Prologue [1985]
 NORMA: the tragic duet finale (“Deh, non volerli vittime”), with Bruno Prevedi and Matti Salminen [1979]
 SEMELE: the heroine’s gorgeous Act II aria (“O Sleep, why dost thou leave me?”) [1969]
 SEMIRAMIDE: the Act I showpiece (“Bel raggio lusinghier”) [1981]
 SIMON BOCCANEGRA: the Act II trio (“Perdono, Amelia”), with Giorgio Lamberti and Renato Bruson, featuring 2 flawless high Cs from Dame Margaret [1980]
 LA TRAVIATA: Violetta’s Act III aria (“Addio, del passato”) [1984]


Louis QUILICO #1

 FALSTAFF: the comic duet for Quickly and Falstaff from Act II, with Bianca Berini [1983]
 LUISA MILLER: the father’s aria (“Sacra la scelta”) from Act I, with Katia Ricciarelli [1974]
 OTELLO: three numbers from Act II — Jago’s nihilistic creed (“Credo in un Dio crudel”), his deceitful dream (“Era la notte”) and the duet with Otello (“Sì, pel ciel”); Jon Vickers sings Otello, under James Levine’s direction [1973]
 RIGOLETTO: from Act II, the aria (“Cortigiani, vil razza dannata”) and duet (“Tutte le feste al tempio”); Carol Neblett is the thrilling Gilda, with Maestro Levine again on the podium [1972]
 TOSCA: the final scene of Act I, from Scarpia’s entrance (“Un tal baccano in chiesa!”) through the famous Te Deum, with Dorothy Kirsten in the title rôle, conducted by Maestro Levine [1970]
 IL TROVATORE: Act I’s trio (“Di geloso amor”) and Act II’s aria (“Il balen del suo sorriso”), with Renata Scotto and James McCracken [1977]
 LES TROYENS: the massive duet for Cassandre and Chorèbe (“Reviens à toi, vierge adorée!”) in Act I, with Shirley Verrett, conducted by Rafael Kubelík [1974]


Florence QUIVAR #1

 DON CARLO: the Act IV quartet (“Ah, sii maledetto”) and aria (“O don fatale”), with James Morris, Thomas Hampson and Renée Fleming [1993]
 L'ENFANT ET LES SORTILEGES: a charming scene (“Sauve-toi, sotte!”), with Andrea Velis, Hilda Harris and Loretta di Franco [1981]
 MESSA DA REQUIEM: most of the mezzo’s music, including her big solo (“Liber scriptus”), two trios (“Quid sum miser” and “Lux aeterna”), two duets (“Recordare” and “Agnus Dei”) and three quartets (“Rex tremendae,” “Lacrymosa” and “Offertorio,” with Plácido Domingo, Leontyne Price and John Cheek, conducted by James Levine [1982]
 PORGY AND BESS: two scenes featuring Serena, including her Act II aria (“My Man’s Gone Now”) and the Act III trio (“O Bess, Oh, Where’s My Bess?”) and finale ultimo (“O Lord, I’m on My Way”), with Simon Estes, Barbara Conrad, Priscilla Baskerville and John Freeman-McDaniels [1985]
 DAS RHEINGOLD: Erda’s scene (“Weiche, Wotan!”), with Mr. Estes [1984]
 RIGOLETTO: the famous Act III quartet (“Bella figlia dell’amore”), with Luciano Pavarotti, June Anderson and Sherrill Milnes [1992]


Sondra RADVANOVSKY #1

 CYRANO DE BERGERAC: the Balcony Scene that closes Act II (“Appelle-la! — Roxane!”) and Roxane’s Act III scene and aria (“Et maintenant, Christian”); colleagues include Antonio Barasorda and Raymond Very [2006]
 DON GIOVANNI: Donna Anna’s second aria (“Non mi dir”), from Act II, with Rainer Trost [2003]
 a concert performance of the Christmas favorite “O HOLY NIGHT” [2001]
 LA TRAVIATA: Violetta’s Act I scena (the aria “Ah, fors’è lui” and the cabaletta “Sempre libera”) and Act III aria (“Addio, del passato”), with Massimo Giordano [2002]
 IL TROVATORE: the opening scene of Act IV, encompassing Leonora’s second aria (“D’amor sull’ali rosee”) and cabaletta (“Tu vedrai che amore in terra”) with the famous duet in between (“Miserere d’un alma già vicina,” with Roberto Alagna) [2003]
 I VESPRI SICILIANI: Elena’s three big solos — Act I’s “In alto mare,” Act IV’s “Arrigo! Ah, parli a un core” and Act V’s Bolero (“Mercè, dilette amiche,” capped with a stunning high E) [2004]


Sondra RADVANOVSKY #2

 Susannah: both of the eponymous heroine’s famous arias (Act I’s “Ain’t it a pretty night?” and Act II’s “The trees on the mountain”) [2002]
 IL TROVATORE: Leonora’s Act I aria (“Tacea la notte placida”) and trio with di Luna and Manrico (“Di geloso amor”), the Act II finale (“E degg’io o posso crederlo?”) and the Act IV duet with di Luna (“Mira, d’acerbe lagrime”), with with Diane Elias, Carlos Álvarez, Francisco Casanova, Willard White and Eduardo Valdes [2002]
 I VESPRI SICILIANI: Act II’s Elena-Arrigo duet (“Presso alla tomba”), Act IV’s quartet (“Addio, mia patria”) and finale (“De profundis”/“Ornai rapito in estasi”) and Act V’s last 15 minutes (including the searing trio “Sorte fatal!”), with Francisco Casanova, Samuel Ramey and Leo Nucci [2004]; as a bonus, I’ve included a piano-accompaned rendition of Act V’s famous bolero (“Merci, jeunes amies”) sung in the original French, with Miss Radvanovsky’s customary glorious high E


THE RAKE’S PROGRESS #1

 from a 1969 performance, Anne’s Act I aria (“No word from Tom”) and the three major scenes featuring Baba the Turk — her first appearance (“My love, am I to remain in here forever?”), her aria (“As I was saying, both brothers”) and her return in the auction scene (“Sold! Annoyed!”) — with Arlene Saunders (Anne), Hans Sotin (Trulove), Tatiana Troyanos (Baba), Loren Driscoll (Tom), David Thaw (Sellem) and Tom Krause (Nick), conducted by Sir Charles Mackerras
 the same four numbers from a 1994 performance with Ruth Ann Swenson (Anne), Dale Travis (Trulove), Felicity Palmer (Baba), Jerry Hadley (Tom), Anthony Laciura (Sellem) and Samuel Ramey (Nick), conducted by Dennis Russell Davies
 the three Baba scenes from a 1998 performance with Stephanie Blythe (Baba), Dawn Upshaw (Anne), Mr. Hadley (Tom), Jerold Siena (Sellem) and Mr. Ramey, conducted by James Levine


Regina RESNIK #1

 AIDA: Amneris’ big scena (“Ohimè! Morir mi sento!”) from Act IV [1961]
 ANDREA CHÉNIER: Maddalena’s aria (“La mamma morta”) from Act III [1949]
 DON CARLO: Eboli’s Veil Song (“Nel giardin nel bello”) and Garden Scene trio (“A mezzanotte, ai giardin della Regina”), with Eugenio Fernandi and Ettore Bastianini [1960]
 ERNANI: Elvira’s entrance aria (“Ernani, involami”), from Act I [1944]
 FALSTAFF: the scene “Presenteremo un bill” from Act II, with Cloë Elmo, Martha Lipton and Licia Albanese [1949]
 LE PROPHÈTE: Fidès’ famous aria (“Ah, mon fils!”) [1961]
 LES TROYENS: three of Didon’s scenes — her entrance aria (“Chers Tyriens!”), the ensuing duet with Anna (“Reine d’un jeune empire”) and the opera’s final 14 minutes (including the aria “Adieu, fière cité”) [1960]


Regina RESNIK #2

 AIDA: most of Amneris’ music, including the Act I trio (“Quale insolita gioia”), the Act II duet with Aida (“Fu la sorte dell’armi”) and all of Act IV, Scene 1 (“Già i sacerdoti adunansi”), with Sándor Kónya, Leontyne Price and Walter Kreppel [1963]
 DER BESUCH DER ALTEN DAME: three big scenes from this modern opera, sung in English, including Claire and Ill’s first meeting in the forest (“Wir sind Fichten, Föhren, Buchen”), Claire’s announcement of her demands to the people of Güllen (“Bürgermeister, Güllener, Eure selbstlose Freude”) and the searing final scene (“Was ist denn hier los?”), with Douglas Ahlstedt, Raymond Manton, Raymond Wolansky, Richard Cassilly, Norman Kelley, Allan Monk, Donna Petersen, Kenneth Criste, Daniel Sullivan, Julia Emoed-Wallace, Sandra Bush, Bruce Yarnell and Erik Townsend [1972]
 LA FAVORITA: Leonora’s Act II aria (“O mio Fernando”) [1961]
 LE NOZZE DI FIGARO: the Susanna-Marcellina duet from Act I (“Via resti servita, Madama brillante”), with Roberta Peters [1961]


Katia RICCIARELLI #1

 I CAPULETI ED I MONTECCHI: Act I’s “Oh, quante volte” and Act II’s “Morte io non temo” [1991]
 CARMEN: Micaëla’s “Je dis que rien ne m’épouvante,” from Act III [1975]
 I PURITANI DI SCOZIA: from the Malibran version, Act I’s “Son vergin vezzosa,” Act II’s “Qui la voce”/“Vien, diletto” and Act III’s “Ah, sento, o mio bell’angelo” [1986]
 ZAIRA: Act I’s “Amo ed amata io sono” and Act II’s “Che non tentai per vincere” [1990]


Gail ROBINSON #1

 UN BALLO IN MASCHERA: Oscar’s aria (“Saper vorreste”) from Act III, with Sherrill Milnes [1973]
 IL BARBIERE DI SIVIGLIA: Rosina’s entrance aria (“Una voce poco fa”) from Act I [1987]
 DON PASQUALE: Norina’s entrance aria (“Quel guardo il cavaliere”) from Act I [1980]
 DIE ENTFÜHRUNG AUS DEM SERAIL: Konstanze’s entrance aria (“Ach, ich liebte”) from Act I [1979]
 LA FILLE DU RÉGIMENT: Marie’s jubilant cabaletta (“Salut à la France!”) from Act II, sung in English [1974]
 LINDA DI CHAMOUNIX: the heroine’s entrance aria (“O luce di quest’anima”) from Act I [1974]
 LOUISE: the heroine’s famous aria (“Depuis le jour”) that opens Act III [1978]
 LUCIA DI LAMMERMOOR: the Mad Scene (“Ardon gl’incensi!”) from Act III [1972]
 RIGOLETTO: Gilda’s aria (“Caro nome”) from Act I [1972]
 DER ROSENKAVALIER: the Presentation of the Rose (“Mir ist die Ehre widerfahren”) from Act II, with Tatiana Troyanos [1985]
 LA SONNAMBULA: Amina’s aria (“Ah, non credea mirarti”/“Ah, non giunge”) from Act III [1974]
 DIE ZAUBERFLÖTE: Pamina’s scene with the Three Boys (“Bald prangt, den Morgen zu verkünden”) from Act II; Miss Robinson’s fellow “boys” are Judith Forst and Frederica von Stade, and Pamina is Teresa Żylis-Gara [1970]


Elinor ROSS #1

 UN BALLO IN MASCHERA: from Act II, Amelia’s aria (“Ma dall’arido stelo divulsa”) and the ensuing love duet (“Teco io sto!,” with Luciano Pavarotti) [1975]
 CAVALLERIA RUSTICANA: three of Santuzza’s numbers — the Easter Prayer (“Inneggiamo: Il Signor non è morto!”), the aria (“Voi lo sapete, o Mamma”) and the duet with Alfio (“Turiddu mi tolse l’onore,” with Matteo Manuguerra) [1973]
 NORMA: the entire entrance scene, including the aria (“Casta diva”) and its cabaletta (“Ah, bello a me ritorna”) [1968]
 LA FORZA DEL DESTINO: three of Leonora’s arias: “Madre, pietosa Vergine,” “La Vergine degli angeli” and “Pace, pace” [1966]
 TURANDOT: the heroine’s entrance scene from Act II, including the aria (“In questa reggia”) and the Riddle Scene (with Richard Tucker) [1974]


