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Home > Music > Instructional Cassette Recordings Catalog > Opera
Ancient Civilization in Opera
CBM 130
Discusses Verdi's Aida and Rossini's Semiramide.
The Baritone: Villain or Promoter?
CBM 147
Arias sung by villains in operas including Don Giovanni,
Faust, Rigoletto, La Gioconda, and Carmen.
Chivalry in Opera
CBM 120
Introduction to the musical significance of chivalry.
Examples heard are excerpts from the operas by Rossini and Wagner.
The Devil in Opera
CBM 186
Includes excerpts from Der Freischutz, Faust, and Tannhauser.
Enjoying Italian Opera
CBM 1580
Dale Harris discusses Italian opera.
Enjoying Opera with Dale Harris
CBM 1547
Enjoying Wagner's Ring
CBM 1579
Exploring the Opera
CBM 105
Historical account of the opera, with selections by French
composer Bizet.
Famous Novels in Opera
CBM 126
Works by Mascagni, Puccini, Massenet, and Thomas are
discussed as examples of operas based on famous novels.
A General Lecture on Puccini
CBM 862
Information about the composer's selection of material for
libretti. Psychological treatment of characters is also discussed.
Musical examples are taken from Tosca and La Bohème.
A General Lecture on Verdi
CBM 1336
This composer, born into abject poverty, was to become one of
the greatest opera composers of all time. There is also a
comparison of Il Trovatore and Aida, two of his greatest works.
Greek Myths in Opera
CBM 119
Five selections from operas based on Greek myths. Includes
commentary on each selection and story outlines.
Helen of Troy in Opera
CBM 145
Excerpts from the works of Gluck, Berlioz, and Offenbach, who
used Helen of Troy as a subject of their operas.
How to Listen to and Understand Opera
CBM 1608-1611
Part 1: Introduction and words and music. A brief history of
vocal expression in music. The invention of opera and Monteverdi's
Orfeo.
Part 2: The growth of opera, the development of Italian opera
seria, and Mozart's Idomeneo. The rise of opera buffa and Mozart's The
Marriage of Figaro.
Part 3: The bel canto style and Rossini's The Barber of
Seville. Verdi and Otello. French opera.
Part 4: German opera comes of age. Richard Wagner and Tristan
und Isolde. Late romantic German opera: Richard Strauss and
Salome. Russian opera. Verismo, Puccini, and Tosca.
Inside the Metropolitan Opera
CBM 106
History of the Metropolitan Opera, from its founding to its
relocation in Lincoln Center.
Introduction to Opera
CBM 412
History of operatic style, with special emphasis on the
contributions of Mozart, Bellini, and Wagner.
Introduction to Wagner's Ring Cycle
CBM 1368
A general lecture about the writing of the Ring including how
changes in Wagner's life affected the story. His early life is also
discussed.
Life and Music of Georges Bizet
CBM 987
The life and work of Georges Bizet with excerpts from Carmen,
his best known opera.
Life in the Opera
CBM 1525
Marriage in Opera
CBM 128
Selections on the theme of marriage.
The Master of Melody-Verdi
CBM 948
Biography of the renowned opera composer, his tragedy and
triumphs. Excerpts from his operas are heard.
Meet Mr. Mozart
CBM 1551
Narrated by Ann Thompson.
Michael Barclay Lectures on Richard Strauss
CBM 1683
Michael Barclay Lectures on Take Me to Your Lieder
CBM 1698
Michael Barclay Lectures on Verismo
CBM 771
A lecture by Michael Barclay with musical illustrations.
Verismo is the Italian word for realism. This lecture discusses its
development through French literature of the 1860s and the 1870s. I Pagliacci by
Leoncavallo and Cavalleria Rusticana by Mascagni are the two operas
featured.
Michael Barclay Lectures on the World of Bel Canto
CBM 1435
Misfortune of the Mezzo-Soprano
CBM 122
Describes the mezzo-soprano's supportive role in opera.
Selections from Saint-Saens' Samson and Delilah, Bizet's Carmen, and Verdi's
Rigoletto and Il Trovatore.
The Music of Richard Wagner
CBM 246
Excerpts from The Flying Dutchman, The Valkyrie, Lohengrin,
and Siegfried.
Music in Shakespeare's Plays
CBM 1500
Old Testament Stories in Opera
CBM 163
Excerpts from three of the many operas based on Old Testament
stories.
The Opera Scene
CBM 1524
The Operas of Verdi
CBM 188
Charles Osborne discusses Rigoletto, Il Trovatore, Aida, La
Traviata, and Otello.
Operetta Memories
CBM 1000
Operetta in America is reviewed. "Waltz of the Merry Widow"
is among the musical selections.
Orpheus in Opera
CBM 127
Discusses settings of the Orpheus myth by composers over the
past 350 years.
Panorama of Russian Opera
CBM 1378
A study of Russian opera from its 1834 beginnings to
twentieth-century works. Michael Barclay discusses musical illustrations from
Boris Godonov, The Love of Three Oranges, and Eugene Onegin.
Primitive Theater of the Americas
CBM 252
This lecture discusses the theater of the Americas, before
and after the American Revolution. Some arias are heard from Edwin and
Angelina, The Archer, The Beggar's Opera, and others.
Richard Wagner, Philosopher
CBM 200
A 1970 lecture-concert by Boris Goldovsky at the Metropolitan
Museum of Art. Selections from Wagner's opera Parsifal.
The Ring
CBM 78-79
Introduction to Wagner's masterpiece, showing how Wagner
represented characters, situations, and ideas through his system of
leitmotifs.
Rossini, a General Lecture
CBM 1436
Narrated by Michael Barclay
Verdi and Shakespeare
CBM 1421
When he was a boy, Verdi was presented with a complete copy
of the works of Shakespeare. In many of Verdi's operas the influence
of Shakespeare is apparent.
The Voices of Opera
CBM 185
Vocal classification of opera singers illustrating each voice
part with the excerpts from various operas.
Wagner, Oedipus, and Tannh„user
CBM 1419
Michael Barclay suggests that Wagner preceded Freud by fifty
years in discovering the psychological and sexual ties between
children and their parents.
Wagner's Ring Cycle
CBM 1526
Michael Barclay Lectures on L'Africaine
CBM 1354
A lecture on one of the seldom performed works by Meyerbeer.
Suggests that he is a link from Rossini to Verdi and Wagner.
Michael Barclay Lectures on Adriana Lecouvreur by Cilea
CBM 790
Although not considered great art, Adriana Lecouvreur makes
its mark by making an effect with its cast. It has often failed, and has
had few
successful revivals since its opening in 1902.
Aida
CBM 1581
Aida
CBM 1295
This opera was written by Verdi to celebrate the opening of
the Suez Canal. Ann Thompson talks about the opera and about life and
society in Egypt under the pharaohs.
