No. 1 for Opera

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

Tracklist

1▼CD
#TitleArtistRatingLength
1Pagliacci: “Recitar! …Vesti la giubba!” (1902)
piano:
Salvatore Cottone (pianist) (in 1902)
tenor vocals:
Enrico Caruso (tenor) (in 1902)
recording of:
Pagliacci: Atto I. “Recitar!” … “Vesti la giubba” (Canio) (in 1902)
composer and librettist:
Ruggero Leoncavallo (composer) (in 1892)
part of:
For the First Time (1959 film)
part of:
Pagliacci: Atto I (Pagliacci: Act I)
Ruggero Leoncavallo2:15
2La traviata: “Sempre libera” (1904)
soprano vocals:
Nellie Melba (soprano) (in 1904)
conductor:
Sir Landon Ronald (pianist, conductor and composer) (in 1904)
recording of:
La traviata: Atto I. “Sempre libera” (Violetta) (in 1904)
composer:
Giuseppe Verdi (Italian opera composer)
librettist:
Francesco Maria Piave
part of:
La traviata: Atto I (La traviata: Act I)
Giuseppe Verdi1:52
3La Bohème: “Addio, dolce svegliare” (1926)
baritone vocals [Marcello]:
John Brownlee (baritone) (in 1926)
soprano vocals [Mimí]:
Nellie Melba (soprano) (in 1926)
soprano vocals [Musetta]:
Aurora Rettore (Italian soprano) (in 1926)
tenor vocals [Rodolfo]:
Browning Mummery (Australian operatic tenor) (in 1926)
orchestra:
Orchestra of the Royal Opera House, Covent Garden (in 1926)
conductor:
Vincenzo Bellezza (conductor) (in 1926)
recording of:
La bohème: Atto III. “Addio dolce svegliare alla mattina!” (Mimì, Rodolfo, Musetta, Marcello) (in 1926)
composer:
Giacomo Puccini (Italian composer)
part of:
La bohème: Atto III. La Barriera d'Enfer (La bohème: Act III, Puccini)
Giacomo Puccini4:25
4Boris Godunov: “Ouf, tyazheló!” (1931)
bass vocals:
Feodor Chaliapin (operatic bass) (in 1931)
orchestra:
London Symphony Orchestra (in 1931)
conductor:
Max Steinmann (conductor) (in 1931)
recording of:
Boris Godunov: Act II. Hallucination Scene (in 1931)
composer:
Модест Петрович Мусоргский (Modest Mussorgsky, composer)
part of:
Борис Годунов: Act II (1872 version)
Mussorgsky4:05
5Die Walküre: „Siegmund heiß’ ich” (1935)
soprano vocals:
Lotte Lehmann (soprano) (in 1935)
tenor vocals:
Lauritz Melchior (tenor) (in 1935)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1935)
conductor:
Bruno Walter (conductor) (in 1935)
recording of:
Die Walküre, WWV 86B: Akt I, Scene III. “Ein Schwert verhieß mir der Vater“ (in 1935)
composer:
Richard Wagner (composer) (from 1854-06-28 until 1856-03-23)
librettist:
Richard Wagner (composer)
part of:
Die Walküre, WWV 86B: Akt I
Richard Wagner3:31
6Così fan tutte: “Soave sia il vento” (1935)
baritone vocals [Don Alfonso]:
John Brownlee (baritone) (in 1935)
soprano vocals [Dorabella]:
Luise Helletsgruber (soprano) (in 1935)
soprano vocals [Fiordiligi]:
Ina Souez (soprano and jazz) (in 1935)
orchestra:
Glyndebourne Festival Orchestra (in 1935)
conductor:
Fritz Busch (conductor) (in 1935)
recording of:
Così fan tutte: Atto I. No. 10 Terzettino “Soave sia il vento” (Fiordligi, Dorabella, Don Alfonso) (in 1935)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Così fan tutte: Atto I
Wolfgang Amadeus Mozart2:58
7Die Zauberflöte: “Bei Männern, welche Liebe fühlen” (1937)
baritone vocals [Papageno]:
Gerhard Hüsch (baritone) (from 1937-11-08 until 1938-03-08)
soprano vocals [Pamina]:
Tiana Lemnitz (soprano) (from 1937-11-08 until 1938-03-08)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra) (from 1937-11-08 until 1938-03-08)
conductor:
Sir Thomas Beecham (conductor) (from 1937-11-08 until 1938-03-08)
recorded at:
Beethovensaal Berlin in Berlin, Germany (from 1937-11-08 until 1938-03-08)
recording of:
Die Zauberflöte: Akt I. No. 7 Duett „Bei Männern, welche Liebe fühlen” (Pamina, Papageno) (from 1937-11-08 until 1938-03-08)
composer:
Wolfgang Amadeus Mozart (classical composer) (in 1791)
librettist:
Emanuel Schikaneder
part of:
Die Zauberflöte, K. 620: Akt I
Wolfgang Amadeus Mozart2:54
8Andrea Chénier: “Come un bel dì di maggio” (1941)