Leonie RYSANEK #1

 CAVALLERIA RUSTICANA: the Santuzza-Alfio scene (“Turiddu mi tolse l’onore”) that closes Act I, with Benito di Bella [1978]
 DALIBOR: the Milada-Dalibor scene (“Slyš! Nepraští to dvere?,” sung in German) that closes Act II, with Ludovic Spiess [1969]
 EUGEN ONEGIN: the final scene (“О, как мне тяжело!,” sung in German), with Miss Rysanek’s beloved stage partner George London [1955]
 LA GIOCONDA: the Gioconda-Laura confrontation (“L’amo come il fulgor del creato”) from Act II, with Éva Randová [1974]
 DIE LIEBE DER DANAË: the 24-minute finale (“Wie umgibst du mit Frieden”), with Ferdinand Frantz as Jupiter [1953]
 LOHENGRIN: Elsa’s aria (“Euch Lüften”) and the ensuing duet with Ortrud, from Act II, with the great Astrid Varnay in one of her signature parts [1958]
 MEDEA: the Medea-Jason duet (“Nemici senza cor”) that ends Act I, with Bruno Prevedi [1972]


Leonie RYSANEK #2

 AIDA: the father-daughter interview (“Rivedrai le foreste imbalsamate”) from Act III, sung in German, with Miss Rysanek’s longtime stage partner George London, conducted by Rafael Kubelík [1955]
 CAVALLERIA RUSTICANA: the long Santuzza-Turiddu interview (“Tu qui, Santuzza?”) from Act I, with Plácido Domingo and Ruth Falcon [1978]
 DON CARLO: the long duet finale (“Ma lassù ci vedremo”), with Franco Corelli, Giorgio Tozzi, Hermann Uhde and Justino Díaz [1964]
 DON GIOVANNI: Elvira’s first two arias (“Ah, chi mi dice mai” and “Ah, fuggi il traditor!”) from Act I, conducted by Hans Rosbaud, with Heinz Rehfuss, Marcello Cortis and Pierette Alarie [1952]
 EUGEN ONEGIN: the famous Letter Scene (“Пускай погибну я, но прежде,” sung in German) [1955]
 GÖTTERDÄMMERUNG: Gutrune’s monologue (“War das sein Horn?”) from Act III, with Gottlob Frick, Hermann Uhde and Birgit Nilsson, conducted by Hans Knappertsbusch [1955]
 NABUCCO: Abigaille’s fiendish scena (“Anch’io dischiuso un giorno”) that opens Act II, with Bonaldo Giaiotti, conducted by Thomas Schippers [1960]
 TOSCA: the love duet (“Perchè chiuso?”) from Act I, with James King [1974]


Ursula SCHRÖDER-FEINEN #1

 ELEKTRA: the heroine’s two biggest solos — her entrance monologue (“Allein! Weh, ganz allein!”) and the Recognition aria (“Es rührt sich niemand”) — with Theo Adam, conducted by Karl Böhm [1977]
 DIE FRAU OHNE SCHATTEN: the last ten minutes of Act II (including the searing solo “Barak, ich hab’ es nicht getan!”) and the opening of Act III (including the duet “Mir anvertraut, daß ich sie hege”), with Walter Berry, Lorenzo Alvary, Joshua Hecht, John Duykers, Ruth Hesse and Leonie Rysanek, conducted by Maestro Böhm [1976]
 HANS HEILING: the long duet from the Prologue (“Rastlos geschafft mit stätiger Kraft”), with Bernd Weikl [1972]
 LOHENGRIN: the Elsa-Ortrud interview from Act II (“In ferner Einsamkeit des Waldes”) and the villainess’ return at the end of Act III (“Fahr heim, fahr heim!”), with Anna Tomowa-Sintow and Karl Ridderbusch, conducted by Herbert von Karajan [1976]
 OBERON: Rezia’s famous Act II aria (“Ozean, du Ungeheuer!”) [1972]


Ursula SCHRÖDER-FEINEN #2

 FIDELIO: five of Leonore’s numbers, including the Act I trio (“Gut, Söhnchen, gut”) and aria (“Abscheulicher!”) and the Act II trio (“Euch werde Lohn”), quartet (“Er sterbe!”) and duet (“O namenlose Freude!”), with Peter Meven, Ingrit Liljeberg, Ernst Kozub, Peter Wimberger and Wolf Appel [1972]
 SALOME: Salome’s entrance (“Ich will nicht bleiben!”) and long interview with Jokanaan (“Wo ist er, dessen Sündenbecher jetzt voll ist?”), plus the famous finale (“Es ist kein Laut zu vernehmen”), with Maria Brill, William Dooley, Victor von Halem, Donald Grobe, María Teresa Reinoso, Ernst Krukowski and Helmut Melchert [1972]


Elisabeth SCHWARZKOPF #1

 FIDELIO: Marzelline's first four numbers from Act I, including the duet with Jacquino ("Jetzt, Schätzchen, sind wir allein"), her aria ("Oh, wär' ich schon mit dir vereint"), the great quartet ("Mir ist so wunderbar") and the trio with Rocco and Leonore ("Gut, Söhnchen, gut"), with Julius Patzak, Kirsten Flagstad and Josef Greindl, conducted by Wilhelm Furtwängler [1950]
 PELLEAS ET MELISANDE: three of the lovers' scenes together (Act II's "Vous ne savez pas où je vous ai menée?," Act III's "Mes longs cheveux descendent" and Act IV's "C’est le dernier soir"), plus the heroine's death scene ("Attention: je crois qu’elle s’éveille"), with Ernst Häfliger, Franco Calabrese, Mario Petri and Michel Roux, conducted by Herbert von Karajan [1954]
 THE RAKE'S PROGRESS: Anne Trulove's great aria ("No word from Tom"), with Raffaele Arié, conducted by the composer at the world premiere! [1951]


Elisabeth SCHWARZKOPF #2

 LA DAMNATION DE FAUST: all of Marguerite's music, including Part II's entrance aria ("Autrefois un roi de Thulé"), Part III's duet ("Ange adoré") and trio finale ("Allons, il est trop tard!") and Part IV's aria ("D’amour l’ardente flamme"), sung in German, with Frans Vroons and Hans Hotter, conducted by Wilhelm Furtwängler [1950]
 GÖTTERDÄMMERUNG: from Act III, the Rhinemaidens' complete scene ("Frau Sonne sendet lichte Strahlen") and Gutrune's final appearance ("War das sein Horn?"), with Hanna Ludwig, Hertha Töpper, Bernd Aldenhoff, Ludwig Weber, Hermann Uhde and Astrid Varnay, conducted by Hans Knappertsbusch [1951]
 THE RAKE'S PROGRESS: Anne Trulove's final solo ("Gently, little boat"), with Emanuel Menkes, Robert Rounseville and Raffaele Arié, conducted by the composer at the world premiere! [1951]


Renata SCOTTO #1

 UN BALLO IN MASCHERA: the Act I trio “Che v’agita così?” (with Patricia Payne and Mr. Pavarotti) and the Act II aria “Ma dall’arido stelo divulsa” [1980]
 DON CARLO: the long final duet (“Ma lassù ci vedremo”), with Giuseppe Giacomini [1979]
 DON PASQUALE: Norina’s first scene, including the aria “So anch’io la virtù magica” and the duet “Pronta io son!” (with baritone Walter Alberti) [1967]
 LA GIOCONDA: the famous duet “L’amo come il fulgor del creato,” with Stefania Toczyska [1979]
 I LOMBARDI ALLA PRIMA CROCIATA: the Giselda-Oronte duet “O belle, a questa misera,” sung with Luciano Pavarotti [1969]
 ROBERT LE DIABLE: the aria “En vain j’espère” (sung in Italian) [1968]
 IL TROVATORE: both of Leonora’s arias: Act I’s “Tacea la notte placida” and Act IV’s “D’amor sull’ali rosee” [1977]


Renata SCOTTO #2

 CARMEN: Micaëla’s Act I duet with José (“Parle-moi de ma mère!”) and her return in Act III, including her famous aria (“Je dis que rien ne m’épouvante”) and the 6-minute finaletto (“Là-bas est la chaumière”), sung in Italian, with Franco Corelli, Piero de Palma, Giulietta Simionato, Virgilio Carbonari, Adalina Grigolato, Aurora Cattelani and Ettore Bastianini [1961]
 DON CARLO: the 16-minute Act I meeting of the tragic couple (“Al mio piè, perchè?”), with Giuseppe Giacomini, Betsy Norden and Dana Talley, conducted by James Levine [1979]
 MACBETH: the Act II finale, a long banquet scene including Lady Macbeth’s brindisi (“Si colmi il calice”), with Sherrill Milnes, James Courtney and Giuliano Ciannella, conducted by Maestro Levine [1984]
 MADAMA BUTTERFLY: the famous Act II Flower Duet (“Scuoti quella fronda di ciliegio”), with Judith Forst [1974]
 IL TROVATORE: Act IV’s 9-minute finale, a pair of trios (“Ha quest’infame l’amor venduto” and “Prima che d’altri vivere”), with James McCracken, Shirley Verrett and Louis Quilico [1977]
 I VESPRI SICILIANI: the Act II Elena-Arrigo duet (“Presso alla tomba,” with Wieslaw Ochman) and the heroine’s famous Act IV aria (“Arrigo, ah, parli a un core”), conducted by Maestro Levine [1982]


Renata SCOTTO #3

 MARIA DI ROHAN: both of the heroine's arias (Act I's "Cupa fatal mestizia" and Act III's "Havvi un Dio"), plus Act II's duet finale ("Che mai potrò? Commuoverti!"), Act III's duet with the tenor ("Ah, così santo affetto") and trio finale ("So per prova il tuo bel core"), with Umberto Grilli, Alessandro Cassis, Carlo Padoan, Renato Bruson and Paolo Cesari [1974]
 I VESPRI SICILIANI: Elena's big solos and duets from Acts I ("In alto mare" and "Presso alla tomba") and IV ("O sdegni miei, tacete!," "Arrigo, ah, parli a un core" and È dolce raggio"), with Giorgio Giorgietti, Gianfranco Manganotti, Nella Verri, Gianpaolo Corradi and Veriano Luchetti, conducted by Riccardo Muti [1978]


Rita SHANE #1

 ARIADNE AUF NAXOS: Zerbinetta’s aria (“Großmächtige Prinzessin”)
 DIE ENTFÜHRUNG AUS DEM SERAIL: both of Konstanze’s arias (“Traurigkeit” and “Martern aller Arten”) from Act II
 LES HUGUENOTS: Marguerite’s entrance aria (“Ô beau pays”) from Act II [1971]
 LUCIA DI LAMMERMOOR: Lucia’s two big solos (“Regnava nel silenzio” and the entire Mad Scene) [1977]
 LA TRAVIATA: Violetta’s aria (“Addio, del passato”) from Act III
 DIE ZAUBERFLÖTE: both of the Queen of Night’s arias (“Oh, zittre nicht” and “Der Hölle Rache”)


George SHIRLEY #1

 DIE ENTFÜHRUNG AUS DEM SERAIL: three of Belmonte’s virtuoso arias: Act I’s “Oh, wie ängstlich,” Act II’s “Wenn der Freude Tränen fließen” and Act III’s “Ich baue ganz”; the conductor is Erich Leinsdorf [1969]
 MADAMA BUTTERFLY: Pinkerton’s two big duets from Act I (“Dovunque al mondo,” with Frank Guarrera, and “Bimba, non piangere,” with Pilar Lorengar) and his Act III return, including the trio (“Io so che alle sue pene,” with Mr. Guarrera and Mildred Miller) and aria (“Addio, fiorito asil”) [1971]
 ROMÉO ET JULIETTE: the Act II aria (“Ah, lève-toi, soleil!”) and the entire final scene (beginning with the hero’s “Salut, tombeau sombre et silencieux!”), with Anna Moffo [1968]
 DIE ZAUBERFLÖTE: two of Tamino’s numbers — the Act I aria (“Dies Bildnis ist bezaubernd schön”) and the Act II duet with Pamina (“Tamino mein! Oh, welch’ ein Glück!,” with Judith Raskin) [1966]


Amy SHUARD #1

 UN BALLO IN MASCHERA: both of Amelia’s arias (Act II’s “Ma dall’arido stelo divulsa” and Act III’s “Morrò, ma prima in grazia”) [1966]
 ELEKTRA: two of the eponymous heroine’s solos (“Was bluten muß?” and “Es rührt sich niemand”), with Regina Resnik and Thomas Stewart [1966]
 GÖTTERDÄMMERUNG: Brünnhilde’s searing, soaring Immolation Scene (“Starke Scheite schichtet mir dort”) that concludes Act III [1969]
 LES TROYENS: Cassandre’s extrance aria (“Malheureux roi!”) and ensuing duet with Chorèbe (“Reviens à toi, vierge adorée!”) from Act I, sung in English, with Jess Walters [1957]
 TURANDOT: the 11-minute Riddle Scene (“Straniero, ascolta!”) from Act II, with Ludovic Spiess [1968]