Aida by Verdi
CBM 1439
Lecture with many musical illustrations from famous
recordings.
Michael Barclay Lectures on Aida by Giuseppe Verdi
CBM 1689
Alceste
CBM 1565
Andrea Chenier
CBM 1367
Discussion of Giordano's best-known opera. Describes life and
society during the French revolution. Talks about the real Andrea
Chenier's life.
Andrea Chenier
CBM 1582
Michael Barclay Lectures on Andrea Chenier
CBM 1355
According to Michael Barclay, Giordano's grand opera has
never been popular with music critics, although its raw emotion never
fails to move audiences. Discusses the verismo movement in music and
literature.
Anna Bolena
CBM 1271
Ann Thompson talks about this opera seria in two acts by
Donizetti with a libretto by Felice Romani, which is based on two plays rather
than historical fact.
Michael Barclay Lectures on Anna Bolena
CBM 1410
An overnight success after its December 1830 premiere in
Naples, this opera established Donizetti as a major talent. Discusses
Italian melodrama and the life of Romani.
Antony and Cleopatra
CBM 1566
Arabella
CBM 1712
Michael Barclay Lectures on Arabella
CBM 1333
This opera, written in 1927, proved to be the last
collaboration between Richard Strauss and von Hofmannsthal. Includes the story
synopsis along with other facts about the opera.
Ariadne auf Naxos
CBM 1270
Ann Thompson discusses this opera in one act and a prologue,
which premiered in Vienna in 1916, with music by Richard Strauss
and a libretto by Hugo von Hofmannsthal.
Ariadne auf Naxos
CBM 1440
Lecture with many illustrations from famous performances.
Michael Barclay Lectures on Ariadne auf Naxos
CBM 1327
The two contrasting acts in this opera are discussed, and the
relationship between Richard Strauss and von Hofmannsthal is explored.
As It Happened
CBM 1583
Atlas
CBM 1404
Discussion of the opera that had its 1991 premiere in
Houston, Texas. The composer, Meredith Monk, is a trained singer and dancer who
performed this work.
Attila
CBM 1548
Ann Thompson discusses the opera Attila.
Michael Barclay Lectures on Attila
CBM 1356
Discusses one of Verdi's middle period operas, the libretto
of which was politically inflammatory. It caused Verdi's name to be
synonymous with Italian independence.
The Ballad of Baby Doe
CBM 1723
Un Ballo in Maschera
CBM 1401
Discusses the history and the difficulty of staging this
opera by Verdi. The real Swedish king upon which the opera was based is also
discussed.
Un Ballo in Maschera
CBM 1441
Lecture with many illustrations from famous performances.
Un Ballo in Maschera
CBM 1584
Michael Barclay Lectures on Un Ballo in Maschera
CBM 1330
A lecture on one of the late-middle period works of Verdi. It
is called by the lecturer "Verdi's Tristan."
The Barber of Seville
CBM 1585
Il Barbiere di Siviglia
CBM 1431
Discusses the catastrophe of the opera's first performance
and its subsequent path to success. The play on which Rossini's opera
is based is examined as are other plays and operas based on the Figaro
story.
Michael Barclay Lectures on Il Barbiere di Siviglia by Rossini
CBM 759
A lecture by Michael Barclay with musical illustrations.
Rossini wrote this opera and many others like it to "please his audience
and to make himself rich." He did both.
The Bartered Bride
CBM 1567
The Beggar's Opera
CBM 187
John Gay satirizes eighteenth-century English society by
glorifying the career of the thief Macheath.
The Betrothal in a Monastery
CBM 1722
Billy Budd
CBM 1711
Michael Barclay Lectures on Billy Budd by Britten
CBM 788
E.M. Forster adapted the libretto from the novella by Herman
Melville. The main theme is compassion, even for the evil people.
La Bohème
CBM 1438
Lecture with many illustrations from famous performances.
La Bohème
CBM 1266
Giacomo Puccini's opera in four acts depicts the Bohemian
life of Paris in the 1830s. Discussed here by Ann Thompson.
Michael Barclay Lectures on La Bohème by Puccini
CBM 760
A lecture by Michael Barclay with musical illustrations.
Puccini's love for "le piccole cose" (the little things) finds its highest
expression in this opera. The symmetry of the work balances its sentimentality.
Boris Godunov
CBM 1259
Ann Thompson sets the scene of Mussorgsky's opera in a
prologue and four acts based on Pushkin's play of the same name.
Boris Godunov
CBM 1442
Lecture with many illustrations from famous performances.
Boris Godunov
CBM 1586
Michael Barclay Lectures on Boris Godunov by Mussorgsky
CBM 867
This opera failed twice during the composer's lifetime, and
was not successful until revised by Rimsky-Korsakov some years later.
It is the story of the Russian people, and the largest role in the
opera is given to the chorus.
Candide
CBM 1559
Capriccio
CBM 1560
Michael Barclay Lectures on Capriccio
CBM 1357
Discussion of Richard Strauss's last opera written in 1942.
This seldom performed work deals with the question of which is more
important in opera, words or music.
Michael Barclay Lectures on I Capuleti e i Montecchi
CBM 1358
According to Michael Barclay, Bellini took this opera's plot
from Italian folklore rather than the familiar Shakespeare story.
Carmen
CBM 1272
Georges Bizet's opera is set in Spain in the 1820s. We mingle
with townspeople, children, soldiers, girls from a tobacco factory
where Carmen works, Gypsies, smugglers, and bullfighting personnel
in a talk by Ann Thompson.
Cavalleria Rusticana, with I Pagliacci
CBM 1395
Comparison of these two works by Mascagni and Leoncavallo,
with a discussion of verismo opera and a brief description of opera
today.
Cavalleria Rusticana and I Pagliacci
CBM 1713
Michael Barclay Lectures on Cendrillon by Massenet
CBM 800
A French retelling of the fairy tale Cinderella. Also gives
extensive notes on the development of French opera until 1900.
Michael Barclay Lectures on La Cenerentola
CBM 1341
In the nineteenth century, La Cenerentola was Rossini's most
popular work. The composer shows the serious side of this fairy tale.
Cinderella
CBM 1549
Narrated by Ann Thompson.
La Clemenza di Tito
CBM 1400
A lecture on the opera written by Mozart for the coronation
of Leopold II in 1791.
Michael Barclay Lectures on La Clemenza di Tito
CBM 1359
A discussion of Mozart's last opera, which was premiered in
Prague. Problems in choosing singers, staging, and bringing meaning
to this work are touched upon.
Le Comte Ory
CBM 1269
Ann Thompson talks about Rossini's light-hearted comedy in
the French style, which depicts the story of the dissolute young Comte
Ory and his efforts to win the favors of a lady.
Michael Barclay Lectures on Les Contes d'Hoffmann by Offenbach
CBM 859
Lecture that sheds some light on the story of this opera.
