Haydn: L'anima del Filosofo (Orfeo ed Euridice)

On this CD:

1. L'anima del filosofo (Orfeo ed Euridice), opera, H. 28/13
Composed by Franz Joseph Haydn
Performed by Munich Radio Orchestra with Helen Donath, Sylvia Greenberg, Paul Hansen, Roland Kandlbinder, Thomas Quasthoff, Dankwart Siegele, Roman Summereder
Conducted by Leopold Hager

Tracks:

Orfeo ed Euridice: Ouverture
Orfeo ed Euridice: Atto Primo : Sventurata, che fo? (Euridice)
Orfeo ed Euridice: Atto Primo : Ferma, ferma il piede, o principessa!
Orfeo ed Euridice: Atto Primo : Che chiedete da me? (Euridice)
Orfeo ed Euridice: Atto Primo : Filomena abbandonata (Euridice)
Orfeo ed Euridice: Atto Primo : Cieli! Soccorso! Aita!
Orfeo ed Euridice: Atto Primo : Rendete a questo seno (Orfeo)
Orfeo ed Euridice: Atto Primo : Cara speme! Alme di scoglio! (Orfeo)
Orfeo ed Euridice: Atto Primo : Oh prodigio, oh stupor
Orfeo ed Euridice: Atto Primo : O poter dell'armonia!
Orfeo ed Euridice: Atto Primo : Ah, chi sa dirmi (Creonte)
Orfeo ed Euridice: Atto Primo : Il pensier sta negli oggetti (Creonte)
Orfeo ed Euridice: Atto Primo : Grazie agli dei (Orfeo
Orfeo ed Euridice: Atto Primo : Come il foco allo splendore (Orfeo)
Orfeo ed Euridice: Atto Secondo : Finchircola il vigore
Orfeo ed Euridice: Atto Secondo : Adorata consorte (Orfeo, Euridice)
Orfeo ed Euridice: Atto Secondo : Finchircola il vigore
Orfeo ed Euridice: Atto Secondo : Numi, che ascolto! (Euridice)
Orfeo ed Euridice: Atto Secondo : Ecco, signor, la principessa ola
Orfeo ed Euridice: Atto Secondo : Dov'dov'amato bene? (Euridice)
Orfeo ed Euridice: Atto Secondo : Del mio core il voto estremo (Euridice)
Orfeo ed Euridice: Atto Secondo : Con Euridice estinte son le gelose cure
Orfeo ed Euridice: Atto Secondo : Dov'uell'alma audace (Orfeo)
Orfeo ed Euridice: Atto Secondo : In un mar d'acerbe pene (Orfeo)
Orfeo ed Euridice: Atto Secondo : Euridice, signor
Orfeo ed Euridice: Atto Secondo : Mai non sia inulto (Creonte)

Tracks:

Orfeo ed Euridice: Atto Terzo : Ah, sposo infelice!
Orfeo ed Euridice: Atto Terzo : Al cielo te ne voli (Orfeo)
Orfeo ed Euridice: Atto Terzo : Ah, sposo infelice!
Orfeo ed Euridice: Atto Terzo : Che sarai d'Orfeo? (Creonte)
Orfeo ed Euridice: Atto Terzo : Chi spira e non spera (Creonte)
Orfeo ed Euridice: Atto Terzo : Venerata Sibilla (Orfeo)
Orfeo ed Euridice: Atto Terzo : Al tuo seno fortunato
Orfeo ed Euridice: Atto Terzo : Costanza a me si chiede? (Orfeo)
Orfeo ed Euridice: Atto Terzo : La giustizia in cor regina
Orfeo ed Euridice: Atto Quarto : Infelici ombre dolenti
Orfeo ed Euridice: Atto Quarto : Che ascolto, oh numi! (Orfeo)
Orfeo ed Euridice: Atto Quarto : Urli orrendi, disperati
Orfeo ed Euridice: Atto Quarto : O signor, che all'ombre imperi (Orfeo)
Orfeo ed Euridice: Atto Quarto : Trionfi oggi piet
Orfeo ed Euridice: Atto Quarto : O della reggia mia
Orfeo ed Euridice: Atto Quarto : Intermezzo
Orfeo ed Euridice: Atto Quarto : Quai dolci e care note ascolto! (Orfeo)
Orfeo ed Euridice: Atto Quarto : Son finite le tue pene
Orfeo ed Euridice: Atto Quarto : Sovvengati la legge
Orfeo ed Euridice: Atto Quarto : Perduto un'altra volta (Orfeo)
Orfeo ed Euridice: Atto Quarto : Mi sento languire (Orfeo)
Orfeo ed Euridice: Atto Quarto : Barbaro, infido amore (Orfeo)
Orfeo ed Euridice: Atto Quarto : Vieni, vieni, amato Orfeo
Orfeo ed Euridice: Atto Quarto : Perfide, non turbate di pifeo)
Orfeo ed Euridice: Atto Quarto : Bevi, bevi in questa tazza
Orfeo ed Euridice: Atto Quarto : Andiamo, amiche, andiamo
Orfeo ed Euridice: Atto Quarto : Oh, che orrore!