Beverly SILLS #1

 ARIADNE AUF NAXOS: the aria “Großmächtige Prinzessin” (revised version) [1971]
 LA BOHÈME: the duet “O soave fanciulla” (with tenor James McCracken) [1972]
 DIE ENTFÜHRUNG AUS DEM SERAIL: “Ach, ich liebte” [1969]
 FAUST: the Jewel Song (“Ah, je ris”) [1968]
 DIE FLEDERMAUS: Adele’s second solo (“Spiel’ ich die Unschuld vom Lande”) [1980]
 GLORIA (Poulenc): the solo “Domine Deus, Rex coelestis” [1967]
 GUILLAUME TELL: the aria “Sombre forêt” [1968]
 LUCREZIA BORGIA: the final aria (“M’odi: io non t’imploro”) and cabaletta (“Era desso il figlio mio”) [1976]
 MANON LESCAUT (Auber): the Laughing Song (“C’est l’histoire amoureuse”) [1980]
 DER SCHAUSPIELDIREKTOR: “Bester Jüngling!” [1974]
 DIE SCHÖPFUNG: Gabriel’s two arias (“Nun beut die Flur” and “Auf starkem Fittiche”) [1968]
 THE WINGS OF THE DOVE: the aria “When all is still and fair” [1962]
 DIE ZAUBERFLÖTE: both of the Queen of Night’s arias — “Oh, zittre nicht” and “Der Hölle Rache” (sung in English) [1966]


Beverly SILLS #2

 AIDA: both arias (“Ritorna vincitor!” and “O patria mia”) and four duets, with Amneris (“Fu la sorte dell’armi,” with Irene Kramarich), Amonasro (“Rivedrai le foreste imbalsamate,” with Vincent Donato) and Radamès (“Pur ti riveggo” and “O terra, addio,” with Victor Mincieli) [1956]
 LES PÊCHEURS DE PERLES: two duets with Nadir (“Dans le ciel sans voile” and “Ton cœur n’a pas compris le mien!”), one with Zurga (“Je frémis, je chancelle!”) and the trio finale (“Ô lumière sainte”), with Gabor Carelli and Martial Singher [1955]
 the waltz TALES FROM THE VIENNA WOODS (GESCHICHTE AUS DEM WIENERWALD)
 DIE ZAUBERFLÖTE: both of the Queen of Night’s arias (“Oh, zittre nicht” and “Der Hölle Rache”), conducted by Erich Leinsdorf [1966]


Beverly SILLS #3

 DIE ENTFÜHRUNG AUS DEM SERAIL: the Act III Konstanze-Belmonte duet (“Ah, du solltest für mich du sterben”), with George Shirley, conducted by Erich Leinsdorf [1969]
 Mozart’s EXSULTATE, JUBILATE [1974]
 SAMSON: the famous aria “Let the bright seraphim” [1973]
 DIE SCHÖPFUNG: Gabriel’s first solo (“Mit Staunen sieht das Wunderwerk”), conducted by Erich Leinsdorf [1968]
 SEMELE: seven of the heroine’s arias (“O Jove, in pity teach me,” “Endless pleasure, endless love,” “O Sleep, why dost thou leave me?,” “With fond desiring,” “Myself I shall adore,” “Thus let my thanks be paid” and “No, no, I’ll take no less!”) [1969]
 SOSARME: the Act III Elmira-Sosarme duet (“Tu, caro, sei il dolce mio tesoro”), with Eileen Farrell [1973]
 LA TRAVIATA: the Act III Violetta-Alfredo duet (“Parigi, o cara”) and ensuing finale (“Se una pudica vergine”), with Plácido Domingo and Sherrill Milnes, conducted by James Levine [1971]


Beverly SILLS #4

 FAUST: the Act III love duet (“Laisse-moi contempler ton visage”), the Act IV Church Scene (“Seigneur, daignez permettre”) and the Act V finale, including the famous trio (“Alerte, alerte!”), with Norman Treigle and Michele Molese [1968]
 HIPPOLYTE ET ARICIE: two excerpts from Act I (“Temple sacré, séjour tranquille” and “Princesse, quels apprêts”) and four from Act V (“Où suis-je? De mes sens,” “Descendez, brillante immortelle,” “Où suis-je transporté?” and “Rossignols amoureux, répondez à nos voix”), with Plácido Domingo and Carole Bogard [1966]
 LES HUGUENOTS: from Act II, Marguerite’s 13-minute entrance scena (“Ô beau pays de la Touraine!”/“À ce mot tout s’anime”) and duet with Raoul (“Beauté divine, enchanteresse”), with Kay Creed, Maxine Makas, Catherine Owens, Jacqueline Pierce and Tony Poncet [1969]


Beverly SILLS #5

 L’ASSEDIO DI CORINTO: Pamira’s 10-minute scena that opens Act II (“Dal soggiorno degli estinti”), conducted by Thomas Schippers [1969]
 NORMA: the priestess’ entrance scena (“Casta diva”/“Ah, bello a me ritorna”), with Donald Gramm, conducted by Sarah Caldwell [1971]
 I PURITANI DI SCOZIA: most of Elvira’s music, including the Act I duet with Giorgio (“Sai com’arde in petto mio”), polacca (“Son vergin vezzosa”) and finale (“Oh, viene al tempio”), Act II’s mad scene (“Qui la voce”/“Vien, diletto”) and Act III’s duet with Arturo (“Nel mirarti un solo istante”) and cabaletta finale (“Ah, sento, o mio bell’angelo”), with Paul Plishka, Luciano Pavarotti, Ellen Shade, Louis Quilico, Thomas Paul and Natale de Lazzari [1972]


Beverly SILLS #6

 LA BOHEME: the love duet that concludes Act I (“O soave fanciulla”), with James McCracken [1972]
 GIANNI SCHICCHI: Lauretta’s scenes, from her entrance through her famous aria (“O mio babbino caro”) and little duets with Rinuccio (“Addio, speranza bella” and “Lauretta mia, staremo sempre qui”), with Salvador Novoa, Norman Treigle, Nico Castel, Beverly Evans, William Ledbetter, Malcolm Smith, David Smith, Lou Ann Wyckoff and Linda Heimall [1967]
 SUOR ANGELICA: most of the heroine’s arias, including her entrance solo (“I desideri sono i fior dei vivi”), the long interview with her aunt (“Il Principe Gualtiero, vostro padre”), the famous aria (“Senza mamma”) and the ensuing 11-minute final miracle (“Sorella, o buona sorella”), with Miss Evans, Joan Summers, Miss Heimall, Joan August, Hanna Owen, Anthea de Forest, Donna Owen, Maria West, Charlotte Povia and Frances Bible [1967]
 IL TABARRO: most of Giorgetta’s music, including her impassioned solo (“È ben altro il mio sogno!”), love duet (“O Luigi, bada a te!”) and scenes with her husband (“Come è difficile esser felici!” and “T’ho colto! -- Sangue di Dio!”), with Miss Evans, Plácido Domingo and Seymour Schwartzman [1967]


Beverly SILLS #7

 DIE ENTFÜHRUNG AUS DEM SERAIL: from Act II, Konstanze’s latter 2 arias (“Traurigkeit” and “Martern aller Arten”), plus the great quartet finale (“Ach, Belmonte! Ach, mein Leben!”), with George Shirley, Jerold Siena and Anne Elgar, conducted by Erich Leinsdorf [1969]
 LA LOCA: the long Mad Scene from this work specially written for Miss Sills [1979]
 DIE SCHÖPFUNG: a beautiful trio (“In holder Anmut steh’n”) and long duet (“Holde Gattin, dir zur Seite”), both sung in English and conducted by Maestro Leinsdorf, with John McCollum and Ara Berberian [1968]
 SEMELE: the Act II duet (“Prepare then, ye immortal choir,” with Carolyn Stamford) and the Act III aria (“I ever am granting,” with Léopold Simoneau) [1969]
 LA TRAVIATA: both Act I duets for Violetta and Alfredo (“Libiamo” and “Un dì felice”), plus her big solos from Acts I (“Ah, fors’è lui”/“Sempre libera”) and III (“Addio, del passato”), with Plácido Domingo and James Wagner, conducted by James Levine [1971]


Giulietta SIMIONATO #1

 ATLÁNTIDA: her cameo turn as the dying Queen Pyrene (“Io muoio ormai”) [1962]
 a genuine curiosity: her autumnal, tenor-range rendition of BRAHMS’ “WIEGENLIED” in Italian [1983]
 DON CARLO: both of Eboli’s arias (Act II’s Veil Song and Act IV’s famous “O don fatale”), plus the Garden Scene trio (“A mezzanotte, ai giardin della Regina”), with Eugenio Fernandi and Ettore Bastianini, conducted by Herbert von Karajan [1958]
 LES HUGUENOTS: the famous 16-minute love duet (“Ô ciel! Où courez-vous?”) from Act IV, with Franco Corelli [1962]
 MIGNON: Mignon’s four arias — “Connais-tu le pays?,” “Légères hirondelles,” “Je connais un pauvre enfant” and “Elle est là, près de lui!” — sung in Italian [1949]
 LES TROYENS: Didon’s two big solos — Act III’s entrance (“Chers Tyriens!”) and Act V’s noble farewell (“Adieu, fière cité”), sung in Italian, conducted by Rafael Kubelík [1960]


Giulietta SIMIONATO #2

 AIDA: the Judgment Scene (“Ohimè! Morir mi sento!”) from Act IV, with Miss Simionato uncorking the chest voice fearsomely in her final phrase [1963]
 CARMEN: the eponymous heroine’s four major arias (“L’amour est un oiseau rebelle,” “Près des remparts de Séville,” “Les tringles des sistres tintaient” and “En vain, pour éviter”), plus the duet finale (“C’est toi? — C’est moi!”), with colleagues Nicolai Gedda, Graziella Sciutti and Luisa Ribacchi, conducted by Herbert von Karajan [1954]
 LA FAVORITA: the Act I duet (“Ah, mio bene”) and Act II aria (“O mio Fernando”), with Giuseppe di Stefano [1949]
 ORFEO ED EURIDICE: the hero’s major solos (Act I’s “Chiamo il mio ben così,” Act II’s “Deh, placatevi con me” and “Che puro ciel,” and Act III’s “Che farò senza Euridice?”), conducted by Maestro Karajan [1959]


Giulietta SIMIONATO #3

 LA FAVORITA: the opera’s last 20 minutes, a massive sequence of duets (“Ah, va: t’invola! E questa terra” and “Pietoso al par del Nume”), with Giuseppe di Stefano [1949]
 SEMIRAMIDE: both mother-son duets (Act I’s “Serbami ognor si fido” and Act II’s “Giorno d’orrore”), with Joan Sutherland [1962]
 IL TROVATORE: the 20-minute Azucena-Manrico interview from Act II, including the gypsy’s vivid narration (“Condotta ell’era in ceppi”) and a pair of duets (“Mal raggendo” and “Perigliarti ancor languente”), and the Act III, Scene 1 finale (“Giorni poveri vivea”), with James McCracken, Kurt Equiluz, Nicola Zaccaria and Ettore Bastianini, conducted by Herbert von Karajan [1963]
 LES TROYENS: Didon’s duets with Anna (Act III’s “Reine d’un jeune empire,” with Adriana Lazzarini) and Énée (Act IV’s “Nuit d’ivresse,” with Mario del Monaco), conducted by Rafael Kubelík [1960]


Elisabeth SÖDERSTRÖM #1

 ARIADNE AUF NAXOS: the last 18 minutes of the Prologue, including the Composer’s duet with Zerbinetta (“Ein Augenblick ist wenig”) and his impassioned aria (“Musik ist eine heilige Kunst”), with András Földi, Richard van Vrooman, Jean Cox, Teresa Stich-Randall and Mady Mesplé [1969]
 CAPRICCIO: the 16-minute final monologue for the Countess [1976]
 JENUFA: the heroine’s Act II awakening and prayer (“Mamičko, mám težkou hlavu”) and the 8-minute Act III finale (“Vstante, pestounko moja!”), with with Sena Jurinac and Allan Cathcart, conducted by Sir Charles Mackerras [1980]
 LE NOZZE DI FIGARO: both the Countess’ arias (Act II’s “Porgi, Amor” and Act III’s “Dove sono”), plus the Act II trio with the Count and Susanna (“Susanna, or via, sortite!”) and the Act III letter duet (“Che soave zeffiretto”), with Jorma Hynninen and Kathleen Battle, conducted by James Levine [1987]
 DER ROSENKAVALIER: the famous Act III trio (“Hab’ mir’s gelobt”), with Miss Battle and Frederica von Stade, conducted by Maestro Levine [1983]