recorded in:
Milano (Milan), Milano, Lombardia, Italy (in 1941)
tenor vocals:
Beniamino Gigli (tenor) (in 1941)
orchestra:
Orchestra del Teatro alla Scala di Milano (Orchestra of La Scala, Milan) (in 1941)
conductor:
Oliviero de Fabritiis (conductor and composer) (in 1941)
recording of:
Andrea Chénier: Atto IV. “Come un bel dì di maggio” (Chénier) (in 1941)
composer:
Umberto Giordano (Italian opera composer) (in 1896)
librettist:
Luigi Illica (in 1896)
part of:
Andrea Chénier: Atto IV
Umberto Giordano3:04
9Carmen : « Votre toast, je peux vous le rendre » (1950)
baritone vocals [Escamillo]:
Michel Dens (French baryton vocalist) (from 1950-09-06 until 1950-09-09)
baritone vocals [Moralès]:
Julien Thirache (baritone) (from 1950-09-06 until 1950-09-09)
bass vocals [Zuniga]:
Xavier Smati (french operatic bass) (from 1950-09-06 until 1950-09-09)
choir vocals:
Chœurs du Théâtre National de l’Opéra‐Comique (from 1950-09-06 until 1950-09-09)
mezzo-soprano vocals [Carmen]:
Solange Michel (mezzo-soprano) (from 1950-09-06 until 1950-09-09)
mezzo-soprano vocals [Mercédès]:
Raymonde Notti‐Pagès (French mezzo-soprano) (from 1950-09-06 until 1950-09-09)
soprano vocals [Frasquita]:
Germaine Chellet (french soprano) (from 1950-09-06 until 1950-09-09)
orchestra:
Orchestre du Théâtre National de l’Opéra‐Comique (from 1950-09-06 until 1950-09-09)
conductor:
André Cluytens (Belgian-born French conductor) (from 1950-09-06 until 1950-09-09)
chorus master:
Henri Jamin (from 1950-09-06 until 1950-09-09)
recorded at:
Théâtre des Champs-Élysées in Paris, Île-de-France, France (from 1950-09-06 until 1950-09-09)
recording of:
Carmen : Acte II. No. 14 Couplets « Votre toast, je peux vous le rendre » … « Toréador, en garde ! » (Escamillo, Mercédès, Frasquita, Carmen, Moralès, Zuniga, Lillas Pastia, chœur d’hommes) (“Chanson du toréador”) (from 1950-09-06 until 1950-09-09)
composer:
Georges Bizet (French composer)
librettist:
Ludovic Halévy (French librettist) and Henri Meilhac
part of:
Carmen : Acte II
Georges Bizet4:50
10Le nozze di Figaro: “Porgi, amor” (1950)
producer:
Walter Legge (British classical producer)
soprano vocals [Contessa]:
Elisabeth Schwarzkopf (German-born Austrian/British soprano) (from 1950-06-17 until 1950-10-31)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (from 1950-06-17 until 1950-10-31)
conductor:
Herbert von Karajan (conductor) (from 1950-06-17 until 1950-10-31)
balance engineer:
Douglas Larter, Anthony Griffith (engineer) (from 1950-06-17 until 1950-10-31) and Robert Becket (classical recording engineer, EMI mainly) (from 1950-06-17 until 1950-10-31)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1952)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1950-06-17 until 1950-10-31)
recording of:
Le nozze di Figaro, K. 492: Atto II, Scena I. (no. 11) Cavatina “Porgi, amor qualche ristoro” (La Contessa) (from 1950-06-17 until 1950-10-31)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Le nozze di Figaro, K. 492: Atto II (The Marriage of Figaro, K. 492: Act II)
Wolfgang Amadeus Mozart4:05
11Tristan und Isolde: “Mild und leise wie er lächelt…” (1952)
producer:
Walter Legge (British classical producer)
soprano vocals [Isolde]:
Kirsten Flagstad (soprano) (from 1952-06-10 until 1952-06-23)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976) (from 1952-06-10 until 1952-06-23)
conductor:
Wilhelm Furtwängler (conductor) (from 1952-06-10 until 1952-06-23)
balance engineer:
Douglas Larter
recorded at:
Kingsway Hall in London (Greater London), England, United Kingdom (from 1952-06-10 until 1952-06-22)
recording of:
Excerpt from Tristan und Isolde, WWV 90: Akt III, Szene III. Liebestod. “Mild und leise wie er lächelt” (from 1952-06-10 until 1952-06-23)
composer:
Richard Wagner (composer) (from 1857-10 until 1859-08)
librettist:
Richard Wagner (composer) (from 1857-08-20 until 1857-09-18)