Amazon.com essential recording

A surprising fact from the musicological realm is that Haydn wrote about the same number of operas as Mozart--though it's true that some of them were written for the marionette theater at Esterhaza, rather than the opera house. In other words, old "Gius[eppe] Haydn"--as the title page of this opera refers to him--was a master. Better known to some by its alternate title, L'anima del filosofo, Haydn's Orfeo ed Euridice was written in 1791 for the King's Theater, Haymarket, during the composer's first English sojourn, but went unperformed there or anywhere else until 1950. The libretto, by Carlo Francesco Badini, is based on Ovid's Metamorphoses, with its decidedly unhappy ending to the story (Euridice dies a second time, Orpheus is poisoned, and the Bacchantes perish in a storm). While the score as a whole does not possess the kind of momentum or dramatic sweep one finds in Mozart, it nonetheless is vintage Haydn: highly imaginative in its use of a large orchestra, with numerous fine choruses and beautiful arias. A strong cast has been assembled for this recording, with Cecilia Bartoli a special delight in two roles--Euridice, a lyric role requiring remarkable agility, and the Genio (or Sybill), originally written for a castrato, whose one aria ("Al tuo seno fortunato") is a coloratura tour de force. The score is played with marvelous fluency by the Academy of Ancient Music under the direction of Christopher Hogwood, contributing to a realization that is, in every respect, elegantly informed. --Ted Libbey

Customer Reviews:

wow.......2004-12-22

i think hogwood and haydn. these two words are enough.
but i love Dorati`s more than this recording.

Haydn's "Orfeo ed Euridice" worth discovering.......2001-01-19

Although Haydn's "Orfeo ed Euridice" has been recorded a few times before, it is still a relatively obscure opera. It is easy to hear the music's roots in Gluck (and the possible influences of contemporaries such as Mozart and Cimarosa) but Haydn's music has a distinct voice, and is quite lovely - at times delightful, and at times tragic. This is an opera well worth discovering by anyone interested in music from the baroque and classical periods.

Both Cecilia Bartoli and Uwe Heilmann are fantastic. Bartoli's versatility as an artist is well displayed in this recording; she sings both treble lead roles. Euridice was writen for a lyric soprano, and the role of the Genio, with its showstopper coloratura aria, was written for a male castrato. Bartoli skillfully uses two different vocal colors - warm and rich for Euridice, bright and shimmery for the Genio - and she gives much pleasure in her performance of both roles, and utilizes a remarkable range. Heilmann's reedy voice is perfectly suited to the music, and he captures the idealism, pathos, and tragedy of the character. He sings with lovely tone, and tasteful and intelligent musicianship, and is often genuinely touching. The young bass Ildebrando d'Arcangelo sings beautifully as well, skillfully using his warm and rich yet flexible voice in his two scenes.