Eleanor STEBER #1

 ARABELLA: the glorious duet from Act II (“Und du wirst mein Gebieter sein,” with George London), sung in English [1955]
 LA DAMNATION DE FAUST: Marguerite’s final solo (“D’amour l’ardente flamme”) [1960]
 DON CARLO: Elisabetta’s farewell to the Countess of Aremberg from Act II (“Non pianger, mia compagna”) [1955]
 DON GIOVANNI: two of Elvira’s numbers — “Ah, fuggi il traditor!” and “Ah, taci, ingiusto core!” [1954]
 DIE ENTFÜHRUNG AUS DEM SERAIL: Konstanze’s taxing entrance aria (“Ach, ich liebte”), sung in English [1947]
 LA FANCIULLA DEL WEST: Minnie’s aria (“Laggiù nel Soledad”) from Act I [1954]
 DIE FRAU OHNE SCHATTEN: the Empress’ Act II nightmare (“Sieh, Amme, des Mannes Aug’”), conducted by Karl Böhm [1953]
 IDOMENEO, RE DI CRETA: Ilia’s first aria (“Padre, germani, addio!”) [1955]
 OTELLO: the quartet from Act II (“D’un uom che geme,” with Ramón Vinay, Leonard Warren and Martha Lipton) [1952]
 DER ROSENKAVALIER: the famous Act III trio (“Hab’ mir’s gelobt”), with Risë Stevens and Erna Berger [1949]
 TANNHÄUSER: Elisabeth’s entrance aria (“Dich, teure Halle”) from Act II [1958]
 LES TROYENS: Cassandre’s entrance (“Malheureux roi!”) from Act I [1959]


Eleanor STEBER #2

 ARABELLA: the eponymous heroine’s duet with Zdenka (“Aber der Richtige”) from Act I, sung in English, with Hilde Güden, conducted by Rudolf Kempe [1955]
 DON CARLO: the duet finale (“Ma lassù ci vedremo”), with Mr. Tucker, Jerome Hines, Nicola Moscona and Louis Sgarro [1955]
 DON GIOVANNI: two of Elvira’s numbers from Act I — her entrance aria (“Ah, chi mi dice mai”) and the quartet (“Non ti fidar, o misera”) — with George London, Fernando Corena, Margaret Harshaw and Eugene Conley [1954]
 DIE ENTFÜHRUNG AUS DEM SERAIL: the Konstanze-Belmonte duet (“Meinetwegen sollst du sterben”) from Act III, sung in English, with Charles Kullman [1947]
 LA FANCIULLA DEL WEST: the long final scene (“Le tue parole sono di Dio”), with Giangiacomo Guelfi, Enzo Viaro, Mario del Monaco, Agostino Ferrin, Brenno Ristori, Enzo Guagni, Valiano Natali and Virgilio Carbonari, conducted by Dimitri Mitropoulos [1954]
 IDOMENEO, RE DI CRETA: the Ilia-Idamante duet (“Spiegarti non poss’io”) from Act III, with David Lloyd [1955]
 OTELLO: the concertato finale (“A terra e piangi!”) of Act III, with Ramón Vinay, Martha Lipton, Thomas Hayward, Paul Franke, Luben Vichey and Leonard Warren [1952]
 TOSCA: the famous aria (“Vissi d’arte”) from Act II [1959]
 LA TRAVIATA: the finale (“Se una pudica vergine”), with Robert Merrill, Giuseppe di Stefano, Thelma Altmann and Osie Hawkins [1949]
 DIE ZAUBERFLÖTE: the Pamina-Tamino duet (“Tamino mein! Oh, welch’ ein Glück!”) from Act II), sung in English, with Richard Tucker [1950]


Teresa STRATAS #1

 LA BOHÈME: Mimì’s farewell (“Donde lieta uscì”) [1972]
 COSÌ FAN TUTTE: the Farewell Trio (“Soave sia il vento”), sung in English, with Mildred Miller and Frank Guarrera [1966]
 THE LAST SAVAGE: Sardula’s aria (“How shall my lips deny it?”) [1964]
 LE NOZZE DI FIGARO: Susanna’s Act IV aria (“Deh, vieni: non tardar”) [1968]
 PELLÉAS ET MÉLISANDE: Yniold’s first scene (“Viens, nous allons nous asseoir ici,” with George London) [1962]
 PIKOVAYA DAMA (THE QUEEN OF SPADES): a sequence from Act III, sung in English, including an arioso and duet (the latter with James McCracken) [1966]
 RUSALKA: sung in German, the famous Song to the Moon (“Mesicku na nebi hlubokém”) and the opera’s 12-minute finale (“Milácku, znás mne, znás?,” with Ivo Zidek and Willard White) [1976]
 RAGS: two songs (the impassioned “Children of the Wind” and the sultry “Blame It on the Summer Night”) from this Broadway show by Charles Strouse and Stephen Schwartz [1986]
 LA TRAVIATA: the last 7 minutes (beginning with Germont père’s return), with Hermann Prey, Fritz Wunderlich, Brigitte Fassbaender and Günther Missenhardt [1965]
 IL TROVATORE: one of her comprimario turns, as Ines, opposite Leontyne Price, who sings the aria “Tacea la notte placida” [1961]


Teresa STRATAS #2

 ARIADNE AUF NAXOS: the Composer’s scene and duet with Zerbinetta (“Ein Augenblick ist wenig”), plus the ensuing aria (“Musik ist eine heilige Kunst”), with Tracy Dahl, plus Wolfgang Schmidt, Deborah Voigt, Hermann Prey and Tony Stevenson [1994]
 THE BARTERED BRIDE: Marenka’s Act III aria, sung in English [1978]
 DON GIOVANNI: both of Zerlina’s arias (Act I’s “Batti, batti, o bel Masetto” and Act II’s “Vedrai, carino”), with Raymond Michalski [1974]
 LE NOZZE DI FIGARO: Susanna’s two Act III duets (“Crudel, perchè finora” and “Che soave zeffiretto”), with Mario Petri and Sena Jurinac, conducted by Zubin Mehta [1968]
 PELLÉAS ET MÉLISANDE: Yniold’s second scene (“Oh! Cette pierre est lourde,” with William Walker) [1962]
 PIKOVAYA DAMA (THE QUEEN OF SPADES): a sequence from Act I, sung in English, including an aria, a duet and the finale, with James McCracken and Jean Madeira [1966]
 RUSALKA: two solos from Act III (“Necitelná vodní moci” and “Vyrvána zivotu v hlubokou samotu”) , sung in German [1976]
 LA TRAVIATA: the concertato finale of Act II (“Alfredo, Alfredo, di questo core”), with Fritz Wunderlich, Hermann Prey, Marie Luise Gilles, Josef Knapp and Friedrich Lenz [1965]


Cheryl STUDER #1

 ARABELLA: the sisters’ duet (“Aber der Richtige”) from Act I, with Christiane Oelze [1996]
 ARIADNE AUF NAXOS: the eponymous heroine’s famous aria (“Es gibt ein Reich”) [1997]
 CARMEN: 15 minutes of Micaëla’s music — the Act I duet with José (“Parle-moi de ma mère!,” with Plácido Domingo) and the famous Act III aria (“Je dis que rien ne m’épouvante”) [1983]
 DIE FEEN: the charming Drolla-Gernot duet (“Wie? Seh’ ich recht?”) from Act II, with Jan-Hendrik Rootering, conducted by Wolfgang Sawallisch [1983]
 FIDELIO: Leonore’s defiant aria (“Abscheulicher! Wo eilst du hin?”) from Act I, conducted by Sir Georg Solti [1996]
 DER FREISCHÜTZ: both of Agathe’s arias (Act II’s “Leise, leise” and Act III’s “Und ob die Wolke”), conducted by Marek Janowski [1988]
 IDOMENEO, RE DI CRETA: Elettra’s first aria (“Tutto nel cor vi sento”), from Act I, conducted by Seiji Ozawa [1990]
 Berg’s gorgeous SIEBEN FRÜHE LIEDER (SEVEN EARLY SONGS), conducted by Giuseppe Sinopoli [1986]


Cheryl STUDER #2

 ADRIANA LECOUVREUR: the heroine’s entrance aria (“Io son l’umile ancella”) [1999]
 ARABELLA: the Act I aria finale (“Mein Elemer!”) [1999]
 Mozart’s greatest concert aria, “CH’IO MI SCORDI DI TE? . . . NON TEMER, AMATO BENE” (KV 505), conducted by Claudio Abbado [1991]
 IDOMENEO, RE DI CRETA: Elettra’s Act II aria (“Idol mio”), conducted by Seiji Ozawa [1990]
 MADAMA BUTTERFLY: Cio-cio-san’s Act II aria (“Un bel dì vedremo”) [1999]
 MANON LESCAUT: the heroine’s Act II aria (“In quelle trine morbide”) [1999]
 RIENZI: the Act I trio (“O Schwester, sprich, was dir geschah?”) and ensuing duet (“Er geht und läßt dich meinem Schutz”) and the Act V successive duets (“Verläßt die Kirche mich, zu deren Preis” and “Du hier, Irene? Treff’ ich dich noch”), with René Kollo and John Janssen, conducted by Wolfgang Sawallisch [1983]
 IL TROVATORE: Leonora’s Act I entrance aria (“Tacea la notte placida”), with Ruxandra Donose, conducted by Zubin Mehta [1994]


Cheryl STUDER #3

 two Mozart concert arias, “BASTA: VINCESTI” (KV 486A) and “UN MOTO DI GIOIA” (KV 579), conducted by Claudio Abbado [1991]
 FIDELIO: Leonore’s three big Act I numbers — the quartet (“Mir ist so wunderbar”), trio (“Gut, Söhnchen, gut”) and brilliant aria (“Abscheulicher! Wo eilst du hin?”), with Ruth Ziesak, René Pape and Roberto Saccà, conducted by Sir Georg Solti [1996]
 DER ROSENKAVALIER: the last 26 minutes of Act I, including the Marschallin’s monologue (“Da geht er hin”) and the long ensuing scene with Octavian, and the last 22 minutes of Act III, including the famous trio (“Hab’ mir’s gelobt”) and final duet (“Ist ein Traum”), with Ann Murray, Adolf Tomaschek, Franz Gruber, Friedrich Springer, Hermann Thyringer, Heidi Grant Murphy and Håkan Hagegård, conducted by Lorin Maazel [1995]


Cheryl STUDER #4

 ARABELLA: the heroine’s four principal numbers, including the Act I sisterly duet (“Aber der Richtige”) and monologue finale (“Mein Elemer!”), the Act II betrothal duet (“Und du wirst mein Gebieter sein”) and the Act III aria finale (“Das war sehr gut, Mandryka”), with Christiane Oelze and Wolfgang Brendel [1996]
 FIDELIO: Leonore’s three big Act II numbers, including the trio (“Euch werde Lohn”), the quartet (“Er sterbe! Doch er soll erst wissen”) and the reunion with Florestan (“O namenlose Freude!”), with Ben Heppner, René Pape, Tom Fox and Roberto Saccà, conducted by Sir Georg Solti [1996]
 GURRE-LIEDER: Tove’s four gorgeous solos (“Oh, wenn des Mondes Strahlen,” “Sterne jubeln,” “Nun sag’ ich dir zum ersten Mal” and “Du sendest mir einen Liebesblick”), conducted by Claudio Abbado [1992]
 MAHLER 4: the fourth movement (“Wir genießen die himmlischen Freuden”), conducted by Maestro Abbado [1991]
 TRISTAN UND ISOLDE: the Liebestod (“Mild und leise”) [2001]


Ruth Ann SWENSON #1

 IL BARBIERE DI SIVIGLIA: “Una voce poco fa,” from Act I, capped here with a high E [1993]
 LA DONNA DEL LAGO: “Tanti affetti,” the rondo finale [2003]
 DON PASQUALE: Norina’s entrance aria (“Quel guardo il cavaliere”) from Act I [1995]
 FALSTAFF: from Act III, Nannetta’s ethereal fairy song (“Sul fil d’un soffio etesio”) [1988]
 GIULIO CESARE IN EGITTO: “Venere bella,” from Act II [2002]
 HAMLET: the lyrical duet (“Doute de la lumière”) from Act I [1996]
 MANON: the showstopping Gavotte (“Obéissons, quand leur voix appelle”) from Act III [1998]
 ORLANDO: “Amor è qual vento,” from Act III [1999]
 I PURITANI DI SCOZIA: “Qui la voce” [1993]
 THE RAKE’S PROGRESS: Anne Trulove’s showstopping Act I scena (“No word from Tom”) [1994]
 SEMELE: “No, no, I’ll take no less!,” from Act III [1996]
 LA SONNAMBULA: “Come per me sereno” (from Act I) [1992]


