UPC · Release
Zubin Mehta
Last verified:
0190295221324 is the Universal Product Code (UPC barcode) for the release “The Complete Warner Recordings” by Zubin Mehta, released 2020-01-01 on Warner Classics. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 312 tracks, each with its own ISRC. Tracks include GBAYC1501884, DEA808901002, DEA808901003.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Raga Mala - A Garland of Ragas (I. Lalit (Presto)) | — | ||
| 2 | Raga Mala - A Garland of Ragas (II. Bairagi (Moderato)) | — | ||
| 3 | Raga Mala - A Garland of Ragas (III. Yaman Kalyan (Moderato)) | — | ||
| 4 | Raga Mala - A Garland of Ragas (IV. Mian Ki Malhar (Allegro)) | — | ||
| 2-1 | Peter and the Wolf, Op. 67 | — | ||
| 2-2 | The Carnival of the Animals: I. Introduction et marche royale du lion-Carn | — | ||
| 2-3 | The Carnival of the Animals: II. Hens and Roosters | — | ||
| 2-4 | The Carnival of the Animals: III. Wild Asses | — | ||
| 2-5 | The Carnival of the Animals: IV. Tortoises | — | ||
| 2-6 | The Carnival of the Animals: V. The Elephant | — | ||
| 2-7 | The Carnival of the Animals: VI. Kangaroos | — | ||
| 2-8 | The Carnival of the Animals: VII. Aquarium | — | ||
| 2-9 | The Carnival of the Animals: VIII. Personages with Long Ears | — | ||
| 2-10 | The Carnival of the Animals: IX. The Cuckoo in the Depths of the Woods | — | ||
| 2-11 | The Carnival of the Animals: X. Aviary | — | ||
| 2-12 | The Carnival of the Animals: XI. Pianists | — | ||
| 2-13 | The Carnival of the Animals: XII. Fossils | — | ||
| 2-14 | The Carnival of the Animals: XIII. The Swan | — | ||
| 2-15 | The Carnival of the Animals: XIV. Finale | — | ||
| 2-16 | Peter und der Wolf, Musikmärchen für Kinder, Op. 67 (deutsche Erzählung) | — | ||
| 3-1 | Pierre et le loup (narration en français) | — | ||
| 3-2 | Pierre et le loup (Nederlandse vertelling) | — | ||
| 4-1 | Violin Concerto in D minor: I. I. Allegro con fermezza | — | ||
| 4-2 | Violin Concerto in D minor: I. II. Andante sostenuto | — | ||
| 4-3 | Violin Concerto in D minor: I. III. Allegro vivace | — | ||
| 4-4 | Souvenir d'un lieu cher, op. 42 no. 1 Méditation | — | ||
| 4-5 | Violin Concerto in D major, op. 35: I. Allegro moderato | — | ||
| 4-6 | Violin Concerto in D major, op. 35: II. Canzonetta: Andante | — | ||
| 4-7 | Violin Concerto in D major, Op. 35: III. Allegro vivacissimo | Itzhak Perlman, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 5-1 | Symphony No. 1 in D major “Titan”: I. Langsam. Schleppend. Wie en Naturlaut - Im Anfang sehr gemächlich | — | ||
| 5-2 | Symphony No. 1 in D major “Titan”: II. “Blumine”. Andante | — | ||
| 5-3 | Symphony No. 1 in D major “Titan”: III. Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich | — | ||
| 5-4 | Symphony No. 1 in D major “Titan”: IV. Feierlich und gemessen, ohne zu schleppen | — | ||
| 5-5 | Symphony No. 1 in D major “Titan”: V. Stürmisch bewegt | — | ||
| 6-1 | Schottische Fantasie, op. 46: Einleitung (Grave) | — | ||
| 6-2 | Schottische Fantasie, op. 46: I. Adagio cantabile | — | ||
| 6-3 | Schottische Fantasie, op. 46: II. Allegro – Adagio | — | ||
| 6-4 | Schottische Fantasie, op. 46: III. Andante sostenuto | — | ||
| 6-5 | Schottische Fantasie, op. 46: IV. Finale (Allegro guerriero) | — | ||
| 6-6 | Violinkonzert Nr. 2 d-moll, op. 44: I. Adagio ma non troppo | — | ||
| 6-7 | Violinkonzert Nr. 2 d-moll, op. 44: II. Allegro moderato | — | ||
| 6-8 | Violinkonzert Nr. 2 d-moll, op. 44: III. Finale (Allegro molto) | — | ||
| 7-1 | Violin Concerto no. 1 in A minor, op. 99: Nocturno: Moderato | — | ||
| 7-2 | Violin Concerto no. 1 in A minor, op. 99: Scherzo: Allegro | — | ||
| 7-3 | Violin Concerto no. 1 in A minor, op. 99: Passacaglia (Andante) - | — | ||