Tracks:

Italian Con, BWV 971: I. Allegro - Columbia Conc Orch/Howard Barlow
Pno Con No.20 in d, K 466: I. Allegro - Columbia Conc Orch/Howard Barlow
Pno Con No.20 in d, K 466: II. Romanze - Columbia Conc Orch/Howard Barlow
Pno Con No.20 in d, K 466: III. Allegro Assai - Columbia Conc Orch/Howard Barlow
Hungarian Rhap No.13 - New York Phil/Efrem Kurtz
Pno Con No.2 in c, Op.18: II. Adagio Sostenuto - New York Phil/Efrem Kurtz
Pno Son: I. Allegro Con Moto - Teresa Sterne
Pno Son: II. Adagietto - Teresa Sterne
Pno Son: III. Allegro Vivo - Teresa Sterne
Pno Son: IV. Allegro - Teresa Sterne

Tracks:

Ov To An English Opr, Hob 1A-3 - The Little Orch Of London/Leslie Jones
Nun Freut Euch, Lieben Christen - Paul Jacobs
Herzlich Thut Mich Verlangen - Paul Jacobs
Etude, Book II - Paul Jacobs
Five Pno Pieces, Op.23: II Sehr Rasch - Paul Jacobs
Ionisation - The New Jersey Perc Ens/Raymond DesRoches
The Ragtime Dance - Joshua Rifkin
Jeanie With The Light Brown Hair - Jan DeGaetani/Gilbert Kalish
Blondel Zu Marien, D 626 - Jan DeGaetani/Gilbert Kalish
Double Con: Intro - Paul Jacobs/Gilbert Kalish
Pno Son No.2, 'Concord, Mass': III. The Alcotts - Gilbert Kalish
Wait 'Till The Sun Shines, Nellie - Joan Morris/William Bolcom
Graceful Ghost - William Bolcom
Ancient Voices Of Children: III. De Donde Vienes, Amor, Mi Nino?/IV. Todas Las Tardes En Granada... - Jan DeGaetani/Michael Dash
Nyamamusango (Meat In The Forest) - Hakurotwi Mude/Cosmas Magaya/Ephat Mujuri
Vetar Vee - Vasilka Andonova/Kremena Stancheva
Ta Shto Mi E Miloj, Mamo - Nadezhda Georgieva Klicherova/Gena Ivanova Bodenova/Nadezhda Georgieva Paleastova
Ketjak Dance - Teresa Sterne
I Big You Goodnight - Edith Pinder/Geneva Pinder/Raymond Pinder/Joseph Spence
Oyun Havasi - Teresa Sterne
Ketawang Puspawarna - Teresa Sterne

Amazon.com

The life of Teresa Sterne is as noteworthy as the label she once presided over (Nonesuch). As a child prodigy, she successfully filled world-class auditoriums in the 1940s with audiences eager to hear her piano playing. Then, inexplicably, Sterne abandoned her concert career only to resurface as the leader behind Nonesuch Records in the late 1960s, turning the budget classical label into one of the more adventurous and consistently rewarding labels around (and generally keeping quiet about her earlier fame). Half of this double-CD tribute collects recordings of a teenage Sterne at the keyboard; the second disc is devoted to some of the finest recordings from her Nonesuch tenure (1965-1979)--both are engrossing.

Ignore the surface noise on Sterne's disc (no small task on the Mozart Piano Concerto No. 20), and you'll hear a young pianist in fine form--she is expressive, and boasts crisp articulation and fine technique. She dances through Liszt's Hungarian Rhapsody No. 13 with riveting intensity; on Rachmaninoff's Piano Concerto No. 2 (with the New York Philharmonic), she shows a sensitive but no less virtuosic side. On the second disc, we get a virtual best-of for Nonesuch Records, including tracks by Joshua Rifkin, Paul Jacobs, and William Bolcom. Hard to imagine anyone doing it these days, but in one five-year period (1970-1975), Nonesuch released albums featuring the music of Stephen Foster, Edgar Varese, George Crumb, and a platter of Bulgarian folk tunes. They're all here. Now battling Lou Gehrig's disease, Sterne herself may be unable to celebrate this release, but for anyone who has treasured a release from Nonesuch's glory days, it's a moving tribute. --Jason Verlinde