part of:
Tristan und Isolde, WWV 90: Akt III, Szene III. "Kurwenal! Hör'! Ein zweites Schiff"
Richard Wagner7:12
12Die lustige Witwe: “Nun laßt uns aber wie daheim” … “Vilja, oh Vilja!” (1953)
producer:
Walter Legge (British classical producer)
choir vocals:
Philharmonia Chorus (London choir aka New Philharmonia Chorus from 1964–1977)
soprano vocals:
Elisabeth Schwarzkopf (German-born Austrian/British soprano) (from 1953-04-16 until 1953-04-21)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976) (from 1953-04-16 until 1953-04-21)
conductor:
Otto Ackermann (conductor) (from 1953-04-16 until 1953-04-21)
balance engineer:
Douglas Larter (from 1953-04-16 until 1953-04-21)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1953)
recorded at:
Kingsway Hall in London (Greater London), England, United Kingdom (from 1953-04-16 until 1953-04-21)
recording of:
Die lustige Witwe: Akt II. N°7. Introduktion, Tanz und Vilja-Lied: “Ich bitte, hier jetzt zu verweilen” … “Nun laßt uns aber wie daheim” … “Es lebt’ eine Vilja” (Hanna, Chor) (from 1953-04-16 until 1953-04-21)
composer:
Franz Lehár (composer)
part of:
Die lustige Witwe: Akt II
part of:
Die lustige Witwe: Akt II
Franz Lehár5:45
13I puritani: “Dunque m’ami, mio Arturo?” … “Vieni fra queste braccia” (1953)
soprano vocals [Elvira]:
Maria Callas (soprano) (in 1953)
tenor vocals [Arturo]:
Giuseppe Di Stefano (tenor) (in 1953)
orchestra:
Orchestra del Teatro alla Scala di Milano (Orchestra of La Scala, Milan) (in 1953)
conductor:
Tullio Serafin (conductor) (in 1953)
recording of:
I puritani: Atto III. N°20c. “Vieni, fra queste braccia” (Elvira, Arturo) (in 1953)
composer:
Vincenzo Bellini (Sicilian opera composer)
librettist:
Carlo Pepoli (Italian librettist, 19th c.)
part of:
I puritani: Atto III
Vincenzo Bellini2:57
14Tosca: “Vissi d’arte” (1953)
soprano vocals [Tosca]:
Maria Callas (soprano) (in 1953)
orchestra:
Orchestra del Teatro alla Scala di Milano (Orchestra of La Scala, Milan) (in 1953)
conductor:
Victor de Sabata (conductor and composer) (in 1953)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1953)
recording of:
Tosca: Atto II. “Vissi d’arte” (Tosca) (in 1953)
composer:
Giacomo Puccini (Italian composer)
librettist:
Giuseppe Giacosa and Luigi Illica
part of:
Tosca: Atto II (Tosca: Act II)
Giacomo Puccini3:16
15Tosca: “E lucevan le stelle” (1953)
tenor vocals [Cavaradossi]:
Giuseppe Di Stefano (tenor) (from 1953-08-10 until 1953-08-21)
orchestra:
Orchestra del Teatro alla Scala di Milano (Orchestra of La Scala, Milan) (from 1953-08-10 until 1953-08-21)
conductor:
Victor de Sabata (conductor and composer) (from 1953-08-10 until 1953-08-21)
recorded at:
Teatro alla Scala in Milano (Milan), Milano, Lombardia, Italy (from 1953-08-10 until 1953-08-21)
recording of:
Tosca: Atto III. “E lucevan le stelle” (Cavaradossi) (from 1953-08-10 until 1953-08-21)
composer:
Giacomo Puccini (Italian composer) (from 1896 until 1899)
librettist:
Giuseppe Giacosa (from 1896 until 1899) and Luigi Illica (from 1896 until 1899)
part of:
Tosca: Atto III (Tosca: Act III)
Giacomo Puccini3:52
16Il barbiere di Siviglia: “La ran la” … “Largo al factotum” (1957)
producer:
Walter Legge (British classical producer)
baritone vocals [Figaro]:
Tito Gobbi (baritone) (from 1957-02-07 until 1957-02-14)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976) (from 1957-02-07 until 1957-02-14)
conductor:
Alceo Galliera (organist, conductor and composer) (from 1957-02-07 until 1957-02-14)
balance engineer:
Robert Gooch (British classical sound engineer, active from late 1950's) and Douglas Larter
recorded at:
Kingsway Hall in London (Greater London), England, United Kingdom (from 1957-02-07 until 1957-02-14)
recording of:
Il barbiere di Siviglia: Atto I, N°2. Cavatina “Largo al factotum” (Figaro) (Arie des Figaro) (from 1957-02-07 until 1957-02-14)
composer:
Gioachino Rossini (composer)