| 7-4 | Violin Concerto no. 1 in A minor, op. 99: Cadenza - | — | ||
| 7-5 | Violin Concerto no. 1 in A minor, op. 99: Burlesque: Allegro con brio | — | ||
| 7-6 | Violin Concerto in A minor, op. 82: Moderato - Animato - Calando - | — | ||
| 7-7 | Violin Concerto in A minor, op. 82: Tranquillo - Animando - Calando - Animando - Più mosso - Calando - Tranquillo | — | ||
| 7-8 | Violin Concerto in A minor, op. 82: Andante - Agitato - Calando - | — | ||
| 7-9 | Violin Concerto in A minor, op. 82: Tempo I - Più animato - Pesante - Animato - Tranquillo - Animando - | — | ||
| 7-10 | Violin Concerto in A minor, op. 82: Cadenza - | — | ||
| 7-11 | Violin Concerto in A minor, op. 82: Animando - Allegro - Quasi allegretto - Animato poco a poco - Sempre animando - Più animato - Sempre più animando - Sempre animando | — | ||
| 8-1 | The Planets: Suite for Large Orchestra, op. 32: I. Mars, the Bringer of War | New York Philharmonic, Zubin Mehta | — | |
| 8-2 | The Planets: Suite for Large Orchestra, op. 32: II. Venus, the Bringer of Peace | New York Philharmonic, Zubin Mehta | — | |
| 8-3 | The Planets: Suite for Large Orchestra, op. 32: III. Mercury, the Winged Messenger | New York Philharmonic, Zubin Mehta | — | |
| 8-4 | The Planets: Suite for Large Orchestra, op. 32: IV. Jupiter, the Bringer of Jollity | New York Philharmonic, Zubin Mehta | — | |
| 8-5 | The Planets: Suite for Large Orchestra, op. 32: V. Saturn, the Bringer of Old Age | New York Philharmonic, Zubin Mehta | — | |
| 8-6 | The Planets: Suite for Large Orchestra, op. 32: VI. Uranus, the Magician | New York Philharmonic, Zubin Mehta | — | |
| 8-7 | The Planets: Suite for Large Orchestra, op. 32: VII. Neptune, the Mystic | New York Philharmonic, Zubin Mehta, New York Choral Artists | — | |
| 9-1 | Symphony No. 2, Op. 43: I. Allegretto | — | ||
| 9-2 | Symphony No. 2, Op. 43: II. Tempo andante, ma rubato | — | ||
| 9-3 | Symphony No. 2, Op. 43: III. Vivacissimo - Finale: Allegro moderato | — | ||
| 9-4 | Finlandia, Op. 26 | — | ||
| 10-1 | Symphony No. 5 in C-sharp minor: I. Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) | — | ||
| 10-2 | Symphony No. 5 in C-sharp minor: II. Stürmisch bewegt, mit größter Vehemenz | — | ||
| 10-3 | Symphony No. 5 in C-sharp minor: III. Scherzo (Kräftig, nicht zu schnell) | — | ||
| 10-4 | Symphony No. 5 in C-sharp minor: IV. Adagietto (Sehr langsam) | — | ||
| 10-5 | Symphony No. 5 in C-sharp minor: V. Rondo-Finale (Allegro) | — | ||
| 11-1 | Le Sacre du Printemps, L'Adoration De La Terre: I. Introduction | — | ||
| 11-2 | Le Sacre du Printemps, L'Adoration De La Terre: II. Les augures printaniers / Danses des adolescentes | — | ||
| 11-3 | Le Sacre du Printemps, L'Adoration De La Terre: III. Jeu de rapt | — | ||
| 11-4 | Le Sacre du Printemps, L'Adoration De La Terre: IV. Rondes printanières | — | ||
| 11-5 | Le Sacre du Printemps, L'Adoration De La Terre: V. Jeux des cités rivales | — | ||
| 11-6 | Le Sacre du Printemps, L'Adoration De La Terre: VI. Cortège du sage | — | ||
| 11-7 | Le Sacre du Printemps, L'Adoration De La Terre: VII. Adoration de la Terre (Le Sage) | — | ||
| 11-8 | Le Sacre du Printemps, L'Adoration De La Terre: VIII. Danse de la terre | — | ||
| 11-9 | Le Sacre du Printemps, Le Sacrifice: I. Introduction | — | ||
| 11-10 | Le Sacre du Printemps, Le Sacrifice: II. Cercles mysterieux des adolescentes | — | ||
| 11-11 | Le Sacre du Printemps, Le Sacrifice: III. Glorification de l'élue | — | ||
| 11-12 | Le Sacre du Printemps, Le Sacrifice: IV. Evocation des ancêtres | — | ||
| 11-13 | Le Sacre du Printemps, Le Sacrifice: V. Action rituelle des ancêtres | — | ||