Composed in 1879, and based on the stories of E.T.A. Hoffmann, the
opera's premiere took place four months after the composer's death.
Così fan Tutte
CBM 1297
The last of Mozart's three great Italian comic operas, it was
not well received at its premiere and did not gain a place in the
opera repertoire until the beginning of the twentieth century.
Così fan Tutte
CBM 1587
Michael Barclay Lectures on Così fan Tutte by W.A. Mozart
CBM 1690
Michael Barclay Lectures on Dangerous Liaisons by Susa
CBM 1679
Michael Barclay Lectures on Daphne by Richard Strauss
CBM 1680
Dead Man Walking
CBM 1725
Michael Barclay Lectures on The Death of Klinghoffer by John
Adams
CBM 1434
Death in Venice
CBM 1443
Lecture with many musical illustrations from famous
performances.
Michael Barclay Lectures on Death in Venice by Benjamin Britten
CBM 1692
Michael Barclay Lectures on Dialogues des Carmélites by Poulenc
CBM 860
Written in 1956, the libretto for this opera is taken
directly from the play by Bernanos. Each scene is a separate dialogue on an aspect
of Catholicism.
Dialogues of the Carmélites
CBM 1398
This opera by Poulenc premiered at Milan's La Scala in 1957.
Ann Thompson discusses the French Revolution and the Carmelite
order.
Dido and Aeneas
CBM 1550
Narrated by Ann Thompson.
Don Carlos
CBM 1701
Michael Barclay Lectures on Don Carlos
CBM 1347
Verdi wrote Don Carlos in 1867 for the Paris Opera. Michael
Barclay describes the different versions and the restoration of
material at the beginning of the work.
Don Giovanni
CBM 1268
Ann Thompson talks about Mozart's comic opera with a libretto
by Lorenzo da Ponte, which is based on previous stories, plays,
and libretti on the subject of the libertine punished.
Don Giovanni
CBM 1310
Don Giovanni
CBM 1558
Michael Barclay lectures on Don Giovanni by Mozart
CBM 761
A lecture by Michael Barclay with musical illustrations. He
suggests that Don Giovanni is "the non-opera-lover's opera." Also discusses
cuts made in the opera, its periods of popularity and unpopularity, and
whether or not it is a tragedy or comedy.
Don Pasquale
CBM 1710
Don Pasquale
CBM 1588
Michael Barclay Lectures on Don Pasquale
CBM 1361
A discussion with musical examples of Donizetti's last opera.
Don Quichotte
CBM 1568
Die Dreigroschenoper (Three Penny Opera)
CBM 1727
Michael Barclay Lectures on Dreigroschenoper (Three Penny
Opera)
CBM 1360
Written by Weill in the summer of 1928, this opera reflected
current happenings in Germany.
Elektra
CBM 1430
Richard Strauss took an active role in the editing of this
libretto. It was not initially successful, but Strauss lived to see the opera
become a modern repertoire staple.
Elektra
CBM 1589
Michael Barclay Lectures on Elektra
CBM 1329
A lecture on Richard Strauss's fourth opera and the first of
his collaborations with the playwright von Hofmannsthal.
Michael Barclay Lectures on L'Elisir d'Amore by Donizetti
CBM 792
The first of the sentimental comedies that grew out of the
tradition of the opera buffa of the eighteenth century.
The Elixir of Love
CBM 1590
The Elixir of Love
CBM 1709
Die Entführung aus dem Serail
CBM 1299
This opera, written in 1781, is the oldest of Mozart's operas
still performed. In writing this work, Mozart realized his dream of
creating a German-language opera or "Singspiel."
Michael Barclay Lectures on Die Entführung aus dem Serail by
Mozart
CBM 865
This "singspiel," composed in 1781, was commissioned by
Emperor Joseph II who wished to stimulate interest in opera in German
at the Viennese court. The themes, as in many of Mozart's operas,
are forgiveness and enlightenment.
Michael Barclay Lectures on Ernani
CBM 1362
Lecture on Verdi's fifth opera, which looked forward to later
heroic
works.
Eugene Onegin
CBM 1591
Eugene Onegin
CBM 1444
Lecture with many illustrations from famous performances.
Michael Barclay Lectures on Eugene Onegin
CBM 1339
A lecture with musical illustrations on perhaps the best
known of Tchaikovsky's operas. Premiering in 1879, it remains one of
the most popular of Russian operas.
Michael Barclay Lectures on Evita and Cats by Lloyd-Webber
CBM 799
A lecture on two of the most famous pop operas recently
written by Andrew Lloyd-Webber, the composer of Jesus Christ Superstar.
Falstaff
CBM 1445
Lecture with many illustrations from famous performances.
Falstaff
CBM 1262
When Verdi penned the score of his last work for the stage,
Falstaff became one of many operatic vehicles from Shakespeare.
Discussed here by Ann Thompson.
Michael Barclay Lectures on Falstaff
CBM 1331
This opera, the eighty-two-year-old Verdi's last, had its
1882 premiere at Milan's La Scala, where his only other comic opera had failed
fifty-one years earlier.
La Fanciulla del West
CBM 1446
Lecture with many illustrations from famous performances.
Michael Barclay Lectures on La Fanciulla del West by Puccini
CBM 861
Notes on the opera by Puccini, the first to be premiered at
the Met. The American story is taken from a play by David Belasco, a
popular American playwright of the time.
Faust
CBM 1267
Gounod's librettists, Michel Carr and Jules Barbier, selected
the love story of Faust and Marguerite from the original dramatic poem
by Goethe. Ann Thompson presents Gounod's version.
Faust
CBM 1708
Faust
CBM 1593
Michael Barclay Lectures on La Favola d'Orfeo by Claudio
Monteverdi
CBM 1696
La Favorite
CBM 1728
Fedora
CBM 1561
Michael Barclay Lectures on Die Feen (The Fairies)
CBM 1363
A lecture on Wagner's first opera, written when he was
nineteen. The music suggests many themes that were to appear in his later
works.
Michael Barclay Lectures on Fidelio by Beethoven
CBM 784
This opera, which gave Beethoven more trouble than any of his
other works, looks forward to the music dramas of Wagner while
looking backward to the operas of Mozart, and still holds the stage
today because of the timelessness of its subject matter.
The Fiery Angel
CBM 1730
Michael Barclay Lectures on The Flaming Angel by Serge
Prokofiev
CBM 1681
Michael Barclay Lectures on La Fille du Regiment by Gaetano
Donizetti
CBM 1682
Die Fledermaus
CBM 1273
Johann Strauss the younger was already famous as a composer
of Viennese dance music before he turned his hand to operetta.
Ann Thompson discusses this comedy of errors, set in Vienna in
the mid-1800s.
Michael Barclay Lectures on Die Fledermaus
CBM 1418
A discussion of casting problems with this operetta by
Strauss. The lecturer also questions whether they should perform it in an
opera house at all.