Ruth Ann SWENSON #2

 THE BALLAD OF BABY DOE: the lyrical finale (“Always through the changing”), with James Morris [2000]
 IL BARBIERE DI SIVIGLIA: Act I’s Rosina-Figaro duet (“Dunque io son?”), with Thomas Hampson [1993]
 LES CONTES D’HOFFMANN: Olympia’s Doll Song (“Les oiseaux dans la charmille”) [2000]
 DON PASQUALE: the sparkling concertato finale (“Bravo, bravo, Don Pasquale!”), with Paul Plishka, Timothy Nolen and Bruce Ford [1995]
 L’ELISIR D’AMORE: Adina and Nemorino’s first Act I duet (“Chiedi all’aura lusinghiera”), with Ramón Vargas [2006]
 L’ENFANT ET LES SORTILÈGES: the Princess’ gorgeous aria (“Oui, c’est elle, ta Princesse enchantée”), with Danielle de Niese [2002]
 HAMLET: Ophélie’s Act II aria (“Adieu, dit-il, ayez foi!”) [1996]
 MANON: the Act III Saint-Sulpice duet (“N’est-ce plus ma main?”), with Richard Leech [1998]
 THE RAKE’S PROGRESS: a 15-minute sequence from Act II, including Anne’s solo (“How strange!”), her meeting with Tom (Jerry Hadley) and the entrance of Baba the Turk (Felicity Palmer), which leads to a haunting trio (“Could it then have been known?”) [1994]
 SEMELE: the eponymous heroine’s Act I aria (“O Jove, in pity teach me”) [1996]
 LA SONNAMBULA: the first Amina-Elvino duet, from Act I (“Prendi: l’anel ti dono”), with Gregory Kunde, Carla Wood and Patrick Carfizzi [1999]


Ruth Ann SWENSON #3

 ARIADNE AUF NAXOS: the Prologue’s Zerbinetta-Composer duet (“Ein Augenblick ist wenig”), with Susanne Mentzer, plus Thomas Moser, Jessye Norman, Thomas Stewart and Anthony Laciura [1993]
 THE BALLAD OF BABY DOE: the heroine’s Act I aria (“O willow, where we met together”), with James Morris [2000]
 IL BARBIERE DI SIVIGLIA: Act II’s Lesson Scene (“Contro un cor”), with Juan Diego Flórez [2004]
 LES CONTES D’HOFFMANN: Antonia’s death scene, including the spectacular trio (“Tu ne chanteras plus?”), with Bryn Terfel, Wendy White, Hao Jiang Tian and Neil Shicoff [2000]
 DON PASQUALE: Act III’s lovely Norina-Ernesto duet (“Bravo, bravo, Don Pasquale!”), with Bruce Ford [1995]
 FALSTAFF: both of Act I’s miniature love duets for Nannetta and Fenton, with Jerry Hadley [1988]
 HAMLET: Ophélie’s taxing mad scene (“À vos jeux, mes amis”), including the 5-minute drowning sequence with her soaring pianissimi [1996]
 THE RAKE’S PROGRESS: Anne’s Act III solo as she comes to see Tom in the madhouse (“Gently, little boat”) [1994]
 LA SONNAMBULA: the 16-minute final scene, with the famous aria (“Ah, non credea mirarti”) and cabaletta (“Ah, non giunge”), with John Relyea, Carla Wood, Gregory Kunde and Patrick Carfizzi [1999]


Renata TEBALDI #1

 ADRIANA LECOUVREUR: both of the eponymous heroine’s arias — Act I’s “Io son l’umile ancella” [1957] and Act IV’s “Poveri fiori” [1955]
 L’AMICO FRITZ: Suzel’s aria (“Son pochi fiori”) from Act I [1957]
 the Spanish song “Cantares” [1956]
 GIANNI SCHICCHI: Lauretta’s appeal (“O mio babbino caro”) [1955]
 MADAMA BUTTERFLY: an amazing performance of Act II (ending with the Flower Duet), with colleagues Rosalind Elias, Alessio de Paolis, Clifford Harvuot and George Cehanovsky [1960]
 MANON LESCAUT: the eponymous heroine’s Act II aria (“In quelle trine morbide”) [1956]
 STABAT MATER (Rossini): the searing, soaring “Inflammatus” [1956]
 LA TRAVIATA: Violetta’s fiendish scena (“Ah, fors’è lui”/“Sempre libera”) that closes Act I [1955]
 LA WALLY: the eponymous heroine’s aria (“Ebben? Ne andrò lontana”) from Act I [1955]


Kiri TE KANAWA #1

 AIDA: the Priestess’ solo (“Possente Fthà!”) from Act I, conducted by Sir Charles Mackerras [1973]
 ARABELLA: the sisters’ duet (“Aber der Richtige”) from Act I, with underrecorded American soprano Barbara Daniels [1980]
 LA BOHÈME: the 12-minute final scene (“Sono andati?”) of Act IV, with Plácido Domingo, Yves Bissot, Wilhemenia Fernandez, Tom Krause and Roger Soyer [1980]
 DON CARLO: much of Elisabetta’s music, including her first aria (Act II’s “Non pianger, mia compagna”), two of the duets with Carlo (Act II’s “Io vengo a domandar” and Act V’s “Ma lassù ci vedremo”) and Act IV’s confrontation (“Giustizia, Sire!”) and ensuing quartet (“Ah, sii maledetto, sospetto fatale”), with Neil Rosenshein, Samuel Ramey, Tatiana Troyanos and Jorma Hynninen [1989]
 VANESSA: the eponymous heroine’s three arias (Act I’s “Do not utter a word, Anatol,” Act II’s “Erika, I am so happy” and Act III’s “Why must the greatest sorrows”), plus the famous quintet (“To leave, to break”), with Lucy Schaufer, John Matz, Rosalind Elias and David Evitts [2002]


Blanche THEBOM #1

 DON CARLO: the Garden Scene trio (“A mezzanotte, ai giardin della Regina”) from Act III, with Richard Tucker and Ettore Bastianini [1955]
 ELEKTRA: Klytämnestra’s entire 23-minute scene, with Inge Borkh in the title rôle, conducted by Dimitri Mitropoulos [1958]
 PELLÉAS ET MÉLISANDE: Geneviève’s first scene (“Voici ce qu’il écrit à son frère Pelléas”), the second of Act I, conducted by Ernest Ansermet [1962]
 TANNHÄUSER: Venus’ seductive aria (“Geliebter, komm!”) from Act I, with Ramón Vinay; the conductor is Rudolf Kempe [1955]
 LES TROYENS: three numbers featuring Didon, sung in English: both her arias (“Chèrs Tyriens!” and “Adieu, fière cité”) and the famous Act IV love duet (“Nuit d’ivresse et d’extase infinie!,” with Jon Vickers); the conductor is Rafael Kubelík [1957]


Blanche THEBOM #2

 AIDA: Amneris’ big duets with Aida (Act II’s “Fu la sorte dell’armi,” with Antonietta Stella) and Radamès (Act IV’s “Già i sacerdoti adunansi,” with Kurt Baum), plus the Judgment Scene (“Ohimè! Morir mi sento!,” with Giorgio Tozzi) [1957]
 DON CARLO: Eboli’s two arias (Act II’s “Nel giardin del bello,” with Vilma Georgiou, and Act IV’s “O don fatale”) [1955]
 DIE FLEDERMAUS: Orlofsky’s Act II aria (“Ich lade gern mir Gäste ein”), including the lead-in scene, with Frank Guarrera [1958]
 THE RAKE’S PROGRESS: Baba the Turk’s three major scenes, including her Act II trio (“My love, am I to remain in here forever?”) and aria (“As I was saying, both brothers”) as well as her return in Act III (“Sold! Annoyed!”), with Hilde Güden, Eugene Conley, Paul Franke and Mack Harrell [1953]
 LES TROYENS A CARTHAGE: the Act III Didon-Anna duet (“Reine d’un jeune empire,” with Lauris Elms), sung in English, conducted by Rafael Kubelík [1957]


Anna TOMOWA-SINTOW #1

 DON CARLO: the Celestial Voice's solo at the close of Act III (with Plácido Domingo, Nicolaï Ghiaurov, Mirella Freni and Piero Cappuccilli, conducted by Herbert von Karajan) [1975]; and Elisabetta's two arias (Act II's "Non pianger, mia compagna" and Act V's "Tu che le vanità") and latter two duets with Carlo (Act II's "Io vengo a domandar" and Act V's "Ma lassù ci vedremo"), with Giacomo Aragall, Wolfgang Brendel, Evgeny Nesterenko, Stefan Elenkov and David Cumberland [1979]
 LOHENGRIN: the Act II interview with Ortrud ("In ferner Einsamkeit des Waldes"), with Ursula Schröder-Feinen, conducted by Maestro Karajan [1976]
 DER VAMPYR: all four of Emmy's major numbers from Act II, including two solos ("Dort an jenem Felsenhang" and "Sieh, Mutter, dort den bleichen Mann"), a trio with Ruthven and Georg ("Ihr wollt mich nur beschämen") and a duet with Ruthven ("Leise dort zur fernen Laube!"), with Roland Hermann and Manfred Schmidt [1974]


Anna TOMOWA-SINTOW #2

 AIDA: the Act II interview with Amneris ("Fu la sorte dell'armi"), plus both duets with Radamès (Act III's "Pur ti riveggo" and Act IV's "O terra, addio," with Brigitte Fassbaender, Plácido Domingo, Siegmund Nimsgern and Robert Lloyd, conducted by Riccardo Muti [1979]
 DIE FRAU OHNE SCHATTEN: the Empress' three big solos, including Act I's awakening scene ("Ist mein Liebster dahin?") and ensuing duet with the Nurse, Act II's nightmare ("Sieh, Amme, des Männes Aug") and Act III's dismissal of the Nurse and confrontation of Keikobad ("Vater, bist du's?"), with with Jane Henschel, Eglis Silins, Lucy Peacock, Luana de Vol et al., conducted by Christian Thielemann [2000]


Anna TOMOWA-SINTOW #3

 ARIADNE AUF NAXOS: the heroine's two monologues ("Ein Schönes war" and "Es gibt ein Reich"), plus the long duet finale ("Circe, kannst du mich hören?"), with Oliviera Miljakovic, Dale Duesing, Edita Gruberová, Siegfried Vogel, Marjorie Vance, Rohangiz Yachmi and James King, conducted by Wolfgang Sawallisch [1982]
 ERNANI: Elvira's entrance aria ("Ernani, involami"), with dazzling trills and staccati, conducted by James Levine [1983]
 OTELLO: Desdemona's two duets with her husband (Act I's "Già nella notte densa" and Act III's "Dio ti giocondi, o sposo"), plus the great concertato finale of Act III ("A terra, e piangi!"), with Plácido Domingo, Margarita Lilowa, Kaludi Kaludow, Wilfried Gahmlich, Kurt Rydl and Renato Bruson, conducted by Zubin Mehta [1987]


Tatiana TROYANOS #1

 CAVALLERIA RUSTICANA: “Tu qui, Santuzza?,” with Plácido Domingo and Isola Jones, conducted by James Levine [1982]
 LES CONTES D’HOFFMANN: “Aujourd’hui, cependant, affermis mon courage,” also conducted by Maestro Levine [1982]
 DON CARLO: Eboli’s two arias — Act II’s Veil Song (“Nei giardin del bello”) and Act IV’s famous “O don fatale” [1989]
 GIULIO CESARE IN EGITTO: five arias — one of Sesto’s (“Svegliatevi nel core”) and four of Cesare’s (“Empio, dirò, tu sei,” “Va tacito e nascosto,” “Al lampo dell’armi” and “Dall’ondoso periglio”/“Aure, deh, per pietà”) [1968 and 1988]
 GREAT MASS IN C MINOR: the aria “Laudamus te” and the duet “Domine Deus” (with Marvis Martin), conducted by Maestro Levine [1982]
 L’INCORONAZIONE DI POPPEA: “Signor, deh, non partire,” “Speranza, tu mi vai,” “Come dolci, signor, come soavi” and the famous “Pur ti miro,” with colleagues Maureen Forrester and Eric Tappy [1975]


Tatiana TROYANOS #2

 I CAPULETI ED I MONTECCHI: the hero’s entrance aria (“Se Romeo t’uccise un figlio”) from Act I, with Herbert Beattie and Joseph Evans, conducted by Sarah Caldwell [1975]
 DON CARLO: the Garden Scene trio (“A mezzanotte, ai giardin della regina”) from Act III, with Neil Rosenshein and Jorma Hynninen [1989]
 OEDIPUS REX: Jocasta’s big scene (“Nonne erubescite, reges”), with Lajos Kozma, conducted by Claudio Abbado [1969]
 PARSIFAL: from the latter half of Act II, Kundry’s three big solos: “Ich sah das Kind,” “Grausamer! Fühlst du im Herzen” and the searing “So war es mein Kuß,” with Jon Vickers and Hermann Becht [1986]
 THE RAKE’S PROGRESS: Baba the Turk’s aria (“As I was saying, both brothers”) and return in the Auction Scene (“Sold! Annoyed!”), with colleagues Loren Driscoll, David Thaw, Tom Krause and Arlene Saunders, conducted by Sir Charles Mackerras [1969]
 LES TROYENS: Didon’s scene and aria (“Adieu, fière cité”) from Act V, with Jocelyne Taillon, Douglas Ahlstedt and Paul Plishka, conducted by James Levine [1983]