| 11-14 | Le Sacre du Printemps, Le Sacrifice: VI. Danse sacrale (L'élue) | — | ||
| 11-15 | Symphony in Three Movements: I. [ ] | — | ||
| 11-16 | Symphony in Three Movements: II. Andante | — | ||
| 11-17 | Symphony in Three Movements: III. Con moto | — | ||
| 12-1 | Summertime | — | ||
| 12-2 | A Woman Is A Sometime Thing | — | ||
| 12-3 | Overflow | — | ||
| 12-4 | Since I Lose My Man | — | ||
| 12-5 | The Promise' Lan' | — | ||
| 12-6 | I Got Plenty O' Nuttin' | — | ||
| 12-7 | Bess, You Is My Woman Now | — | ||
| 12-8 | O, I Can't Sit Still | — | ||
| 12-9 | It Ain't Necessarily So | — | ||
| 12-10 | There's A Boat Dats leavin' Soon For New York | — | ||
| 12-11 | O, Lawd I'm On My Way | — | ||
| 12-12 | An American In Paris | — | ||
| 12-13 | Cuban Overture | — | ||
| 13-1 | Violin Concerto no. 2, op. 66 "I profeti": I. Isaiah - Grave e medative | — | ||
| 13-2 | Violin Concerto no. 2, op. 66 "I profeti": II. Jeremiah - Espressivo e dolente | — | ||
| 13-3 | Violin Concerto no. 2, op. 66 "I profeti": III. Elijah - Fiero e impetuoso | — | ||
| 13-4 | Violin Concerto: I. Allegro | — | ||
| 13-5 | Violin Concerto: II. Andante affettuoso | — | ||
| 13-6 | Violin Concerto: III. Vivo | — | ||
| 14-1 | Violin Concerto No. 1 in D major, Op. 6, MS 21, I. Allegro maestoso | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 14-2 | Violin Concerto No. 1 in D major, Op. 6, MS 21, II. Adagio espressivo | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 14-3 | Violin Concerto No. 1 in D major, Op. 6, MS 21, III. Rondo: Allegro spiritoso | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 14-4 | Introduction and Rondo Capriccioso in A minor, for violin & orchestra, Op. 28 | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 14-5 | Havanaise in E major for Violin & Piano (or Orchestra), op. 83 | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 14-6 | Carmen Fantasy for violin & orchestra | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | T-900.086.039-9 | |
| 15-1 | Capriccio italien op. 45 | — | ||
| 15-2 | Swan Lake op. 20 - Scene: Moderato (act II) | — | ||
| 15-3 | Swan Lake op. 20 - Valse (act I) | — | ||
| 15-4 | Swan Lake op. 20 - Danse des cygnes (act II) | — | ||
| 15-5 | Swan Lake op. 20 - Scene: Andante (act II) | — | ||
| 15-6 | Swan Lake op. 20 - Danse hongroise - Czardas (act III) | — | ||
| 15-7 | Swan Lake op. 20 - Mazurka (act III) | — | ||
| 15-8 | Swan Lake op. 20 - Scene finale: Allegro agitato (act IV) | — | ||
| 15-9 | Marche slave, Op.31 | — | ||
| 15-10 | Ouverture solennelle 1812 op. 49 | — | ||
| 16-1 | Carmina Burana: Fortuna Imperatrix Mundi: O Fortuna | London Philharmonic Choir, London Philharmonic Orchestra, Zubin Mehta | T-800.639.771-4 | |
| 16-2 | Carmina Burana: Fortuna Imperatrix Mundi: Fortune plango vulnera | — | ||
| 16-3 | Carmina Burana: I. Primo vere: Veris leta facies | — | ||
| 16-4 | Carmina Burana: I. Primo vere: Omnia Sol temperat | — | ||
| 16-5 | Carmina Burana: I. Primo vere: Ecce gratum | — | ||
| 16-6 | Carmina Burana: Uf dem anger: Tanz | — | ||
| 16-7 | Carmina Burana: Uf dem anger: Floret silva | — | ||
| 16-8 | Carmina Burana: Uf dem anger: Chramer, gip die varwe mir | — | ||
| 16-9 | Carmina Burana: Uf dem anger: Reie – Swaz hie gat umbe – Chume, chum geselle min – Swaz hie gat umbe | — | ||
| 16-10 | Carmina Burana: Uf dem anger: Were diu werlt alle min | — | ||
| 16-11 | Carmina Burana: II. In Taberna: Estuans interius | — | ||
| 16-12 | Carmina Burana: II. In Taberna: Olim lacus colueram | — | ||
| 16-13 | Carmina Burana: II. In Taberna: Ego sum abbas | — | ||
| 16-14 | Carmina Burana: II. In Taberna: In taberna quando sumus | — | ||
| 16-15 | Carmina Burana: III. Cour d’amours: Amor volat undique | — | ||