Michael Barclay Lectures on Der fliegende Holländer by Wagner
CBM 762
A lecture by Michael Barclay with musical illustrations.
Lecture on the opera Wagner considered his first acceptable creation.
Explores the subject of redemption which continues throughout Wagner's
later works. Gives good background on the life of Wagner.
Der fliegende Holländer
CBM 1447
Lecture with many illustrations from famous performances.
The Flying Dutchman
CBM 1707
Michael Barclay Lectures on La Forza del Destino
CBM 1332
This opera by Verdi premiered in St. Petersburg, Russia, and
influenced a whole generation of Russian opera composers.
Michael Barclay Lectures on Die Frau ohne Schatten
CBM 1328
Another Richard Strauss and Hugo von Hofmannsthal
collaboration. This opera began with a very successful premier,
then dropped from the operatic repertoire until the 1960s.
Michael Barclay Lectures on Der Freischutz
CBM 1348
One of the earliest German-language operas, this work by von
Weber opened the way for Wagner and other German romantics.
Frida
CBM 1424
Based on the life of Mexican artist Frida Kahlo, this opera
by Robert Xavier Rodriguez had its 1991 premiere in Philadelphia.
The Gambler
CBM 1569
Michael Barclay Lectures on La Gioconda by Ponchielli
CBM 1198
According to the lecturer, this opera is the "Greatest Show
on Earth." Each vocal type is represented with arias and duets for
everyone.
The Girl of the Golden West
CBM 1570
Giulio Cesare
CBM 1731
Julius Caesar
CBM 1392
Discussion of one of Handel's best-known operas. Includes
information about Handel's life in London, opera seria, castrati, and
countertenors.
Michael Barclay Lectures on Giulio Cesare by G.F. Handel
CBM 1687
Michael Barclay Lectures on Julius Caesar by Handel
CBM 795
Written in London in 1725, it is revived more often than any
of Handel's other forty operas. Discusses the problems with casting and
includes some information about the castrato singers of Handel's time.
Götterdämmerung
CBM 1595
Götterdämmerung
CBM 1316
Michael Barclay Lectures on Götterdämmerung
CBM 1365
A lecture on the opera that is last in Wagner's Ring, but the
first of the four to be written.
Michael Barclay Lectures on La Grande Duchesse de Gerolstein
CBM 1366
Lecture on the last of Offenbach's great operettas which was
performed at the 1867 Universal Exhibition in Paris. Although it is
satirical and witty, much of its humor is lost on today's audiences.
Michael Barclay Lectures on Guillaume Tell
CBM 1415
Examines the opera, debuted in 1829, that was Rossini's last
work for the stage before family matters and the changing tastes in music
led to his retirement at the age of thirty-five. He became one of the
musical legends of Paris.
Michael Barclay Lectures on Hamlet by Ambroise Thomas
CBM 1693
Hänsel und Gretel
CBM 1406
Discussion of the opera's story with musical illustrations.
Ann Thompson reads the Grimm fairy tale on which Humperdinck based the
opera.
Michael Barclay Lectures on Hänsel und Gretel by Humperdinck
CBM 796
A lecture on the most famous fairy tale in the operatic
repertoire. The music, however, presents many problems to the singer in this
Wagner-influenced work.
Michael Barclay Lectures on Harvey Milk by Wallace and Korie.
CBM 1694
Michael Barclay Lectures on Hérodiade by Jules Massenet
CBM 1684
Michael Barclay Lectures on Idomeneo by Mozart
CBM 866
This opera, commissioned for Munich in 1781, was the first of
Mozart's great operas. Although it was popular during the early part
of the nineteenth century, it was out of favor for over a hundred
years and has only recently been revived in performance.
Michael Barclay Lectures on L'Incoronazione di Poppea by
Monteverdi
CBM 803
Written in 1642, it was the last of Monteverdi's large
output, and is the oldest surviving masterpiece in the repertoire today. Also
includes notes on the beginnings of opera.
Michael Barclay Lectures on Iphigénie en Tauride
CBM 1369
A lecture on what is considered Gluck's masterpiece, which is
seldom performed today. First performed in 1779, it influenced
Richard Wagner in the next century.
Michael Barclay Lectures on L'Italiana in Algeri by Gioacchino
Rossini
CBM 1688
Jenufa
CBM 1448
Lecture about the opera, including excerpts from famous
performances.
Michael Barclay Lectures on Jenufa by
Janácek
CBM 797
A lecture on the most popular and accessible of Janácek's
operas. Although it can be considered a nationalistic and verismo
opera, it really does not fit into any of the twentieth-century
opera types.
Michael Barclay Lectures on Jephtha and Saul
CBM 1414
When, in eighteenth-century London, the Italian opera began
to decline in popularity, Handel turned to the composition of oratorios to
make money. Two oratorios often staged as operas are presented here.
Kátya Kabanová
CBM 1449
Lecture with many illustrations from famous performances.
Kátya Kabanová
CBM 1571
Kátya Kabanová
CBM 1703
Michael Barclay Lectures on Kátya Kabanová by Janacek
CBM 798
Based on a Russian play called The Thunderstorm. Has only
recently become known and performed in opera houses in America.
Michael Barclay Lectures on Khovanshchina
CBM 1371
Discussion of Mussorgsky's unfinished last opera that
Rimsky-Korsakov later completed.
Lady Macbeth of Mtsensk
CBM 1455
Lecture with many illustrations from famous performances.
Michael Barclay Lectures on Lear by Reimann
CBM 864
Written in 1978, this is the first operatic version of
Shakespeare's play. The opera and the play are discussed with
the problems they present.
Lohengrin
CBM 1426
A lecture on Wagner's last opera before he began writing his
music dramas. Ann Thompson relates the story and discusses its
sources.
Michael Barclay Lectures on Lohengrin by Wagner
CBM 763
A lecture by Michael Barclay with musical illustrations. This
lecture suggests that Elsa does not wish for a knight to redress her
wrongs, but to be loved by her brother.
I Lombardi, with Stiffelio
CBM 1450
Lecture with many illustrations from famous performances.
Lucia di Lammermoor
CBM 1298
For many years the only serious Donizetti opera to be heard,
it was based on the Walter Scott novel.
Michael Barclay Lectures on Lucia di Lammermoor by Donizetti
CBM 793
Discusses the forms of arias and duets in the bel canto
operas as well as the changes and history of Lucia over the past 150 years.
Michael Barclay Lectures on Lulu by Berg
CBM 786
Suggests that the character of Lulu symbolizes man's sexual
fantasies, which are both disgusting and fascinating to him. Both Lulu
and the opera itself represent twentieth-century life at its most
pessimistic.
Macbeth
CBM 1706
Michael Barclay Lectures on Macbeth
CBM 1334
A lecture on Verdi's favorite early opera. It premiered in
Florence in 1847.