Joseph Haydn: Symphony No. 101 (The Clock); Symphony No. 102; Overture to "Windsor Castle"
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Haydn Would Be Pleased

Joseph Haydn: Symphony No. 101 (The Clock); Symphony No. 102; Overture to "Windsor Castle"

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008JL6N
Release Date: 2003-10-14

Customer Reviews:

Haydn Would Be Pleased.......2003-10-21

If you're jaded enough to wonder what all the fuss over Haydn was 210 years ago in London, Roy Goodman will certainly enlighten you. Despite the fact that Mozart's four last symphonies had achieved a breadth and depth of symphonic expression that was beyond anything the world had known (and of course London audiences would have been virtually in the dark about Mozart's achievement), Haydn's London Symphonies were bigger, brasher, bolder, more brilliant than the home-grown talents and German imports such as J. C. Bach and Karl Abel had ever hinted at. Even contemporary rivals such as Ignaz Pleyel were left for all times in the dust.

Other authentic-instrument bands and leaders besides the Hanover Band under Goodman have helped to brush the cobwebs off these great but often mistreated symphonies, yet for me these performances catch all the joie de vivre and quicksilver wit on which Haydn thrives. As the notes to the recording say, at this point in his career, Haydn was writing proto-scherzos rather than minuets, so these minuets really zip along, maybe a little too fast for some, but it's a wonderfully wild ride. In the great movements here--the last movement of the 101 and the slow movement of 102, perhaps the greatest of their kind that Haydn wrote--proper balances and superb recording really tell. Brass, woodwind, and percussion scintillate as they should, while the strings provide poetry (102) or acrobatics (the wonderful fugal recapitulation of 101) as need be.

(The nearest rival to Goodman in this respect is Charles Mackerras on a Telarc mid-price disc. Since he leads the Scottish Chamber Orchestra playing on modern instruments, his performance has a bit more suavity, which compensates nicely for any brio that is lacking. But little is, and if you want modern instruments, I heartily recommend Mackerras for Symphonies 100, 101, 103, and 104.)

As I say, Hyperion's engineering certainly abets Goodman and Company's efforts. Those tremendous horns are placed in the left channel where their antiphony with the trumpets (at the right) can have full effect--I hate these producers who refuse to use the stereo effects God gave them to work with! Just listen to the marvelous brass cadence at the end of the "bonus," the Overture to "Windsor Castle." The sound stage for this recording is compact, as is the orchestra of course, but the ambience is quite lively nonetheless.

Goodman leads the orchestra from the keyboard of a c. 1798 fortepiano, as Haydn did in his own concerts. Most modern-instrument performances and many period-instrument performances as well scrap the keyboard (except in the Symphony No. 98, where it has an important solo in the last movement). So is Goodman's adoption a gimmick? For answer, listen to the clever little dialog he has with the orchestra at the beginning of the development section in the first movement of Symphony 102. Elsewhere, Goodman's presence is tasteful and, I think, de rigueur finally.

Tracks:

Ov
Act One: Sventurata Che Fo, Dove Mi Aggiro?
Act One: Ferma Il Piede, O Principessa!
Act One: Che Chiedete Da Me?
Act One: Filomena Abbandonata
Act One: Che Miro, Oh Dio!
Act One: Rendete A Questo Seno
Act One: Cara Speme, Alme Di Scoglio
Act One: Nume De' Miei Pensieri
Act One: Ah, Chi Sa Dirmi
Act One: Il Pensier Sta Negli Oggetti
Act One: Padre... Signor
Act One: Come Il Foco Allo Splendore
Act Two: Finche Circola Il Vigore
Act Two: Adorata Consorte, S'inganna Chi Dice
Act Two: Amar Puo L'eta Canuta
Act Two: Numi, Che Ascolto
Act Two: Dov'e L'amato Bene?
Act Two: Del Mio Core Il Voto Estremo
Act Two: Dov'e Quell'alma Audace
Act Two: In Un Mar D'acerbe Pene
Act Two: Euridice, Signor!
Act Two: Mai Non Sia Inulto!
Act Two: Ah, Sposo Infelice