| 16-16 | Carmina Burana: III. Cour d’amours: Dies, nox et omnia | — | ||
| 16-17 | Carmina Burana: III. Cour d’amours: Stetit puella | — | ||
| 16-18 | Carmina Burana: III. Cour d’amours: Circa mea pectora | — | ||
| 16-19 | Carmina Burana: III. Cour d’amours: Si puer cum puellula | — | ||
| 16-20 | Carmina Burana: III. Cour d’amours: Veni, veni, venias | — | ||
| 16-21 | Carmina Burana: III. Cour d’amours: In trutina | — | ||
| 16-22 | Carmina Burana: III. Cour d’amours: Tempus est iocundum | — | ||
| 16-23 | Carmina Burana: III. Cour d’amours: Dulcissime | — | ||
| 16-24 | Carmina Burana: Blanziflor et Helena: Ave formosissima | — | ||
| 16-25 | Carmina Burana: Fortuna Imperatrix Mundi: O Fortuna | — | ||
| 17-1 | Symphonie fantastique, Op. 14, "Episode de la vie d'un artiste" : I. Rêveries, passions | — | ||
| 17-2 | Symphonie fantastique, Op. 14, "Episode de la vie d'un artiste" : II. Un Bal | — | ||
| 17-3 | Symphonie fantastique, Op. 14, "Episode de la vie d'un artiste" : III. Scène aux champs | — | ||
| 17-4 | Symphonie fantastique, Op. 14, "Episode de la vie d'un artiste" : IV. Marche au supplice | — | ||
| 17-5 | Symphonie fantastique, Op. 14, "Episode de la vie d'un artiste" : V. Songe d'une nuit du Sabbat | — | ||
| 17-6 | Le Caranaval romain, Op. 9, Ouverture caractéristique | — | ||
| 17-7 | Béatrice et Bénédict | — | ||
| 18-1 | Symphony no. 2, "Resurrection": I. Allegro maestoso | — | ||
| 18-2 | Symphony no. 2, "Resurrection": II. Andante moderato | — | ||
| 18-3 | Symphony no. 2, "Resurrection": III. In ruhig fließender Bewegung | — | ||
| 18-4 | Symphony no. 2, "Resurrection": IV. Urlicht | — | ||
| 18-5 | Symphony no. 2, "Resurrection": V. Scherzo I | — | ||
| 18-6 | Symphony no. 2, "Resurrection": V. Scherzo II | — | ||
| 18-7 | Symphony no. 2, "Resurrection": V. Scherzo III | — | ||
| 18-8 | Symphony no. 2, "Resurrection": V. Scherzo IV | — | ||
| 18-9 | Symphony no. 2, "Resurrection": V. Scherzo V | — | ||
| 18-10 | Symphony no. 2, "Resurrection": V. Scherzo VI | — | ||
| 18-11 | Symphony no. 2, "Resurrection": V. Scherzo VII | — | ||
| 19-1 | Symphony in D Minor - Lento - Allegro non troppo | — | ||
| 19-2 | Symphony in D Minor - Allegretto | — | ||
| 19-3 | Symphony in D Minor - Allegro non Troppo | — | ||
| 19-4 | Symphony Nº 3 (Organ) - Adagio - Allegro Moderato | — | ||
| 19-5 | Symphony Nº 3 (Organ) - Poco Adagio | — | ||
| 19-6 | Symphony Nº 3 (Organ) - Allegro Moderato | — | ||
| 19-7 | Symphony Nº 3 (Organ) - Maestoso | — | ||
| 20-1 | Symphony no. 6: I. Allegro energico, ma non troppo | Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 20-2 | Symphony no. 6: II. Scherzo. Wuchtig | Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 20-3 | Symphony no. 6: III. Andante moderato | Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 20-4 | Symphony no. 6: IV. Finale. Allegro moderato | Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 21-1 | Ô Souverain, Ô Juge, Ô Pere | — | ||
| 21-2 | Amor, vida de mi vida | — | ||
| 21-3 | Pourquoi me réveiller | — | ||
| 21-4 | With a Song in My Heart | — | ||
| 21-5 | Granada | — | ||
| 21-6 | Non ti scordar di me | — | ||
| 21-7 | My Way | — | ||
| 21-8 | Moon River | — | ||
| 21-9 | Because | — | ||
| 21-10 | Singin' in the Rain | — | ||
| 21-11 | Tu, ca nun chiagne | — | ||
| 21-12 | Vesti la giubba | — | ||
| 21-13 | Nessun dorma! | — | ||
| 21-14 | America | — | ||
| 21-15 | All I Ask of You | — | ||
| 21-16 | Funiculì, funiculà | The Three Tenors | T-900.008.829-9 | |
| 21-17 | Sous les ponts de Paris | The Three Tenors | T-003.016.474-9 | |
| 21-18 | Brazil | — | ||
| 21-19 | Be My Love | — | ||
| 21-20 | Marechiare | — | ||