librettist:
Cesare Sterbini
part of:
Il barbiere di Siviglia: Atto I
Gioachino Rossini4:45
17Carmen : « Près des remparts de Séville » (1958)
soprano vocals [Carmen]:
Victoria de los Ángeles (Spanish soprano) (in 1958)
orchestra:
Orchestre national de France (National Orchestra of France, RTF / ORTF / Radio France) (in 1958)
conductor:
Sir Thomas Beecham (conductor) (in 1958)
partial recording of:
Carmen : Acte I. No. 10 Séguedille « Près des remparts de Séville » (Carmen, Don José) (in 1958)
composer:
Georges Bizet (French composer)
librettist:
Ludovic Halévy (French librettist) and Henri Meilhac
part of:
Carmen : Acte I
Georges Bizet2:14
18Der Freischütz: “Eins…zwei…drei” (1958)
baritone vocals [Zamiel]:
Fritz Hoppe (bass-baritone) (in 1958)
bass vocals [Kaspar]:
Karl Christian Kohn (operatic bass) (in 1958)
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin)
tenor vocals [Max]:
Rudolf Schock (tenor) (in 1958)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra) (in 1958)
conductor:
Joseph Keilberth (conductor) (in 1958)
partial recording of:
Der Freischütz: Akt II. Nr. 10. Finale „Milch des Mondes fiel aufs Kraut!“ (Kaspar, Max, Samiel, Chor) (Szene in der Wolfsschlucht / The Wolfs Glen) (in 1958)
composer:
Carl Maria von Weber (composer)
librettist:
Johann Friedrich Kind (German dramatist)
part of:
Der Freischütz: Akt II
Carl Maria von Weber3:49
19Lucia di Lammermoor: “Spargi d’amaro pianto” (1959)
producer:
Walter Legge (British classical producer)
baritone vocals [Enrico]:
Piero Cappuccilli (baritone) (from 1959-03-16 until 1959-03-21)
bass vocals [Raimondo]:
Bernard Ładysz (bass-baritone) (from 1959-03-16 until 1959-03-21)
choir vocals:
Philharmonia Chorus (London choir aka New Philharmonia Chorus from 1964–1977) (from 1959-03-16 until 1959-03-21)
soprano vocals [Lucia]:
Maria Callas (soprano) (from 1959-03-16 until 1959-03-21)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976) (from 1959-03-16 until 1959-03-21)
conductor:
Tullio Serafin (conductor) (from 1959-03-16 until 1959-03-21)
chorus master:
Roberto Benaglio (conductor) (from 1959-03-16 until 1959-03-21)
balance engineer:
Christopher Parker (classical recording and balance engineer, active from 1950s)
recorded at:
Kingsway Hall in London (Greater London), England, United Kingdom (from 1959-03-16 until 1959-03-21)
recording of:
Lucia di Lammermoor: Atto III, Scena 1. no. 14. “Spargi d’amaro pianto” (Lucia, Enrico, Raimondo, Coro) (from 1959-03-16 until 1959-03-21)
composer:
Gaetano Donizetti (Italian opera composer)
librettist:
Salvadore Cammarano (Italian librettist)
part of:
Lucia di Lammermoor: Atto III
Gaetano Donizetti4:08
20Don Giovanni: “Non mi dir, bell’idol mio” (1959)
producer:
Walter Legge (British classical producer)
soprano vocals [Donna Anna]:
Joan Sutherland (soprano) (from 1959-10-07 until 1959-11-24)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976) (from 1959-10-07 until 1959-11-24)
conductor:
Carlo Maria Giulini (conductor) (from 1959-10-07 until 1959-11-24)
balance engineer:
Harold Davidson (classical sound engineer, active from late 1950's) (from 1959-10-07 until 1959-11-24)
phonographic copyright (℗) by:
EMI Records Ltd. (not for release label use! UK parent of EMI‐owned labels until Sept 2012) (in 1961)
recorded at:
Abbey Road Studios: Studio 1 in St John's Wood, Westminster, London (Greater London), England, United Kingdom (from 1959-10-07 until 1959-11-24)
recording of:
Don Giovanni: Atto II. No. 23 Rondo “Non mi dir, bell’idol mio” (Donna Anna) (from 1959-10-07 until 1959-11-24)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Don Giovanni: Atto II
recording of:
Don Giovanni: Atto II. No. 23 Recitativo accompagnato “Crudele! - Ah no, mio bene!” (Donna Anna)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Don Giovanni: Atto II
part of:
Don Giovanni: Atto II
Wolfgang Amadeus Mozart5:02
2▶CD