Madama Butterfly
CBM 1383
A lecture on the opera Puccini loved most, which is now loved
all over the world. It was poorly received at its first performance.
Makropulos Affair
CBM 1562
Manon
CBM 1296
Ann Thompson lectures on the best-known of Massenet's operas.
Some information is given about the composer and Abb‚ Pr‚vost, the
author of the novel.
Michael Barclay Lectures on Manon
CBM 1416
Michael Barclay Lectures on Massenet's best-known opera. The
lives of the composer and the novelist, Abbe Prevost, are discussed.
Michael Barclay Lectures on Manon Lescaut
CBM 1374
The first successful Puccini opera premiered only weeks
before Falstaff, Verdi's last opera.
Michael Barclay Lectures on Maometto II
CBM 1375
This lecture suggests that the reason for the failure of
Rossini's opera at its premiere was that it was far ahead of its time. It began
to find success in opera houses in the 1990s.
McTeague
CBM 1572
Michael Barclay Lectures on The Medium (with La Voix Humaine)
CBM 1417
The subjects of these two operas, from contemporary composers
Menotti and Poulenc, deal with truth and reality.
Mefistofele
CBM 1407
Boito's only opera produced today. This lecture refers to
other Faust operas, plays, and stories.
Michael Barclay Lectures on Mefistofele by Arrigo Boito
CBM 1685
Die Meistersinger von Nürnberg
CBM 1451
Lecture with many illustrations from famous performances.
Michael Barclay Lectures on Die Meistersinger by Wagner
CBM 764
A lecture by Michael Barclay with musical illustrations. This
opera was written to balance the seriousness of Tannhäuser and because
Wagner needed the money.
Michael Barclay Lectures on The Merry Widow and Operetta
CBM 765
A lecture by Michael Barclay with musical illustrations. In
spite of its popularity, Barclay contends that The Merry Widow is "the
death rattle of operetta."
The Merry Wives of Windsor
CBM 1552
Narrated by Ann Thompson.
Michael Barclay Lectures on The Midsummer Marriage
CBM 1352
This opera by Sir Michael Tippett was first produced in 1955
with a stellar cast. It is a "quest" opera in which the characters
learn about themselves and fulfillment.
Michael Barclay Lectures on A Midsummer Night's Dream by
Britten
CBM 1432
A Midsummer Night's Dream
CBM 1428
This lecture gives the plot with musical excerpts. The opera
by Britten, which was written in 1960, is based on Shakespeare's play of
the same name.
The Mikado
CBM 1405
The story is presented with musical examples. The lives of
Gilbert and Sullivan, the company they founded, and their quarrels are
also discussed.
Michael Barclay Lectures on Moses und Aron
CBM 1337
Although written in 1932, this opera by Schoenberg was not
premiered until 1954 and not staged until 1957. Its theme involves the
question of which is more important in opera, music or words.
Moses und Aron
CBM 1734
Michael Barclay Lectures on Nabucco by Verdi
CBM 1433
Nabucco
CBM 1705
New Year
CBM 1372
Rebirth and self-discovery are the themes of Tippett's
science fiction opera, first produced in 1989 in Houston, Texas.
Nixon in China
CBM 1284
Written and premiered in 1987 in Houston, Texas, this opera
by John Adams is concerned with Richard Nixon's 1973 visit to the
People's Republic of China.
Michael Barclay Lectures on Norma by Bellini
CBM 785
In his use of orchestration and extended scene, Bellini looks
forward to the music dramas of Richard Wagner.
Norma
CBM 1263
Bellini's work is a combination of great lyrical beauty and
considerable dramatic tension. Norma's "Casta diva," one of the most
celebrated of soprano arias, is included in this discussion by Ann
Thompson.
Michael Barclay Lectures on Le Nozze di Figaro by Mozart
CBM 766
A lecture by Michael Barclay with musical illustrations.
Barclay calls this "the ultimate couple opera." Susanna and Figaro,
the successful couple, are pitted against the Count and Countess,
the failed couple.
Le Nozze di Figaro
CBM 1393
The plot of the opera is followed by a general discussion of
Beaumarchais's, Mozart's, and da Ponte's lives and works.
Michael Barclay Lectures on Orlando
CBM 1376
A lecture about one of Handel's greatest "magic" operas which
was not performed between 1733 and 1960. There is also a discussion
of staging and casting problems.
Michael Barclay Lectures on Orlando Furioso
CBM 1377
Vivaldi borrowed materials from his own and other composers
works. Today it is unclear which pieces he wrote specifically for
this opera.
Orpheus in the Underworld
CBM 1260
Ann Thompson talks about Offenbach's parody of the story of
Orpheus-light opera which ends with the famous can-can.
Otello
CBM 1597
Michael Barclay Lectures on Otello
CBM 1344
After Verdi had been retired for sixteen years, his wife,
librettist, and publisher persuaded him to write another opera. He turned to
his favorite author, Shakespeare, for inspiration.
Otello
CBM 1309
Otello
CBM 1437
Otello
CBM 1389
Ann Thompson gives the plot synopsis and background
information about the composition of Verdi's opera.
Michael Barclay Lectures on Parsifal
CBM 1349
Michael Barclay discusses the psychological and sexual
aspects of this opera, Wagner's last, written specifically
for Bayreuth's Festspiel Haus.
Parsifal
CBM 1390
A lecture that suggests this opera, Wagner's last, is "all
things to all people," depending upon how they approach it.
The Passion of Jonathan Wade
CBM 1388
Floyd wrote the original version of this opera for the New
York City Opera in the early 1960s. Thirty years later the composer
wrote a revised version for the Houston Grand Opera.
Michael Barclay Lectures on Pelléas et Mélisande by Debussy
CBM 791
In this psychological opera, the lecturer suggests that the
title characters do not wish to accept responsibility for their actions. The
character of Goloud represents the adult world which they reject.
Pelléas et Mélisande
CBM 1454
Lecture with many illustrations from famous performances.
Pelléas et Mélisande
CBM 1574
Michael Barclay Lectures on Peter Grimes by Britten
CBM 789
The first of Britten's operas to be staged, the central theme
is the outsider who does not fit into society.
Peter Grimes
CBM 1453
Lecture with many illustrations from famous performances.
Michael Barclay Lectures on Pique-Dame
CBM 1350
Michael Barclay discusses Tchaikovsky's life, work, and
death. This opera, written in 1890, was based on a short story by
Pushkin, with a libretto by the composer's brother.
Michael Barclay Lectures on Platée by Jean-Philippe Rameau
CBM 1691
Porgy and Bess
CBM 1261
George Gershwin's opera in three acts, based on a text by du
Bose Heyward and Ira Gershwin, is the first American opera to make
a substantial success. It is also perhaps the only opera
founded on the jazz of the 1920s and 1930s. Discussed here by Ann Thompson.