Tatiana TROYANOS #3

 AIDA: Act IV, Scene 1, including the Amneris-Radamès duet (“Già i sacerdoti adunansi”) and her Judgment Scene (“Ohimè! Morir mi sento!”), with James McCracken and Jerome Hines [1976]
 I CAPULETI ED I MONTECCHI: the long Act I duet for the lovers (“Ah, mia Giulietta!”), with Beverly Sills, conducted by Sarah Caldwell [1975]
 GREAT MASS IN C MINOR: the “Quoniam” trio, with Marvis Martin and Philip Creech, conducted by James Levine [1982]
 DER ROSENKAVALIER: the opera’s last 12 minutes, including the famous trio (“Hab’ mir’s gelobt”) and duet (“Ist ein Traum”), with Gundula Janowitz and Arleen Augér [1969]
 LES TROYENS: Didon’s entrance aria (“Chèrs Tyriens!”) and duets with Anna (Act III’s “Reine d’un jeune empire”) and Énée (Act IV’s “Nuit d’ivresse”), with Jocelyne Taillon, Plácido Domingo and Julien Robbins, conducted by James Levine [1983]


Tatiana TROYANOS #3

 AIDA: the Act I trio (“Quale insolita gioia nel tuo sguardo!”) and Act II scene (“Chi mai fra gl’inni e i plausi”) and duet (“Fu la sorte dell’armi”), with James McCracken and Gilda Cruz-Romo [1976]
 I CAPULETI ED I MONTECCHI: the 22-minute final scene, including Romeo’s entrance (“O del sepolcro profonda oscurità”), aria (“Deh, tu, bell’anima”) and duet with Giulietta (“Ah, crudel, che mai facesti?”), with Beverly Sills, Herbert Beattie and Robert Trehy, conducted by Sarah Caldwell [1975]
 GIULIO CESARE IN EGITTO: three of Cesare’s arias (“Presti ormai l’Egizia terra,” “Non è si vago e bello” and “Alma del gran Pompeo”), conducted by Trevor Pinnock [1988]
 NORMA: Act I’s long Adalgisa-Pollione duet (“Vieni in Roma”), with Plácido Domingo [1982]
 THE RAKE’S PROGRESS: Baba the Turk’s entrance (“My love, am I to remain in here forever?”), with Arlene Saunders and Loren Driscoll, conducted by Sir Charles Mackerras [1969]
 DER ROSENKAVALIER: Act II’s Presentation of the Rose (“Mir ist die Ehre widerfahren”), with Judith Blegen [1976]
 WERTHER: Charlotte’s impassioned Act III aria (“Va: laisse couler mes larmes”) [1982]


Gabriella TUCCI #1

 AIDA: the great aria (“O patria mia”) from Act III [1961]
 ANDREA CHÉNIER: Maddalena’s Act III aria (“La mamma morta”) and the Act IV duet finale (“Vicino a te,” with Charles Craig) [1963]
 UN BALLO IN MASCHERA: both of Amelia’s arias (“Ecco l’orrido campo”/“Ma dall’arido stelo divulsa” and “Morrò, ma prima in grazia”) [1965]
 DIDON: the long final scene (“Le ciel nous déclare la guerre”) [1970]
 DON CARLO: both of Elisabetta’s arias (“Non pianger, mia compagna” and “Tu che le vanità”) [1972]
 MESSA DA REQUIEM: the 13-minute finale (“Libera me”) [1968]
 ORFEO ED EURIDICE: Euridice’s aria (“Che fiero momento!”) from Act III, with Grace Bumbry [1971]
 OTELLO: the “Ave Maria” from Act IV [1963]


TU CHE LE VANITÀ #1

 Martina Arroyo [1965]
 Gundula Janowitz [1970]
 Sena Jurinac [1960]
 Pilar Lorengar [1986, in the original French]
 Nelly Miricioiu [1996, in the original French]
 Dame Margaret Price [1978, conducted by Claudio Abbado]
 Teresa Żylis-Gara [1969, conducted by Thomas Schippers]


TU CHE LE VANITÀ #2

 Gilda Cruz-Romo [1980]
 Dame Gwyneth Jones [1967]
 Rosalind Plowright [1988]
 Leonie Rysanek [1964]
 Gabriella Tucci [1972]
 Carol Vaness [1997]
 Julia Varady [1990]


Richard TUCKER #1

 AIDA: the Amneris-Radamès interview (“Già i sacerdoti adunansi”) from Act IV, with Christa Ludwig [1970]
 UN BALLO IN MASCHERA: Riccardo’s entrance aria (“La rivedrà nell’estasi”) [1955]
 CARMEN: the duet finale (“C’est toi? — C’est moi!”), with Grace Bumbry [1970]
 CAVALLERIA RUSTICANA: the 12-minute confrontation scene (“Tu qui, Santuzza?”) from Act I, with Eileen Farrell and Mildred Miller [1964]
 LES CONTES D’HOFFMANN: Hoffmann’s first aria (the Kleinzach song), from the Prologue [1955]
 DON CARLO: the Carlo-Rodrigo duet (“Dio, che nell’alma infondere”) from Act II, with Ettore Bastianini [1955]
 MANON LESCAUT: des Grieux’s outburst (“Guardate: pazzo son!”) ending Act III [1970]
 RIGOLETTO: the great quartet (“Bella figlia dell’amore”) from Act III, with Gail Robinson, Joann Grillo and Robert Merrill [1972]
 SIMON BOCCANEGRA: the Amelia-Gabriele duet (“Vieni a mirar”) from Act I, with Adriana Maliponte [1974]
 TOSCA: Cavaradossi’s defiance of Scarpia (“Vittoria! Vittoria!”) from Act II, with Renata Tebaldi and Leonard Warren [1956]
 IL TROVATORE: the Azucena-Manrico duet (“Ai nostri monti”) from Act IV, with Mignon Dunn [1973]
 TURANDOT: Calàf’s first aria (“Non piangere, Liù!”) ending Act I [1968]
 DIE ZAUBERFLÖTE: Tamino’s two solos (“Dies Bildnis ist bezaubernd schön” and “Wie stark ist nicht dein Zauberton!”) from Act I, sung in English [1950]


TU QUI, SANTUZZA? (Cavalleria rusticana Act I) #1

 Jussi Björling and Giulietta Simionato (with Rosalind Elias) [1959]
 Franco Corelli and Grace Bumbry (with Nedda Casei) [1970]
 Enrico di Giuseppe and Régine Crespin (with Judith Forst) [1973]
 Giuseppe di Stefano and Giulietta Simionato
 Plácido Domingo and Régine Crespin (with Faith Esham) [1976]
 Richard Tucker and Eileen Farrell (with Mildred Miller) [1964]
 Richard Tucker and Elinor Ross [1973]


UNA VOCE POCO FA #1

 Kathleen Battle [1982]
 Montserrat Caballé [1981]
 Fiorenza Cossotto [1968]
 Tracy Dahl [1998]
 Joyce di Donato [2004]
 Reri Grist [1966, in German]
 Roberta Peters [1954]
 Lucia Popp [1972, in German]
 Gail Robinson [1987]
 Beverly Sills [1972]
 Ruth Ann Swenson [1993]
 Ruth Welting [1975]


Violeta URMANA #1

 AIDA: an amazing rendition of “O patria mia,” from Act III, complete with a flawlessly floated final high A [2005]
 DON CARLO: Eboli’s two arias — Act II’s Veil Song (“Nei giardin del bello”) and Act IV’s famous “O don fatale” — both conducted by Zubin Mehta [2004]
 NORMA: three of Adalgisa’s numbers — her entrance aria (“Deh, proteggimi, o Dio!”), the ensuing duet with Pollione (“Va, crudele”/“Vieni in Roma,” with Carlo Ventre) and the second duet with Norma (“Deh, con te li prendi”/“Mira, o Norma,” with Nelly Miricioiu) [1999]
 PARSIFAL: from the latter half of Act II, Kundry’s three big solos: “Ich sah das Kind,” “Grausamer! Fühlst du im Herzen” and the searing “So war es mein Kuß,” with Plácido Domingo and Nikolai Putilin conducted by Valery Gergiev [2003]
 IL TROVATORE: Azucena’s two arias (“Stride la vampa!” and “Condotta ell’era in ceppi”) from Act II, with Salvatore Licitra [2000]
 DIE WALKÜRE: Sieglinde’s two arias (“Der Männer Sippe” and “Du bist der Lenz”) from Act I [2001]


Cesare VALLETTI #1

 DON GIOVANNI: the Act I duet (“Fuggi, crudele!”), quartet (“Non ti fidar, o misera”) and aria (“Dalla sua pace”), plus the Act II aria (“Il mio tesoro”); colleagues include Leontyne Price, Eberhard Wächter and Dame Elisabeth Schwarzkopf, conducted by Herbert von Karajan [1960]
 DON PASQUALE: two duets (Act I’s “Prender moglie?” and Act III’s “Tornami a dir”) and both arias (Act II’s “Cercherò lontana terra” and Act III’s “Com’è gentil”), with Fernando Corena and Roberta Peters, all conducted by Thomas Schippers [1956]
 MANON: Act I’s fateful meeting (“J’ai marqué l’heure du depart”/“Nous vivrons à Paris!”); Act II’s scene with aria (“En fermant les yeux”); the legendary St Sulpice scene, with aria (“Ah, fuyez, douce image!”) and duet (“N’est-ce plus ma main?”); and the 10-minute finale (“Nous parlerons du passé”); all scenes feature the great Victoria de los Angeles in one of her signature rôles, conducted by Pierre Monteux [1954]


Carol VANESS #1

 ADRIANA LECOUVREUR: the heroine’s entrance aria (“Io son l’umile ancella”) from Act I [1992]
 ANTONY AND CLEOPATRA: the heroine’s Act I aria (“Give me some music”) and Act III trio (“Noblest of men,” with Margaret Thompson and Elizabeth Batton) [2003]
 CAROUSEL: the song “If I Loved You” from Act I [1992]
 EXSULTATE, JUBILATE: “Alleluia!” [1992]
 GUILLAUME TELL: Mathilde’s Act II aria (“Sombre forêt”) [1992]
 IDOMENEO, RE DI CRETA: two of Elettra’s arias (Act I’s “Tutto nel cor vi sento” and Act III’s “D’Oreste, d’Aiace”), conducted by James Levine [1991]
 MOSÈ: both Anaide-Aménofi duets (Act I’s “Ah, se puoi così lasciarmi” and Act IV’s “D’una vittima infelice”), with Francisco Araiza, conducted by Wolfgang Sawallisch [1988]
 I VESPRI SICILIANI: two of Elena’s scenes — Act IV’s “Arrigo! Ah, parli a un core” (plus the surrounding duet music, with Chris Merritt as Arrigo) and Act V’s Bolero (“Mercè, dilette amiche”) — conducted by Sir Charles Mackerras [1993]


Carol VANESS #2

 ANTONY AND CLEOPATRA: the Act II love duet (“Oh, take those lips away”) and Act III aria finale (“Give me my robe”), with with Louis Otey, Elizabeth Batton, Peter Couchman, Andrew Martens, Mark Rehnstrom and Margaret Thompson [2003]
 DIALOGUES DES CARMÉLITES: two of Blanche de la Force’s major scenes (“Blanche, votre frère avait grand’hâte de vous revoir” and “Pourquoi vous tenez-vous ainsi”), sung in English, with Eric Halfvarson, Howard Hensel, Frank Levar and Virginia Zeani [1982]
 IDOMENEO, RE DI CRETA: from Act II, Elettra’s aria (“Idol mio”) and the great quartet (“Andrò ramingo e solo”), with Susanne Mentzer, Dawn Upshaw and Ben Heppner, conducted by James Levine [1991]
 IPHIGÉNIE EN TAURIDE: the eponymous heroine’s four great arias (“Ô toi qui prolongeas mes jours,” “Ô malheureuse Iphigénie!,” “D’une image, hélas! trop chérie” and “Je t’implore et je tremble”), conducted by Riccardo Muti [1992]