| 21-21 | Lippen Schweigen | — | ||
| 21-22 | Santa Lucia Luntana | — | ||
| 21-23 | Those Were the Days | — | ||
| 21-24 | Te quiero dijiste | — | ||
| 21-25 | Torna a surriento | — | ||
| 21-26 | La donna è mobile | — | ||
| 21-27 | Libiamo ne' lieti calici | — | ||
| 22-1 | Aida: Preludio (Andante mosso) | — | ||
| 22-2 | Aida: Atto I, scena 1. “Sì, corre voce che l'Etiope ardisca” (Ramfis, Radamès) | — | ||
| 22-3 | Aida: Atto I, scena 1. Recitativo, “Se quel guerrier io fossi!” (Radamès) | — | ||
| 22-4 | Aida: Atto I, scena 1. Romanza, “Celeste Aida” (Radamès) | — | ||
| 22-5 | Aida: Atto I, scena 1. “Quale insolita gioia nel tuo sguardo!” (Amneris, Radamès) | — | ||
| 22-6 | Aida: Atto I, scena 1. “Vieni, o diletta' appressati” (Amneris, Aida, Radamès) | — | ||
| 22-7 | Aida: Atto I, scena 1. “Alta cagion v'aduna” | — | ||
| 22-8 | Aida: Atto I, scena 1. “Su! del Nilo al sacro lido” (Il Re, Ramfis, Radamès, Amneris, Aida, Messaggiero, Ramfis, Priests, Ministers, Captains) | — | ||
| 22-9 | Aida: Atto I, scena 1. Scena e romanza, “Ritorna vincitor!” (Aida) | — | ||
| 22-10 | Aida: Atto I, scena 2. “Possente Fthà...Ti che nulla hai tratto” (Priestess, Ramfis, Priests, Priestesses) | — | ||
| 22-11 | Aida: Atto I, scena 2. Sacred Dance of the Priestesses, “Mortal, diletto ai numi” (Ramfis, Priests) | — | ||
| 22-12 | Aida: Atto I, scena 2. “Nume, custode e vindice” (Ramfis, Radamès, Priests, Priestesses) | — | ||
| 22-13 | Aida: Atto II, scena 1. “Chi mai fra gl'inni e i plausi” (Slaves, Amneris) | — | ||
| 22-14 | Aida: Atto II, scena 1. Dance of the Moorish Slaves | — | ||
| 22-15 | Aida: Atto II, scena 1. “Vieni, sul crin ti piovano” (Slaves, Amneris) | — | ||
| 22-16 | Aida: Atto II, scena 1. “Fu la sorte dell'armi a' tuoi funesta” (Amneris, Aida) | — | ||
| 22-17 | Aida: Atto II, scena 1. “Pietà ti prenda del mio dolor” (Amneris, Aida) | — | ||
| 22-18 | Aida: Atto II, scena 1. “Su! del Nilo...Numi, pietà del mio martir” (Chorus, Amneris, Aida) | — | ||
| 22-19 | Aida: Atto II, scena 2. Gran Finale, “Gloria all'Egitto, ad Iside” (Il Popolo, Sacerdoti, Donne) | — | ||
| 22-20 | Aida: Atto II, scena 2. Triumphal March | — | ||
| 22-21 | Aida: Atto II, scena 2. Ballet | — | ||
| 22-22 | Aida: Atto II, scena 2. “Vieni, o guerriero vindice” (People, Priests) | — | ||
| 22-23 | Aida: Atto II, scena 2. “Salvator della patria” (King, Radamès, Ramfis, Priests) | — | ||
| 22-24 | Aida: Atto II, scena 2. “Che veggo!...Ma tu, Re” (Aida, Amneris, Amonasro, Il Re, Slaves, Prisoners, Ramfis, Priests, Radamès) | — | ||
| 22-25 | Aida: Atto II, scena 2. “Il dolor che in quel volto favella” (Tutti) | — | ||
| 22-26 | Aida: Atto II, scena 2. “O Re, pei sacri Numi ... Gloria all'Egitto, ad Iside” (Tutti) | — | ||
| 23-1 | Aida: Atto III. Coro nel Tempio, “O tu che sei d'Osiride” (Chorus) | — | ||
| 23-2 | Aida: Atto III. “Vieni d'Iside al Tempio” (Ramfis, Amneris, Chorus) | — | ||
| 23-3 | Aida: Atto III. Recitativo e Scena, “Qui Radamès verrà!” | — | ||
| 23-4 | Aida: Atto III. “O patria mia” (Aida) | — | ||
| 23-5 | Aida: Atto III. “Ciel! mio padre” | — | ||
| 23-6 | Aida: Atto III. “Rivedrai le foreste imbalsamente” (Amonasro, Aida) | — | ||
| 23-7 | Aida: Atto III. Duetto “Pur ti riveggo, mia dolce Aida” | — | ||
| 23-8 | Aida: Atto III. “Nel fiero anelito di nuova guerra” | — | ||
| 23-9 | Aida: Atto III. “Fuggiam gli ardori inospiti” (Radamès, Aida) | — | ||
| 23-10 | Aida: Atto III. “Ma dimmi, per qual via” (Radamès, Aida, Amonasro, Amneris, Ramfis) | — | ||
| 23-11 | Aida: Atto IV, scena 1. “L'abborrita rivale a me sfuggia” (Amneris) | — | ||
| 23-12 | Aida: Atto IV, scena 1. Duetto “Già i Sacerdoti adunansi” (Amneris, Radamès) | — | ||