Tracks:

Act Three: Euridice, Euridice, Invan Ti Chiama
Act Three: Ah, Sposo Infelice
Act Three: Che Sara Mai D'Orfeo?
Act Three: Chi Spira E Non Spera
Act Three: Venerata Sibilla, Tu Che Del Ciel
Act Three: Al Tuo Seno Fortunato
Act Three: Costanza A Me Si Chiede?
Act Three: La Giustizia in Cor Regina
Act Three: Dove Mi Guidi?
Act Four: Infelici Embre Dolenti
Act Four: Che Ascolto, Oh Numi!
Act Four: Urli Orrendi, Disperati
Act Four: O Signor, Che All'ombre Imperi
Act Four: Trionfi Oggi Pieta
Act Four: O Della Reggia, Mia Ministri Eterni
Act Four: (Ballet)
Act Four: Quai Dolci E Care Note Ascolto!
Act Four: Son Finite Le Tue Pene
Act Four: Sovvengati La Legge
Act Four: Dov'e Lo Dolce Amato Sposo
Act Four: Perduta Un'altra Volto
Act Four: Mi Sento Languire, Morire Mi Sento
Act Four: Vieni, Vieni, Amato Orfeo
Act Four: Ohime! Che Gia Nel Seno
Act Four: Andiamo, Amiche, Andiamo

Customer Reviews:

Not the greatest Sutherland triumph, but one for the fans.......2004-03-26

I agree with the other reviewer that this isn't an ideal live recording; however, I have heard much worse. She dubs this to be only for the "off-the-deep-end" Sutherland fans; where Sutherland is concerned, is there any other choice? I mean, we are only talking about LA STUPENDA!

Anyhow, this isn't the most memorable baroque opera, paling in comparison to Handel's more popular works. However, there is a fair amount of enjoyable music in this opera by Haydn. The funny thing is that it is by far his most recorded opera (live or otherwise), but considered by opera critics to not be his best.

As for the performance, Nicolai Gedda, though in all-around good voice, does ham it up a little too much. As for Sutherland, she is in her droopy/mushy period. It doesn't help that the music for Euridice is written for middle register of the voice, which was never Joan's forte. The result is that, quite frankly, she sounds like a barnyard animal half the time. However, when coloratura is concerned, she rises to the challenge, as she did right up until the very end of her stage career. There is some coloratura in the role of Euridice, but the best (and for which you should get this recording) is in the aria Joan snags from the role of the Genio, "Al Tuo Seno Fortunato". According to the diva's memoirs, she had great difficulty learning the aria, and never really felt that she mastered it. WELL, it would be hard to know that, if you listened to her sing it!!! Sutherland nails it, as only she can, with a number of twists and turns in the fioriture, her voice ringing. Unlike a lot of coloraturas, past and present, Sutherland had a big voice, one that never was pinched or stretched, no matter now high up the scale she went. She could also sing at "warp speed" without getting winded, as if she were superhuman. It's too bad that (to my knowledge) she never recorded this in the studio. For that reason, it's worth it to spend the ten or twelve dollars to buy this live recording.

Sutherland in Her Prime, But What Awful Sound.......2001-03-08

Devotees of Dame Joan will probably want to give this CD set 5 stars because her performance is awesome. But I must be a responsible reporter and tell you that the quality of the sound (my guess is it's an analog tape made on a modest recorder of the time [1967], possibly surreptitiously, during a live performance) is way below the expectations of most listeners today, muffled and verging on distortion. It will simply be too difficult for most people to appreciate the opera given the bad sound. Also, the set doesn't include the customary libretto, and you can't really follow along with the small outline of the story provided.

Nicolai Gedda is a surprisingly game Orfeo, really getting into the role and singing his heart out. The other singers are more than sufficient and professional. Bonynge conducts a rather ragged Scottish Opera Orchestra and Chorus. One other note on Sutherland: Her lower notes are very large and "produced" (for lack of a better term), so she is easily heard throughout her entire vocal range. She never pushed like that in studio recordings of the era.