Michael Barclay Lectures on Prince Igor by Borodin
CBM 1695
Prince Igor
CBM 1702
Michael Barclay Lectures on Le Prophète
CBM 1379
A lecture on an opera by Meyerbeer that is seldom performed
because of the difficulty of its roles. It does, however, point the way
to Verdi and Puccini.
Michael Barclay Lectures on I Puritani
CBM 1380
Bellini wrote this opera, his last, shortly before his death
at the age of thirty-three. Michael Barclay discusses casting problems and
the lack of drama.
I Puritani
CBM 1575
Michael Barclay Lectures on The Rake's Progress
CBM 1345
This work, which premiered in 1951, is an example of
Stravinsky's neoclassic period.
The Rake's Progress
CBM 1563
The Making of the Representative for Planet 8
CBM 1402
This minimalist opera by Philip Glass was premiered in July
1988 by the Houston Grand Opera. It is a science fiction story, taken
from the novel by Doris Lessing.
Michael Barclay Lectures on Das Rheingold
CBM 1326
Wagner regarded this opera as a prologue to the Ring. This
lecture examines the opera and some of the problems it presents.
Das Rheingold
CBM 1311
Michael Barclay Lectures on Rienzi
CBM 1381
Wagner's third opera, the first to find success, is compared
with the operas of Meyerbeer.
Michael Barclay Lectures on Rigoletto by Verdi
CBM 768
A lecture by Michael Barclay with musical illustrations. He
explores the controversial beginnings of this opera as well as the
father-daughter theme that runs through many of Verdi's works.
Rigoletto
CBM 1403
This opera by Verdi, based on a play by Victor Hugo, was
changed many times before it passed the censors in Venice. Compares the
lives of Hugo and Verdi.
Rigoletto
CBM 1598
Michael Barclay Lectures on Il Ritorno d'Ulisse in Patria
CBM 1382
Only three of Monteverdi's operas exist today. This work
presents instrumentation, casting, and performance-time problems for
the performers.
Michael Barclay Lectures on Roberto Devereux by Donizetti
CBM 794
One of the operas that has been discovered in this century
during the bel canto revival. The lecture also covers information on forms
of pieces in the operas and types of voices used.
Michael Barclay Lectures on Roméo et Juliette
CBM 1384
Gounod's opera was one of the three major musical events at
the 1867 Paris World Exhibition. Through the early twentieth century,
it was the most-often performed opera based on Shakespeare.
Roméo and Juliet
CBM 1553
Narrated by Ann Thompson.
La Rondine
CBM 1283
This is the least performed of Puccini's mature operas. Ann
Thompson compares it with other Puccini operas and with operettas of
the period.
Der Rosenkavalier
CBM 1364
Ann Thompson discusses the characters in Richard Strauss's
work, the most popular opera of the twentieth-century, in detail.
Michael Barclay Lectures on Der Rosenkavalier by Strauss
CBM 767
A lecture by Michael Barclay with musical illustrations.
Barclay suggests that Strauss "took a giant step backwards" when he let his
librettist Hugo von Hofmannsthal persuade him to write this opera.
Rusalka
CBM 1394
Ann Thompson discusses DvoR k's best-known opera and his
years in America.
Rusalka
CBM 1452
Lecture with many illustrations from famous performances.
Rusalka
CBM 1737
Michael Barclay Lectures on Ruslan and Lyudmila by Glinka
CBM 1686
Michael Barclay Lectures on Salome
CBM 1342
This opera by Richard Strauss caused a sensation at its
premiere. Officials banned it from the Metropolitan Opera
for many years.
Salome
CBM 1264
Although Salome so shocked audiences at the beginning of
this century that it was withdrawn from the Metropolitan Opera
after one performance, it is now a part of the standard repertoire. Ann
Thompson discusses Richard Strauss's setting of Oscar Wilde's play of
the same title.
Michael Barclay Lectures on Samson and Delilah
CBM 1346
Out of Saint-Saëns' twelve operas, this is the only one
represented in the modern repertoire. It is half oratorio, half opera and is
sometimes sung without scenery or costumes.
Samson and Delilah
CBM 170-172
Saint-Saens's opera, with introduction and synopsis by Marcia
Davenport. Sung in French. English libretto in braille available on
request.
Samson and Delilah
CBM 1391
Saint-Saens' opera retells the biblical story. Ann Thompson
gives some information about the lives and customs of the times in which
it is set.
Samson et Dalila
CBM 1576
Michael Barclay Lectures on Semiramide
CBM 1338
This opera was one of Rossini's most successful productions
of its time. Michael Barclay gives some information about the voice types
Rossini liked to use.
Michael Barclay Lectures on Siegfried
CBM 1385
Lecture on the third opera in Wagner's Der Ring des
Niebelungen. Discusses the philosophy of this opera and of the Ring.
Siegfried
CBM 1315
Michael Barclay Lectures on Simon Boccanegra
CBM 1340
This work failed at its premiere. Twenty-five years later
Verdi re-orchestrated it and Arrigo Boito added some scenes. This time
it was successful.
Simon Boccanegra
CBM 1599
Michael Barclay Lectures on La Sonnambula
CBM 1386
Michael Barclay gives information about the opera, composer
Bellini, and librettist Romani. He also explores the Italian melodrama.
La Sonnambula
CBM 1577
Street Scene
CBM 1425
In 1935 Kurt Weill attended a rehearsal of George Gershwin's
Porgy and Bess. Gershwin's use of jazz and blues music fascinated him.
Street Scene reflects much of the Porgy and Bess spirit.
Susannah
CBM 1554
Narrated by Ann Thompson.
Susannah
CBM 1578
Tales of Hoffmann
CBM 1427
Discusses the life and work of one of France's best-known
composers of the operetta. This work, Offenbach's only attempt at serious
opera, was left unfinished at his death in 1880.
Michael Barclay Lectures on Tannhäuser
CBM 1412
Michael Barclay discusses the several sources that Wagner
used to fashion the libretto for this opera. Barclay also gives information
on the Dresden and Paris editions.
Tannhäuser
CBM 1294
This is Wagner's fifth opera and the first to use the
leitmotif. Ann Thompson discusses chivalry in the Middle Ages and Wagner's
life.
Michael Barclay Lectures on Thaïs by Massenet
CBM 801
Although neglected for many years, it has now become as
important as Manon and Werther among the operas of Massenet.
Michael Barclay Lectures on Tosca by Puccini
CBM 769
A lecture by Michael Barclay with musical illustrations.
Barclay discusses the development in literature that led to operas like Tosca,
and also Puccini's ability to let his audience see inside the minds of
his characters.
Tosca
CBM 1399
Historical background and a discussion of Puccini's life
follow a brief synopsis of the plot. Narrated by Ann Thompson.