Julia VARADY #1

 AIDA: the father-daughter confrontation (“Rivedrai le foreste imbalsamate”) from Act III, with Miss Varady’s husband Dietrich Fischer-Dieskau, conducted by Daniel Barenboim [1982]
 UN BALLO IN MASCHERA: the love duet (“Teco io sto!”) from Act II, with Mr. O’Neill [1994]
 the concert piece “BELLA MIA FIAMMA, ADDIO!,” KV 528 [1977]
 DON GIOVANNI: Elvira’s famous solo (“Mi tradì quell’alma ingrata”) from Act II, conducted by Wolfgang Sawallisch [1973]
 FIDELIO: Leonore’s magnificent aria (“Abscheulicher! Wo eilst du hin?”) from Act I, conducted by Nikolaus Harnoncourt [1986]
 MADAMA BUTTERFLY: the 16-minute love duet (“Bimba, non piangere”) that concludes Act I, with Giacomo Aragall and Gudrun Wewezow [1980]
 OTELLO: the intense interview (“Dio ti giocondi, o sposo”) from Act III, with Carlo Cossutta, conducted by Carlos Kleiber [1977]
 LA TRAVIATA: the aria finale (“Se una pudica vergine”), with Paolo Gavanelli, Francisco Araiza, Helena Jungwirth and Karl Helm [1993]
 IL TROVATORE: the concertato finale (“E deggio e posso crederlo?”) of Act II, with Georgina von Benza, Wolfgang Brendel, Dennis O’Neill, Harry Dworchak and Jan Vacik, conducted by Giuseppe Sinopoli [1992]


Julia VARADY #2

 ATTILA: Odabella’s fiendish entrance aria (“Allor che i forti corrono”), with Héctor Sandoval and Carlo Colombara [1993]
 DON CARLO: both of Elisabetta’s arias (Act II’s “Non pianger, mia compagna” and Act V’s “Tu che le vanità”) and 2 of her duets with Carlo (Act II’s “Io vengo a domandar” and Act V’s “Ma lassù ci vedremo”), with Veriano Luchetti, Evgeny Nesterenko, Kurt Moll et al. [1990]
 NABUCCO: some of Abigaille’s most taxing music, including the Act I trio (“Io t’amava!), the Act II scena (“Anch’io dischiuso un giorno”), the Act III duet with Nabucco (“Donna, chi sei?”) and her Act IV death scene (“Su me morente, esanime”), with José Cura, Violeta Urmana, Chester Patton, Jean-Philippe Lafont and Samuel Ramey [1995]
 LA TRAVIATA: Violetta’s passionate Act II farewell to Alfredo (“Amami, Alfredo”), with Helena Jungwirth and Francisco Araiza [1993]


Julia VARADY #3

 DON GIOVANNI: two of Elvira’s arias (“Act I’s Ah, fuggi il traditor!” and Act II’s “Ah, taci, ingiusto core!”), with Lucia Popp, Ruggero Raimondi and Stafford Dean [1973]
 EUGEN ONEGIN: Tatyana’s passionate Letter Scene, sung in German
 LOHENGRIN: both of Elsa’s arias (Act I’s “Einsam in trüben Tagen” and Act II’s “Euch Lüften, die mein Klagen”) and her two big duets — Act II’s with Ortrud (“In ferner Einsamkeit des Waldes”) and Act III’s with Lohengrin (“Das süße Lied verhallt”), with Hans Sotin, Wolfgang Schöne, Éva Randová, Hermann Becht and Siegfried Jerusalem [1985]


Ramón VARGAS #1

 UN BALLO IN MASCHERA: the Act I quintet (“È scherzo od’è follia”) and aria finale (“Ella è pura”), with Elena Zaremba, Tracy Dahl, John Relyea, John Ames and Carol Vaness [1999]
 L’ELISIR D’AMORE: three duets (“Chiedi all’aura lusinghiera,” “Voglio dire lo stupendo elisir” and “Ai perigli della guerra”) and of course the famous aria (“Una furtiva lagrima”), with Ruth Ann Swenson, Andrew Shore and Peter Coleman-Wright [2006]
 ROBERTO DEVEREUX: the duet “Un tenero core,” with Edita Gruberová [2000]
 ROMÉO ET JULIETTE: the final scene, from the hero’s monologue (“Salut, tombeau sombre et silencieux!”) to the end (“Console-toi, pauvre âme”), with Ana Maria Martínez [2005]
 ZAIRA: Corasmino’s Act I aria (“Per chi mai, per chi pugnasti”) and Act II duet (“E pur ora, al mio cospetto,” with Simone Alaimo) [1990]


Astrid VARNAY #1

 ELEKTRA: the entrance monologue (“Allein! Weh, ganz allein!”), the Recognition Scene (“Was willst du, fremder Mensch?,” with Hans Hotter) and the final duet (“Elektra! Schwester!,” with Leonie Rysanek) [1953]
 DER ROSENKAVALIER: the last 25 minutes of Act I (beginning with the Marschallin’s famous monologue “Da geht er hin”), with Risë Stevens [1953]
 SALOME: the last 17 minutes (beginning with the words “Es ist kein Laut zu vernehmen”), with Julius Patzak and Margarete Klose [1953]


Shirley VERRETT #1

 AIDA: Aida’s “O patria mia” (from Act III), conducted by Sarah Caldwell [1980]
 L’AFRICAINE: Sélika’s virtuoso aria (“Sur mes genoux”) from Act II (with Plácido Domingo) [1973]
 UN BALLO IN MASCHERA: Amelia’s “Morrò, ma prima in grazia” (from Act III), conducted by Claudio Abbado [1977]
 DIDO AND AENEAS: the heroine’s first aria (“Ah, Belinda, I am prest with torment”) [1971]
 MARIA STUARDA: Elisabetta’s entrance aria (“Ah, quando all’ara scorgemi”) from Act I [1967]
 MOÏSE ET PHARAON: “Ah, d’une tendre mère,” from Act II [1983]
 STABAT MATER (Rossini): “Fac ut portem” [1967]
 TANNHÄUSER: Elisabeth’s entrance aria (“Dich, teure Halle”) from Act II [1977]
 IL TROVATORE: Azucena’s “Condotta ell’era in ceppi” (from Act II, with Richard Tucker) [1971]
 LES TROYENS: from Act I, Cassandre’s massive duet with Chorèbe (“Reviens à toi, vierge adorée!,” with Louis Quilico), conducted by Rafael Kubelík [1974]


Shirley VERRETT #2

 LA FAVORITA: the two Leonora-Fernando duets, one from Act I (“Ah, mio bene”), the other the last 22 minutes of Act IV (“Fernando! Dove mai lo troverò?”), with Alfredo Kraus [1975]
 MOSE: Sinaïde’s Act II aria (“Ah, d’un’afflitta il duolo”), with Ottavio Garaventa and Giovanni Gusmeroli, conducted by Wolfgang Sawallisch [1968]
 OTELLO: both husband-and-wife duets (Act I’s “Già nella notte densa” and Act III’s “Dio ti giocondi, o sposo”), plus the Act III concertato finale (“A terra e piangi!”), with James McCracken, John Reardon et al., conducted by Sarah Caldwell [1980]
 LES TROYENS: Cassandre’s Act I entrance aria (“Malheureux roi!”), conducted by Rafael Kubelík [1974]


Shirley VERRETT #3

 UN BALLO IN MASCHERA: most of Ulrica’s music from Act I, including her aria (“Re dell’abisso, affrettati!”), the trio (“Che v’agita così?”) and the quintet (“È scherzo od’è follia”), with Jon Vickers, Amy Shuard, Joseph Rouleau, Forbes Robinson and Lucia Popp [1966]
 NORMA: the final scene of Act I, including the first Norma-Adalgisa duet (“O rimembranza!”) and the ensuing trio finale (“Vanne, sì: mi lascia, indegno!”), with Montserrat Caballé and John Alexander [1976]
 TOSCA: both love duets (Act I’s “Mario, Mario, Mario!” and Act III’s “O dolce mani”), Tosca and Scarpia’s Act I confrontation (“Un tal baccano in chiesa!”), and that terrible final leap, with Veriano Luchetti, Sherrill Milnes, Italo Tajo, Kim Scown and Keith Kibler, conducted by Seiji Ozawa [1980]


Shirley VERRETT #4

 DIDO AND AENEAS: the heroine’s death scene (“When I am laid in earth”) [1971]
 LA FORZA DEL DESTINO: Leonora’s famous Act IV aria (“Pace, pace, mio Dio!”) [1977]
 TOSCA: Tosca and Scarpia’s long Act II showdown (beginning at his invitation “Ed or fra noi parliam da buoni amici,” including her great aria “Vissi d’arte” and running to the end of the act), with Sherrill Milnes, Veriano Luchetti, Kim Scown and Keith Kibler, conducted by Seiji Ozawa [1980]
 IL TROVATORE: Azucena’s two big scenes with Manrico, one a 20-minute sequence from Act II (including “Stride la vampa!,” “Condotta ell’era in ceppi,” “Mal raggendo” and “Perigliarti ancor languente”), the other their gentle Act IV duet (“Ai nostri monti”), plus the Act III, Scene 1 finale (“Giorni poveri vivea”), with James McCracken, Edward Ghazal, Lou Marcella, Malcolm Smith and Louis Quilico; two blazing high Cs from Miss Verrett are on display here ! [1977]


Jon VICKERS #1

 UN BALLO IN MASCHERA: Riccardo’s four arias — “La rivedrà nell’estasi,” “Di’ tu se fedele,” “Ma se m’è forza perderti” and “Ella è pura” [1966]
 BENVENUTO CELLINI: Cellini’s first aria (“La gloire était ma seule idole”), sung in English [1975]
 LA FORZA DEL DESTINO: three of Alvaro’s numbers — the aria “O tu che in seno agli angeli” and two of the duets with Carlo (“Solenne in quest’ora” and “Invano Alvaro,” with Cornell MacNeil) [1975]
 L’INCORONAZIONE DI POPPEA: the darkly comic “Or che Seneca è morto” (with Michel Sénéchal) and the lyrical “Pur ti miro” (with Dame Gwyneth Jones) [1978]
 NORMA: Pollione’s entrance aria (“Meco all’altar di Venere”) and long duet with Adalgisa (“Va, crudele”/“Vieni in Roma, o cara,” with Josephine Veasey) [1974]


FOUR LAST SONGS #1

 Martina Arroyo [1967, conducted by Günter Wand]
 Helen Donath [1995]
 Elizabeth Harwood [1970]
 Pilar Lorengar [1967]


FOUR LAST SONGS #2

 June Anderson [1991? — first three songs only]
 Sena Jurinac [1958]
 Roberta Peters [1984]
 Leontyne Price [1970]


Deborah VOIGT #1

 Samuel Barber’s long concert aria ANDROMACHE’S FAREWELL (conducted by Kurt Masur) [2000]
 UN BALLO IN MASCHERA: “Teco io sto!,” with Luciano Pavarotti [1994]
 FIDELIO: two ensembles from Act I — the quartet “Mir ist so wunderbar” and the trio “Gut, Söhnchen, gut” — with Amy Burton, James Morris and Stanford Olsen [2005]
 DIE FLEDERMAUS: Rosalinde’s csárdás (“Klänge der Heimat”), from Act II [1998]
 LA FORZA DEL DESTINO: “Or siam soli,” with Roberto Scandiuzzi [1994]
 DER FREISCHÜTZ: Agathe’s aria “Leise, leise,” from Act II [1999]
 MANON LESCAUT: the aria “Sola, perduta, abbandonata,” from Act IV [1997]
 TANNHÄUSER: both of Elisabeth’s arias (“Dich, teure Halle” and “Allmächt’ge Jungfrau”), plus her long Act II duet with Tannhäuser (Peter Seiffert) [2004]


Deborah VOIGT #2

 DIE ÄGYPTISCHE HELENA: the aria (“Zweite Brautnacht!”) that opens Act II [2003]
 AIDA: the end of the Triumphal Scene from Act II (beginning with Amonasro’s entrance), with Grace Bumbry, Paul Plishka, Juan Pons and Alan Held [1992]
 DON CARLOS: the Celestial Voice’s solo from the end of Act III, sung in French [1986]
 ERNANI: the final trio (“Solingo, errante, misero”) from Act III, with Plácido Domingo and Roberto Scandiuzzi [1996]
 FIDELIO: the Act I aria “Abscheulicher!”/“Komm, Hoffnung” and three successive numbers from Act II (the trio “Euch werde Lohn,” the quartet “Er sterbe!” and the duet “O namenlose Freude!”) — with Thomas Moser, James Morris and Tom Fox [2005]
 LA GIOCONDA: the exciting duet (“L’amo come il fulgor”) from Act II, with Eugenie Grunewald [1994]
 DER ROSENKAVALIER: the famous trio (“Hab’ mir’s gelobt”) from Act III, with Angelika Kirchschlager and Heidi Grant Murphy [1998]
 TANNHÄUSER: the last 21 minutes of Act II (from Elisabeth’s appearance to the end), with Kurt Moll and Peter Seiffert [2004]