| 23-13 | Aida: Atto IV, scena 1. “Ohimè! morir mi sento!” (Amneris) | — | ||
| 23-14 | Aida: Atto IV, scena 1. “Spirito del Nume” | — | ||
| 23-15 | Aida: Atto IV, scena 1. “A lui vivo, la tomba!...Sacerdoti:compiste un delitto!” (Ramfis, Priests, Amneris) | — | ||
| 23-16 | Aida: Atto IV, scena 2. Scena e duetto “La fatal pietra sovra me si chiuse” (Radamès, Aida) | — | ||
| 23-17 | Aida: Atto IV, scena 2. Finale ultimo “Vedi? Di morte l'angelo” | — | ||
| 23-18 | Aida: Atto IV, scena 2. “O terra, addio, valle di pianti“ (Aida, Radamès, Priests, Priestesses) | — | ||
| 24-1 | Tosca: Atto I. “Ah! Finalmente!” | — | ||
| 24-2 | Tosca: Atto I. “Dammi i colori!” | — | ||
| 24-3 | Tosca: Atto I. “Gente là dentro!” | — | ||
| 24-4 | Tosca: Atto I. “Mario! Mario! Mario!” | — | ||
| 24-5 | Tosca: Atto I. “Ah quegli occhi” | — | ||
| 24-6 | Tosca: Atto I. “È buona la mia Tosca” | — | ||
| 24-7 | Tosca: Atto I. “Il cannon del castello!” | — | ||
| 24-8 | Tosca: Atto I. “Un tal baccano in chiesa!” | — | ||
| 24-9 | Tosca: Atto I. “Tosca? Che non mi veda” | — | ||
| 24-10 | Tosca: Atto I. “Ed io venivo a lui” | — | ||
| 24-11 | Tosca: Atto I. “Tre sbirri, una carrozza” | — | ||
| 25-1 | Tosca: Atto II. “Tosca è un buon falco” | — | ||
| 25-2 | Tosca: Atto II. “Ha più forte sapore” | — | ||
| 25-3 | Tosca: Atto II. “Meno male!” | — | ||
| 25-4 | Tosca: Atto II. “Dov’è Angelotti?” | — | ||
| 25-5 | Tosca: Atto II. “Ed or fra noi parliam” | — | ||
| 25-6 | Tosca: Atto II. “Orsù, Tosca, parlate” | — | ||
| 25-7 | Tosca: Atto II. “Nel pozzo … Nel giardino!” | — | ||
| 25-8 | Tosca: Atto II. “La povera mia cena fu interrotta” | — | ||
| 25-9 | Tosca: Atto II. “Vissi d’arte” | — | ||
| 25-10 | Tosca: Atto II. “Chi è là?” | — | ||
| 25-11 | Tosca: Atto II. “E qual via scegliete?” | — | ||
| 25-12 | Tosca: Atto III. “Io de’ sospiri” | — | ||
| 25-13 | Tosca: Atto III. “Mario Cavaradossi? A voi” | — | ||
| 25-14 | Tosca: Atto III. “E lucevan le stelle” | — | ||
| 25-15 | Tosca: Atto III. “Ah! Franchigia a Floria Tosca” | — | ||
| 25-16 | Tosca: Atto III. “O dolci mani” | — | ||
| 25-17 | Tosca: Atto III. “E non giungono” | — | ||
| 25-18 | Tosca: Atto III. “Come è lunga l’attesa” | — | ||
| 25-19 | Tosca: Atto III. “Presto, su! Mario!” | — | ||
| 26-1 | La Traviata: Preludio | — | ||
| 26-2 | La Traviata: Atto I. Dell'invito trascorsa è già l'ora? | — | ||
| 26-3 | La Traviata: Atto I. Libiamo, libiamo ne'lieti calici (Brindisi) | — | ||
| 26-4 | La Traviata: Atto I. Che è ciò? | — | ||
| 26-5 | La Traviata: Atto I. Oh! Qual palor! | — | ||
| 26-6 | La Traviata: Atto I. Un dì felice | — | ||
| 26-7 | La Traviata: Atto I. Si ridesta in ciel l'aurora | — | ||
| 26-8 | La Traviata: Atto I. È strano! È strano! ... Ah, fors'è lui | — | ||
| 26-9 | La Traviata: Atto I. Follie! ... Sempre libera | — | ||
| 26-10 | La Traviata: Atto II. Lunge da lei | — | ||
| 26-11 | La Traviata: Atto II. De'miei bollenti spiriti | — | ||
| 26-12 | La Traviata: Atto II. Annina, donde vieni? | — | ||
| 26-13 | La Traviata: Atto II. O mio rimorso! | — | ||
| 26-14 | La Traviata: Atto II. Alfredo? | — | ||
| 26-15 | La Traviata: Atto II. Pura siccome un angelo | — | ||
| 26-16 | La Traviata: Atto II. Dite alla giovine | — | ||
| 26-17 | La Traviata: Atto II. Dammi tu forza, o cielo! | — | ||
| 26-18 | La Traviata: Atto II. Ah, vive sol quel core | — | ||
| 26-19 | La Traviata: Atto II. Di Provensa il mar | — | ||
| 27-1 | La Traviata: Atto II. Avrem lieta di maschere la notte | — | ||
| 27-2 | La Traviata: Atto II. Noi siamo zingarelle | — | ||
| 27-3 | La Traviata: Atto II. Di Madride noi siam matadori | — | ||
| 27-4 | La Traviata: Atto II. Alfredo! Voi! | — | ||