Tosca
CBM 1601
Michael Barclay Lectures on La Traviata by Verdi
CBM 770
A lecture by Michael Barclay with musical illustrations.
Barclay suggests that the central theme in this opera is the relationship
between Violetta and the older Germont. Also discusses the controversial
beginnings of this opera and its impact on nineteenth-century audiences.
La Traviata
CBM 1429
This opera by Verdi had a difficult beginning but found its
place as one of the great nineteenth-century works. Ann Thompson discusses
the courtesan in French society of the 1800s.
La Traviata
CBM 1602
La Traviata
CBM 1313
Michael Barclay Lectures on Tristan und Isolde
CBM 1343
Michael Barclay discusses some psychological and sexual ideas
in this difficult-to-understand opera. Wagner wrote it while taking a
break from composing the Ring.
Tristan und Isolde
CBM 1704
Michael Barclay Lectures on Il Trittico
CBM 1420
The three operas in this work by Puccini (Il Tabarro, Suor
Angelica, Gianni Schicchi) are bound together by the common theme of
death.
Michael Barclay Lectures on Il Trovatore
CBM 1411
This opera, coming between Rigoletto and La Traviata, was a
step backward for Verdi because of the unrealistic subject matter.
Michael Barclay suggests that this was one of the last operas from
the bel canto school.
Il Trovatore
CBM 1397
A discussion of Verdi's opera with musical examples follows a
discussion of gypsies and their lives. Narrated by Ann Thompson.
Il Trovatore
CBM 1603
The Tsar's Bride
CBM 1738
Michael Barclay Lectures on Turandot by Puccini
CBM 863
This work, which was left unfinished at Puccini's death, was
completed by a student and premiered two years later. According to the
lecturer, many problems are presented to the audience, two of which are
identification with the characters and the unsatisfactory ending.
Turandot
CBM 1265
Puccini's last opera is a setting of Gozzi's play based on a
Chinese fable about a cruel Eastern princess who slays those who love her.
Michael Barclay Lectures on Das Verratene Meer by Henze
CBM 1498
Michael Barclay Lectures on I Vespri Siciliani by Verdi
CBM 1697
The Voyage of Edgar Allen Poe
CBM 1604
Michael Barclay Lectures on Die Walküre
CBM 1335
In this opera Wagner deals with incest and the guilt
resulting from it.
Die Walküre
CBM 1312
Michael Barclay Lectures on War and Peace
CBM 1423
Prokofiev worked on this opera during the last twelve years
of his life. It is one of the few Soviet operas staged outside Russia today.
Michael Barclay Lectures on Werther by Massenet
CBM 802
The opera Werther, written in 1892, is based on the novel The
Sufferings of Young Werther by the German poet Goethe. The subject
matter is love and violent death, but it requires refinement, reserve, and
elegance from the singers.
Michael Barclay Lectures on Wozzeck by Berg
CBM 787
Although written in 1925, the play upon which it is based was
written in the 1830s. The story is universal and timeless as long as
there are poor and abused people in the world.
Wozzeck
CBM 1605
Wozzeck
CBM 1314
Xerxes
CBM 1564
Michael Barclay Lectures on Die Zauberflöte by Mozart
CBM 772
A lecture by Michael Barclay with musical illustrations.
Die Zauberflöte
CBM 1396
This presentation points out the Masonic symbolism in
Mozart's opera. According to Ann Thompson the plot might not be as
complicated and divisive as some think.
A General Lecture on Puccini
CBM 862
Michael Barclay Lectures on Richard Strauss
CBM 1683
Michael Barclay Lectures on Take Me to Your Lieder
CBM 1698
Michael Barclay Lectures on Verismo
CBM 771
Michael Barclay Lectures on the World of Bel Canto
CBM 1435
L'Africaine - CBM 1354
Aida - CBM 1689
Adriana Lecouvreur - CBM 790
Andrea Chenier - CBM 1355
Anna Bolena - CBM 1410
Arabella - CBM 1333
Ariadne auf Naxos - CBM 1327
Attila - CBM 1356
Un Ballo in Maschera - CBM 1330
Il Barbiere di Siviglia - CBM 759
Billy Budd - CBM 788
La Bohème - CBM 760
Boris Godunov - CBM 867
Capriccio - CBM 1357
I Capuleti e i Montecchi - CBM 1358
Cendrillon - CBM 800
La Cenerentola - CBM 1341
La Clemenza di Tito - CBM 1359
Les Contes d'Hoffmann - CBM 859
Così Fan Tutte - CBM 1690
Dangerous Liaisons - CBM 1679
Daphne - CBM 1680
The Death of Klinghoffer - CBM 1434
Death in Venice - CBM 1692
Dialogues des Carmélites - CBM 860
Don Carlos - CBM 1347
Don Giovanni - CBM 761
Don Pasquale - CBM 1361
Dreigroschenoper - CBM 1360
Elektra - CBM 1329
L'Elisir d'Amore - CBM 792
Die Entfuehrung aus dem Serail - CBM 865
Ernani - CBM 1362
Eugene Onegin - CBM 1339
Evita and Cats - CBM 799
Falstaff - CBM 1331
La Fanciulla del West - CBM 861
La Favola d'Orfeo - CBM 1696
Die Feen - CBM 1363
Fidelio - CBM 784
La Fille du Regiment - CBM 1682
The Flaming Angel - CBM 1681
Die Fledermaus - CBM 1418
Der fliegende Hollaender - CBM 762
La Forza del Destino - CBM 1332
Die Frau ohne Schatten - CBM 1328
Der Freischutz - CBM 1348
La Gioconda - CBM 1198
Giulio Cesare - CBM 1687
Götterdämmerung - CBM 1365
La Grande Duchesse de Gerolstein - CBM 1366
Guillaume Tell - CBM 1415
Hamlet - CBM 1693
Hänsel und Gretel - CBM 796
Harvey Milk - CBM 1694
Hérodiade - CBM 1684
Idomeneo - CBM 866
L'Incoronazione di Poppea - CBM 803
Iphigénie en Tauride - CBM 1369