Customer Reviews:

Uma rara ópera redescoberta.......2001-07-09

Esta ópera,pouco habitual no repertório, foi gravada recentemente por Cecilia Bartoli(cantando Eurídice e o Gênio). No entanto, esta gravação com Donath é muito superior. Ambos os papéis são mais adequados a sopranos do que a mezzos(não que Bartoli cante mal); a delicadeza de Eurídice e a pirotecnia vocal do gênio ficam muito melhores nas vozes de coloraturas, e é muito mais agradável a distinção dos papéis, tão semelhantes musicalmente, com cantoras diferentes. Enfim,uma jóia das mais preciosas para qualquer coleção de CDs.

Haydn: Orfeo Ed Euridice (L'Anima Del Filosofo )

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Haydn: Orfeo Ed Euridice (L'Anima Del Filosofo )
Franz Joseph Haydn , Michael Schneider , Christoph Prégardien , Marilyn Schmiege , and Claron McFadden
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Release Date: 1991-10-04

The Hyperion Haydn Edition: Symphonies 101 & 102/Windsor Castle Overture

Average customer rating:

Stylish and Imaginative

The Hyperion Haydn Edition: Symphonies 101 & 102/Windsor Castle Overture

Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B000002ZQD
Release Date: 1993-11-19

Tracks:

Symphony No 101 In D Major ('The Clock'): Adagio - Presto
Symphony No 101 In D Major ('The Clock'): Andante
Symphony No 101 In D Major ('The Clock'): Menuet: Allegretto
Symphony No 101 In D Major ('The Clock'): Finale: Vivace
Symphony No 102 In B Flat Major: Largo - Allegro vivace
Symphony No 102 In B Flat Major: Adagio
Symphony No 102 In B Flat Major: Menuet: Allegro
Symphony No 102 In B Flat Major: Finale: Presto
Overture To An English Opera 'Windsor Castle': Largo - Presto

Customer Reviews:

Stylish and Imaginative.......2005-07-17

The playing is stylish and imaginative, the "clock" movement is beautifully paced and the balance of instruments is excellent. (Classic CD)

Haydn: "London" Symphonies: Symphony No. 99, Symphony No. 100 "Military," Overture to an English Opera

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Haydn: "London" Symphonies: Symphony No. 99, Symphony No. 100 "Military," Overture to an English Opera

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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Haydn: Orfeo ed Euridice

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Release Date: 1995-02-23

Tracks:

Atto I: Ov - Scottish Nat Orch/Richard Bonynge
Atto I: Sventurata Che Fo, Dove Mi Aggiro? - Joan Sutherland
Atto I: Ferma Il Piede, O Principessa! - Scottish Opr Chor/Richard Bonynge/Joan Sutherland
Atto I: Che Chiedete Da Me? - Joan Sutherland
Atto I: Filomena Abbandonata - Joan Sutherland
Atto I: Che Miro, Oh Dio! - Nicolai Gedda/Joan Sutherland
Atto I: Rendete A Questo Seno - Nicolai Gedda
Atto I: Cara Speme, Alme Di Scoglio - Nicolai Gedda
Atto I: Nume De' Miei Pensieri - Joan Sutherland/Nicolai Gedda
Atto I: Ah, Chi Sa Dirmi - Spiro Malas/John Graham
Atto I: Il Pensier Sta Negli Oggetti - Spiro Malas
Atto I: Padre...Signor - Joan Sutherland/Nicolai Gedda/Spiro Malas
Atto I: Come Il Foco Allo Splendore - Nicolai Gedda/Joan Sutherland
Atto II: Finche Circola Il Vigore - Scottish Opr Chor/Richard Bonynge
Atto II: Adorata Consorte, S'Inganna Chi Dice - Nicolai Gedda/Joan Sutherland
Atto II: Amar Puo L'eta Canuta - Joan Sutherland/Nicolai Gedda/Scottish Opr Chor/Richard Bonynge
Atto II: Numi, Che Ascolto - Joan Sutherland/Nicolai Gedda/Malcolm King
Atto II: Dov'e L'Amato Bene? - Joan Sutherland
Atto II: Del Mio Core Il Voto Estremo - Joan Sutherland
Atto II: Dov'e Quell'alma Audace - Nicolai Gedda
Atto II: In Un Mar D'Acerbe Pene - Nicolai Gedda
Atto II: Euridice, Signor! - John Graham/Spiro Malas
Atto II: Mai Non Sia Inulto! - Spiro Malas
Atto III: Ah, Sposo Infelice - Scottish Opr Chor/Richard Bonynge
Atto III: Euridice, Euridice, Invan Ti Chiama - Nicolai Gedda
Atto III: Ah, Sposo Infelice - Scottish Opr Chor/Richard Bonynge
Atto III: Che Sara Mai D'Orfeo? - Spiro Malas/John Graham
Atto III: Chi Spira E Non Spera - Spiro Malas
Atto III: Venerata Sibilla, Tu Che Del Ciel - Nicolai Gedda/Mary O' Brian