| 27-5 | La Traviata: Atto II. Invitato a qui seguirmi | — | ||
| 27-6 | La Traviata: Atto II. Ogni suo aver | — | ||
| 27-7 | La Traviata: Atto II. Di sprezzo degno | — | ||
| 27-8 | La Traviata: Atto III. Preludio | — | ||
| 27-9 | La Traviata: Atto III. Annina? - Commandate? | — | ||
| 27-10 | La Traviata: Atto III. Teneste la promessa | — | ||
| 27-11 | La Traviata: Atto III. Addio, del passato bei sogni | — | ||
| 27-12 | La Traviata: Atto III. Largo al quadrupede sir della festa | — | ||
| 27-13 | La Traviata: Atto III. Signora... - Che t'accadde? | — | ||
| 27-14 | La Traviata: Atto III. Parigi, o cara, noi lasceremo | — | ||
| 27-15 | La Traviata: Atto III. Ah! Gran dio! Morir sì giovine | — | ||
| 27-16 | La Traviata: Act III. Ah! Violetta! - Voi, Signor | — | ||
| 27-17 | La Traviata: Act III. Se una pudica vergine | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
Identifier Graph
0190295221324 is a Universal Product Code (UPC) assigned to The Complete Warner Recordings by Zubin Mehta. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 312 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
0190295221324 is the Universal Product Code (UPC barcode) for the release “The Complete Warner Recordings” by Zubin Mehta, released 2020-01-01 on Warner Classics. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 312 tracks, each with its own ISRC. Tracks include GBAYC1501884, DEA808901002, DEA808901003.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Raga Mala - A Garland of Ragas (I. Lalit (Presto)) | — | ||
| 2 | Raga Mala - A Garland of Ragas (II. Bairagi (Moderato)) | — | ||
| 3 | Raga Mala - A Garland of Ragas (III. Yaman Kalyan (Moderato)) | — | ||
| 4 | Raga Mala - A Garland of Ragas (IV. Mian Ki Malhar (Allegro)) | — | ||
| 2-1 | Peter and the Wolf, Op. 67 | — | ||
| 2-2 | The Carnival of the Animals: I. Introduction et marche royale du lion-Carn | — | ||
| 2-3 | The Carnival of the Animals: II. Hens and Roosters | — | ||
| 2-4 | The Carnival of the Animals: III. Wild Asses | — | ||
| 2-5 | The Carnival of the Animals: IV. Tortoises | — | ||
| 2-6 | The Carnival of the Animals: V. The Elephant | — | ||
| 2-7 | The Carnival of the Animals: VI. Kangaroos | — | ||
| 2-8 | The Carnival of the Animals: VII. Aquarium | — | ||
| 2-9 | The Carnival of the Animals: VIII. Personages with Long Ears | — | ||
| 2-10 | The Carnival of the Animals: IX. The Cuckoo in the Depths of the Woods | — | ||
| 2-11 | The Carnival of the Animals: X. Aviary | — | ||
| 2-12 | The Carnival of the Animals: XI. Pianists | — | ||
| 2-13 | The Carnival of the Animals: XII. Fossils | — | ||
| 2-14 | The Carnival of the Animals: XIII. The Swan | — | ||
| 2-15 | The Carnival of the Animals: XIV. Finale | — | ||
| 2-16 | Peter und der Wolf, Musikmärchen für Kinder, Op. 67 (deutsche Erzählung) | — | ||
| 3-1 | Pierre et le loup (narration en français) | — | ||
| 3-2 | Pierre et le loup (Nederlandse vertelling) | — | ||
| 4-1 | Violin Concerto in D minor: I. I. Allegro con fermezza | — | ||
| 4-2 | Violin Concerto in D minor: I. II. Andante sostenuto | — | ||
| 4-3 | Violin Concerto in D minor: I. III. Allegro vivace | — | ||
| 4-4 | Souvenir d'un lieu cher, op. 42 no. 1 Méditation | — | ||
| 4-5 | Violin Concerto in D major, op. 35: I. Allegro moderato | — | ||
| 4-6 | Violin Concerto in D major, op. 35: II. Canzonetta: Andante | — | ||
| 4-7 | Violin Concerto in D major, Op. 35: III. Allegro vivacissimo | Itzhak Perlman, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 5-1 | Symphony No. 1 in D major “Titan”: I. Langsam. Schleppend. Wie en Naturlaut - Im Anfang sehr gemächlich | — | ||
| 5-2 | Symphony No. 1 in D major “Titan”: II. “Blumine”. Andante | — | ||