L'Italiana in Algeri - CBM 1688
Jenufa - CBM 797
Jephtha and Saul - CBM 1414
Julius Caesar - CBM 795
Kátya Kabanová - CBM 798
Khovanshchina - CBM 1371
Lear - CBM 864
Lohengrin - CBM 763
Lucia di Lammermoor - CBM 793
Lulu - CBM 786
Macbeth - CBM 1334
Manon - CBM 1416
Manon Lescaut - CBM 1374
Maometto II - CBM 1375
The Medium - CBM 1417
Mefistofele - CBM 1685
Die Meistersinger - CBM 764
Merry Widow - CBM 765
The Midsummer Marriage - CBM 1352
A Midsummer Night's Dream - CBM 1432
Moses und Aron - CBM 1337
Nabucco - CBM 1433
Norma - CBM 785
Le Nozze di Figaro- CBM 766
Orlando - CBM 1376
Orlando Furioso - CBM 1377
Otello - CBM 1344
Parsifal - CBM 1349
Pelléas et Mélisande - CBM 791
Peter Grimes - CBM 789
Pique-Dame - CBM 1350
Platée - CBM 1691
Prince Igor - CBM 1695
Le Prophète - CBM 1379
I Puritani - CBM 1380
Rake's Progress - CBM 1345
Das Rheingold - CBM 1326
Rienzi - CBM 1381
Rigoletto - CBM 768
Il Ritorno d'Ulisse in Patria - CBM 1382
Roberto Devereux - CBM 794
Roméo et Juliette - CBM 1384
Der Rosenkavalier - CBM 767
Ruslan and Lyudmila - CBM 1686
Salome - CBM 1342
Samson and Delilah - CBM 1346
Semiramide - CBM 1338
Siegfried - CBM 1385
Simon Boccanegra - CBM 1340
La Sonnambula - CBM 1386
Tannhauser - CBM 1412
Thais - CBM 801
Tosca - CBM 769
La Traviata - CBM 770
Il Trittico - CBM 1420
Tristan und Isolde - CBM 1343
Il Trovatore - CBM 1411
Turandot - CBM 863
Das Verratene Meer - CBM 1498
I Vespri Siciliani - CBM 1697
Die Walküre - CBM 1335
War and Peace - CBM 1423
Werther - CBM 802
Wozzeck - CBM 787
Die Zauberflöte - CBM 772
Aida - CBM 1581
Alceste - CBM 1565
Andrea Chenier - CBM 1582
Antony and Cleopatra - CBM 1566
Un Ballo in Maschera - CBM 1584
The Barber of Seville - CBM 1585
The Bartered Bride - CBM 1567
Boris Godunov - CBM 1586
Candide - CBM 1559
Capriccio - CBM 1560
Così Fan Tutte - CBM 1587
Don Giovanni - CBM 1558
Don Pasquale - CBM 1588
Don Quichotte - CBM 1568
Elektra - CBM 1589
The Elixir of Love - CBM 1590
Eugene Onegin - CBM 1591
Faust - CBM 1593
Fedora - CBM 1561
The Gambler - CBM 1569
The Girl of the Golden West - CBM 1570
Götterdämmerung - CBM 1595
Kátya Kabanová - CBM 1571
Makropulos Affair - CBM 1562
McTeague - CBM 1572
Otello - CBM 1597
Pelléas et Mélisande - CBM 1574
I Puritani - CBM 1575
The Rake's Progress - CBM 1563
Rigoletto - CBM 1598
Samson et Dalila - CBM 1576
Simon Boccanegra - CBM 1599
La Sonnambula - CBM 1577
Susannah - CBM 1578
Tosca - CBM 1601
La Traviata - CBM 1602
Il Trovatore - CBM 1603
The Voyage of Edgar Allen Poe - CBM 1604
Xerxes - CBM 1564
Aida - CBM 1439
Ariadne auf Naxos - CBM 1440
Un Ballo in Maschera - CBM 1441
La Bohème - CBM 1438
Boris Godunov - CBM 1442
Death in Venice - CBM 1443
La Fanciulla del West - CBM 1446
Der fliegende Holländer - CBM 1447
Don Giovanni - CBM 1310
Eugene Onegin - CBM 1444
Falstaff - CBM 1445
Götterdämmerung - CBM 1316
Jenufa - CBM 1448
Kátya Kabanová - CBM 1449
Lady Macbeth of Mtsensk - CBM 1455
I Lombardi, with Stiffelio - CBM 1450
Die Meistersinger von Nurnberg - CBM 1451
Otello - CBM 1309
Pelléas et Mélisande - CBM 1454
Peter Grimes - CBM 1453
Das Rheingold - CBM 1311
Rusalka- CBM 1452
Siegfried - CBM 1315
La Traviata - CBM 1313
Die Walküre - CBM 1312
Wozzeck - CBM 1314
A Midsummer Night's Dream - CBM 1428
Aida - CBM 1295
Andrea Chenier - CBM 1367
Anna Bolena - CBM 1271
Arabella - CBM 1712
Ariadne auf Naxos - CBM 1270
Atlas - CBM 1404
Attila - CBM 1548
Un Ballo in Maschera - CBM 1401
Il Barbiere di Siviglia - CBM 1431
Billy Budd - CBM 1711
La Bohème - CBM 1266
Boris Godunov - CBM 1259
Carmen - CBM 1272
Cavalleria Rusticana, with I Pagliacci - CBM 1395/ CBM 1713
Cinderella - CBM 1549
La Clemenza di Tito - CBM 1400
Le Comte Ory - CBM 1269
Così fan Tutte - CBM 1297
Dialogues of the Carmélites - CBM 1398
Dido and Aeneas - CBM 1550
Don Carlo - CBM 1701
Don Giovanni - CBM 1268
Don Pasquale - CBM 1710
Elektra - CBM 1430
The Elixir of Love - CBM 1709
Die Entführung aus dem Serail - CBM 1299
Falstaff - CBM 1262
Faust - CBM 1267/ CBM 1708
Die Fledermaus - CBM 1273
The Flying Dutchman - CBM 1707
Frida - CBM 1424
Hänsel und Gretel - CBM 1406
Julius Caesar - CBM 1392
Kátya Kabanová - CBM 1703
Lohengrin - CBM 1426
Lucia di Lammermoor - CBM 1298
Macbeth - CBM 1706
Madama Butterfly - CBM 1383
The Making of the Representative for Planet 8 - CBM 1402
Manon - CBM 1296
Mefistofele - CBM 1407
The Merry Wives of Windsor - CBM 1552
The Mikado - CBM 1405
Nabucco - CBM 1705
New Year - CBM 1372
Nixon in China - CBM 1284
Norma - CBM 1263
Le Nozze di Figaro - CBM 1393
Orpheus in the Underworld - CBM 1260
Otello - CBM 1389
Parsifal - CBM 1390
The Passion of Jonathan Wade - CBM 1388
Porgy and Bess - CBM 1261
Prince Igor - CBM 1702
Rigoletto - CBM 1403
Roméo and Juliet - CBM 1553
La Rondine - CBM 1283
Der Rosenkavalier - CBM 1364
Rusalka - CBM 1394
Salome - CBM 1264
Samson and Delilah - CBM 1391
Street Scene - CBM 1425
Susannah - CBM 1554
Tales of Hoffmann - CBM 1427
Tannhauser - CBM 1294
Tosca - CBM 1399
La Traviata - CBM 1429
Il Trovatore - CBM 1397
Tristan und Isolde - CBM 1704
Turandot - CBM 1265
Die Zauberflöte - CBM 1396
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Posted on 2004-10-20