Tracks:

Atto III: Al Tuo Seno Fortunato - Mary O' Brian
Atto III: Costanza A Me Si Chiede? - Nicolai Gedda
Atto III: La Giustizia In Cor Regina - Scottish Opr Chor/Richard Bonynge
Atto III: Dove Mi Guidi? - Nicolai Gedda/Mary O' Brian/Scottish Opr Chor/Richard Bonynge
Atto IV: Infelici Embre Dolenti, - Scottish Opr Chor/Richard Bonynge
Atto IV: Che Ascolto, Oh Numi! - Nicolai Gedda/Mary O' Brian
Atto IV: Urli Orrendi, Disperati - Scottish Opr Chor/Richard Bonynge
Atto IV: O Signor, Che All'ombre Imperi - Nicolai Gedda
Atto IV: Trionfi Oggi Pieta - Scottish Opr Chor/Richard Bonynge
Atto IV: O Della Reggia, Mia Ministri Eterni - Simon Gilbert/Nicolai Gedda/Mary O'Brian
Atto IV: Balletto - Scottish Opr Chor/Richard Bonynge
Atto IV: Quai Dolci E Care Note Ascolto! - Nicolai Gedda/Mary O'Brian
Atto IV: Son Finite Le Tue Pene - Scottish Opr Chor/Richard Bonynge
Atto IV: Sovvengati La Legge - Mary O'Brian
Atto IV: Dov'e Lo Dolce Amato Sposo - Joan Sutherland/Nicolai Gedda
Atto IV: Perduto Un Altra Volto - Nicolai Gedda
Atto IV: Mi Sento Languire, Morire Mi Sento - Nicolai Gedda
Atto IV: Vieni, Vieni, Amato Orfeo - Scottish Opr Chor/Richard Bonynge/Nicolai Gedda
Atto IV: Ohime! Che Gia Nel Seno - Nicolai Gedda/Scottish Opr Chor/Richard Bonynge
Atto IV: Andiamo, Amiche, Andiamo! - Scottish Opr Chor/Richard Bonynge
La Sonnambula: Care Compagne, E Voi Teneri Amici - Joan Sutherland/Chor Del Covent Garden/Tullio Serafin
La Sonnambula: Come Per Me Sereno - Joan Sutherland/Chor Del Covent Garden/Tullio Serafin
La Sonnambula: Sovra Il Sen La Man Mi Posa - Joan Sutherland/Chor Del Covent Garden/Tullio Serafin
La Sonnambula: Elvino! E Me Tu Lasci - Joan Sutherland/Agostino Lazzari
La Sonnambula: Son Geloso Del Zefiro Errante - Agostino Lazzari/Joan Sutherland
La Sonnambula: Elvino! Elvino! - Joan Sutherland/Chor Del Covent Garden/Tullio Serafin
La Sonnambula: Ah! Non Giunge Uman Pensiero - Agostino Lazzari/Joan Sutherland
Alcina: Di, Cor Mio, Quanto T'amai - Joan Sutherland
Alcina: Ah! Mio Cor! Schernito Sei - Joan Sutherland