Frederica VON STADE #1

 Mozart’s greatest concert aria: “CH’IO MI SCORDI DI TE?”/“Non temer, amato bene” (KV 505) [1988]
 LES CONTES D’HOFFMANN: Nicklausse’s little aria (“Une poupée aux yeux d’émail”) from Act I, with Nicolai Gedda [1970]
 LA DONNA DEL LAGO: a duet-trio sequence (“Da quante spade”/“Alla ragion, deh, rieda”) from Act II, with Rockwell Blake and Dano Raffanti [1981]
 IDOMENEO, RE DI CRETA: three great ensembles — the Act II trio (“Pria di partir, o Dio!”) and the Act III duet (“S’io non moro a quest’accenti”) and quartet (“Andrò ramingo e solo”), with David Rendall, Hildegard Behrens and Benita Valente [1986]
 NORMA: the second Norma-Adalgisa scene (“Deh, con te li prendi”/“Mira, o Norma”/“Sì, fino all’ore estreme”), from Act II, with Rita Hunter [1975]
 IL RITORNO D’ULISSE IN PATRIA: Penelope’s 13-minute solo (“Di misera Regina non terminati mai dolenti affanni!”) from Act I [1977]
 DIE ZAUBERFLÖTE: the Boys’ two scenes from Act II: “Seid uns zum zweitenmal willkommen” and “Bald prangt, den Morgen zu verkünden”; her fellow “boys” are Gail Robinson and Judith Forst, with Teresa Żylis-Gara as Pamina [1970]


Frederica VON STADE #2

 CENDRILLON: the long Act III finale (“À deux genoux, bonne Marraine!”), with Marilyn Horne and Reri Grist [1973]
 LA CENERENTOLA: Cinderella’s first meeting with her Prince (“Un soave non so che”), with Ugo Benelli [1974]
 LA DONNA DEL LAGO: Elena’s two arias (“O mattutini albori!” and “Tanti affetti”) [1981]
 IDOMENEO, RE DI CRETA: both of Idamante’s arias (“Non ho colpa” and “Il padre adorato”) [1986]
 NORMA: Adalgisa’s entrance monologue (“Deh, proteggimi, o Dio!”) and her ensuing duet with Pollione (“Va, crudele”/“Vieni in Roma, o cara”), from Act I, with John Alexander [1975]
 four great moments from the heyday of American musical: “Wunderbar”/“So in Love” (Porter’s KISS ME, KATE, with Samuel Ramey), “A Sleepin’ Bee” (Arlen’s HOUSE OF FLOWERS), “Bosom Buddies” (Herman’s MAME, with Miss Horne) and “Sing for Your Supper” (Rodgers & Hart’s THE BOYS FROM SYRACUSE, with Miss Horne and Renée Fleming) [1997]


Ljuba WELITSCH #1

 AIDA: the Aida-Amneris confrontation (“Fu la sorte dell’armi,” with Margaret Harshaw) [1950]
 UN BALLO IN MASCHERA: the love duet (“Teco io sto!,” with Mirto Picchi) [1949]
 DON GIOVANNI: Donna Anna’s second aria (“Non mi dir”), conducted by Wilhelm Furtwängler [1950]
 ELEKTRA: three of Chrysothemis’ scenes — her entrance aria (“Ich hab’s wie Feuer in der Brust”), the false disclosure of her brother’s death (“Orest ist tot!”) and the opera’s duet finale (“Elektra! Schwester!”), all with Erna Schlüter, conducted by Sir Thomas Beecham [1947]
 SALOME: Salome’s 28-minute entrance scene, from her first lines (“Ich will nicht bleiben!”) through the entire duet with Jokanaan (Herbert Janssen), conducted by Fritz Reiner [1949]


Ruth WELTING #1

 ARIADNE AUF NAXOS: Zerbinetta’s aria (“Großmächtige Prinzessin”) [1976]
 IL BARBIERE DI SIVIGLIA: three arias (the usual “Una voce poco fa” and “Contro un cor,” plus the interpolated “Ah, se è ver”), the duet with Figaro (“Dunque io son?”) and the finale ultimo (“Di si felice innesto”); colleagues include Luigi Alva and Thomas Allen [1975]
 HAMLET: Ophélie’s Act I duet with Hamlet (“Doute de la lumière”), the “Get thee to a nunnery!” scene, and of course both major solos: the Act II aria (“Les serments ont des ailes”) and the Act IV mad scene (“À vos jeux, mes amis”); colleagues include Sherrill Milnes and Felicity Palmer [1990]
 LA SONNAMBULA: Amina’s entrance aria (“Come per me sereno”) [1982]


Dolora ZAJICK #1

  ADRIANA LECOUVREUR: the Princess’ Act II aria (“Acerba voluttà”) [1995]
 AN AMERICAN TRAGEDY: three selections, including the Act I hymn (“’Tis so sweet to trust in Jesus”) and her return near the end of the piece (“Accused of murder!” and “When your uncle brought you here”), with Graham Phillips and Nathan Gunn, conducted by James Conlon [2005]
 CAVALLERIA RUSTICANA: the Easter Prayer [1995]
 DON CARLO: the Veil Song from Act II, with Theodora Hanslowe [2002]
 LA FAVORITE: a glorious rendition of Léonor’s Act II aria (“Ô mon Fernand”), in the original French [2006]
 MESSA DA REQUIEM: the mezzo solo (“Liber scriptus proferetur”), conducted by Riccardo Muti [1987]
 SAMSON ET DALILA: Dalila’s third aria (“Mon cœur s’ouvre à ta voix”), from Act II, with a stunning soft high B-flat at the end [1998]
 IL TROVATORE: the Azucena-Manrico interview from Act II (including both arias, “Stride la vampa!” and “Condotta ell’era in ceppi”), with Roberto Alagna, Denis Aubry and Nicolas Marie [2003], and the mother-son reunion in Act IV (“Ai nostri monti”), with Luciano Pavarotti [1991]


ZERBINETTA #1

 Arleen Augér [1968]
 Mattiwilda Dobbs [1958, sung in English]
 Sylvia Greenberg [1982]
 Elizabeth Harwood [1968 — this is the original 1912 version, 4 minutes longer and reaching even higher, to F-sharp above high C]
 Jeanette Scovotti [1967]
 Beverly Sills [1971]
 Ruth Welting [1976]


ZERBINETTA #2

 Laura Aikin [1998]
 Gianna d’Angelo [1962]
 Hilde Güden [1954, conducted by Karl Böhm]
 Renate Holm [1964]
 Roberta Peters [1963, conducted by Maestro Böhm]
 Rita Shane [mid-’70s?]
 Patricia Wise [1976, conducted by Wolfgang Sawallisch]


Teresa ŻYLIS-GARA #1

 DON CARLO: both of Elisabetta’s arias (“Non pianger, mia compagna” and “Tu che le vanità”); the conductor is Thomas Schippers [1969]
 DON GIOVANNI: three of Elvira’s solos (“Ah, fuggi il traditor!,” “Ah, taci, ingiusto core!” and “Mi tradì quell’alma ingrata”); the conductor is Herbert von Karajan [1969]
 MANON: three of the heroine’s solos (“Voyons, Manon,” “Adieu, notre petite table” and the famous Gavotte, “Obéissons quand leur voix appelle”) [1973]
 MOSÈ: the duet (“D’una vittima infelice”) that opens Act IV, with tenor Ottavio Garaventa (conducted by Wolfgang Sawallisch [1968]
 OTELLO: the Act I love duet (“Già nella notte densa”), with Franco Corelli; the conductor is Karl Böhm [1972]
 RUSALKA: the Song to the Moon (“Mesicku na nebi hlubokém”) [1975]
 STABAT MATER (Rossini): the heroic soprano solo with chorus (“Inflammatus et accensus”), conducted by Carlo Maria Giulini [1967]
 DIE ZAUBERFLÖTE: Pamina’s Act I duet with Papageno (“Bei Männern,” with Hermann Prey), Act II aria (“Ach, ich fühl’s”) and trio with Tamino and Sarastro (“Soll ich dich, Teurer, nicht mehr seh’n?”), with Jerome Hines and Nicolai Gedda [1970]


Teresa ŻYLIS-GARA #2

 FAUST: Marguerite’s ballad (“Il était un roi de Thulé”) and Jewel Song (“Ah, je ris”), from Act II [1972]
 MADAMA BUTTERFLY: Butterfly’s Act II narrative (“Che tua madre dovrà”) and Flower Duet (“Scuoti quella fronda di ciliegio”), with Theodor Uppman and Nedda Casei [1976]
 MANON: the first meeting of the heroine with des Grieux (“Nous vivrons à Paris!”), with Alfredo Kraus, Miwako Kuo Matsumoto, Patricia Guthrie, Nicoletta Ciliento, Julian Patrick, Giorgio Giorgetti and Richard Sutliff [1973]
 MOSÈ: the Act I duet (“Ah, se puoi così lasciarmi”), with Ottavio Garaventa, conducted by Wolfgang Sawallisch [1968]
 DER ROSENKAVALIER: the last 27 minutes of Act I, including the Marschallin’s monologue (“Da geht er hin”) and long scene with Octavian (Tatiana Troyanos), conducted by James Levine [1976]
 DIE ZAUBERFLÖTE: Pamina’s Act II duet with Tamino (“Tamino mein! Oh, welch’ ein Glück!”), with Nicolai Gedda, Rod MacWherter and Louis Sgarro [1970]


Teresa ŻYLIS-GARA #3

 FAUST: the Act IV Church Scene (“Seigneur, daignez permettre”), with Giorgio Tozzi [1972]
 MADAMA BUTTERFLY: the entire Act I love duet (“Bimba, non piangere”), the famous Act II aria (“Un bel dì”) and Act III’s lullaby (“Dormi, amor mio”) and death scene (“Tu, tu, piccolo Iddio?”), with John Alexander and Nedda Casei [1976]
 MANON: the heroine’s Act I entrance aria (“Je suis encor tout étourdie”), with Julian Patrick [1973]
 MOSÈ: two big concertati (“Mi manca la voce” and “O terribile momento!”), with Ottavio Garaventa, Shirley Verrett, Giampaolo Corradi, Gloria Lane, Fernando Iacopucci, Mario Petri, Franco Ventriglia, Nicolai Ghiaurov, conducted by Wolfgang Sawallisch [1968]
 DER ROSENKAVALIER: the last 21 minutes of the opera, including the famous trio (“Hab’ mir’s gelobt”) and final duet (“Ist ein Traum”), with Judith Blegen, Tatiana Troyanos and William Dooley, conducted by James Levine [1976]
 DIE ZAUBERFLÖTE: the Act I finale (“Herr, ich bin zwar Verbrecherin”), with Jerome Hines, Paul Franke and Nicolai Gedda [1970]


Teresa ŻYLIS-GARA #4

 ADRIANA LECOUVREUR: the heroine’s two famous arias (Act I’s “Io son l’umile ancella” and Act IV’s “Poveri fiori”) [1978]
 DON GIOVANNI: Elvira’s Act I entrance aria (“Ah, chi mi dice mai”), with Nicolai Ghiaurov and Sir Geraint Evans; the conductor is Herbert von Karajan [1969]
 FAUST: the Act III love duet (“Laisse-moi contempler ton visage”), with Giorgio Tozzi and Plácido Domingo [1972]
 MANON LESCAUT: all 21 minutes of Act IV, including the famous aria (“Sola, perduta, abbandonata”), with Giuliano Ciannella, conducted by James Levine [1981]
 TOSCA: the Act I love duet (“Mario, Mario, Mario!”) and the final leap from the Castel Sant’Angelo (“Come lunga è l’attesa!”), with Carlo Bergonzi, Russell Christopher and Charles Anthony [1975]
 I VESPRI SICILIANI: Elena’s three arias, from Acts I (the scena “In alto mare”), IV (the lyrical “Arrigo, ah, parli a un core”) and V (the bolero “Mercè, dilette amiche”) [1987]


Teresa ŻYLIS-GARA #5

 COSÌ FAN TUTTE: Fiordiligi's two duets with Dorabella (Act I's "Ah, guarda, sorella" and Act II's "Prenderò quel brunettino"), plus her two famous arias ("Come scoglio" and "Per pietà") and climactic duet with Ferrando ("Fra gli amplessi"), with Rosalind Elias and Pietro Bottazzo, conducted by Sir John Pritchard [1972]
 GUGLIELMO TELL: Mathilde's entrance aria (Act II's "Selva opaca") and two duets with Arnoldo (Act II's "Tutto apprendi, o sventurato" and Act III's "Ah, se privo di speme è l'amore"), with Franco Bonisolli [1974]
 MANON LESCAUT: most of the heroine's music from Act II, including her first aria ("In quelle trine morbide"), her singing display ("L'ora, o Tirsi") and the long duet with des Grieux ("Tu, tu, amore, tu?"), with Pablo Elvira, Andrea Velis, Renato Capecchi and Giuliano Ciannella, conducted by James Levine [1981]