| 5-3 | Symphony No. 1 in D major “Titan”: III. Kräftig bewegt, doch nicht zu schnell - Trio. Recht gemächlich | — | ||
| 5-4 | Symphony No. 1 in D major “Titan”: IV. Feierlich und gemessen, ohne zu schleppen | — | ||
| 5-5 | Symphony No. 1 in D major “Titan”: V. Stürmisch bewegt | — | ||
| 6-1 | Schottische Fantasie, op. 46: Einleitung (Grave) | — | ||
| 6-2 | Schottische Fantasie, op. 46: I. Adagio cantabile | — | ||
| 6-3 | Schottische Fantasie, op. 46: II. Allegro – Adagio | — | ||
| 6-4 | Schottische Fantasie, op. 46: III. Andante sostenuto | — | ||
| 6-5 | Schottische Fantasie, op. 46: IV. Finale (Allegro guerriero) | — | ||
| 6-6 | Violinkonzert Nr. 2 d-moll, op. 44: I. Adagio ma non troppo | — | ||
| 6-7 | Violinkonzert Nr. 2 d-moll, op. 44: II. Allegro moderato | — | ||
| 6-8 | Violinkonzert Nr. 2 d-moll, op. 44: III. Finale (Allegro molto) | — | ||
| 7-1 | Violin Concerto no. 1 in A minor, op. 99: Nocturno: Moderato | — | ||
| 7-2 | Violin Concerto no. 1 in A minor, op. 99: Scherzo: Allegro | — | ||
| 7-3 | Violin Concerto no. 1 in A minor, op. 99: Passacaglia (Andante) - | — | ||
| 7-4 | Violin Concerto no. 1 in A minor, op. 99: Cadenza - | — | ||
| 7-5 | Violin Concerto no. 1 in A minor, op. 99: Burlesque: Allegro con brio | — | ||
| 7-6 | Violin Concerto in A minor, op. 82: Moderato - Animato - Calando - | — | ||
| 7-7 | Violin Concerto in A minor, op. 82: Tranquillo - Animando - Calando - Animando - Più mosso - Calando - Tranquillo | — | ||
| 7-8 | Violin Concerto in A minor, op. 82: Andante - Agitato - Calando - | — | ||
| 7-9 | Violin Concerto in A minor, op. 82: Tempo I - Più animato - Pesante - Animato - Tranquillo - Animando - | — | ||
| 7-10 | Violin Concerto in A minor, op. 82: Cadenza - | — | ||
| 7-11 | Violin Concerto in A minor, op. 82: Animando - Allegro - Quasi allegretto - Animato poco a poco - Sempre animando - Più animato - Sempre più animando - Sempre animando | — | ||
| 8-1 | The Planets: Suite for Large Orchestra, op. 32: I. Mars, the Bringer of War | New York Philharmonic, Zubin Mehta | — | |
| 8-2 | The Planets: Suite for Large Orchestra, op. 32: II. Venus, the Bringer of Peace | New York Philharmonic, Zubin Mehta | — | |
| 8-3 | The Planets: Suite for Large Orchestra, op. 32: III. Mercury, the Winged Messenger | New York Philharmonic, Zubin Mehta | — | |
| 8-4 | The Planets: Suite for Large Orchestra, op. 32: IV. Jupiter, the Bringer of Jollity | New York Philharmonic, Zubin Mehta | — | |
| 8-5 | The Planets: Suite for Large Orchestra, op. 32: V. Saturn, the Bringer of Old Age | New York Philharmonic, Zubin Mehta | — | |
| 8-6 | The Planets: Suite for Large Orchestra, op. 32: VI. Uranus, the Magician | New York Philharmonic, Zubin Mehta | — | |
| 8-7 | The Planets: Suite for Large Orchestra, op. 32: VII. Neptune, the Mystic | New York Philharmonic, Zubin Mehta, New York Choral Artists | — | |
| 9-1 | Symphony No. 2, Op. 43: I. Allegretto | — | ||
| 9-2 | Symphony No. 2, Op. 43: II. Tempo andante, ma rubato | — | ||
| 9-3 | Symphony No. 2, Op. 43: III. Vivacissimo - Finale: Allegro moderato | — | ||
| 9-4 | Finlandia, Op. 26 | — | ||
| 10-1 | Symphony No. 5 in C-sharp minor: I. Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) | — | ||
| 10-2 | Symphony No. 5 in C-sharp minor: II. Stürmisch bewegt, mit größter Vehemenz | — | ||
| 10-3 | Symphony No. 5 in C-sharp minor: III. Scherzo (Kräftig, nicht zu schnell) | — | ||
| 10-4 | Symphony No. 5 in C-sharp minor: IV. Adagietto (Sehr langsam) | — | ||
| 10-5 | Symphony No. 5 in C-sharp minor: V. Rondo-Finale (Allegro) | — | ||
| 11-1 | Le Sacre du Printemps, L'Adoration De La Terre: I. Introduction | — | ||
| 11-2 | Le Sacre du Printemps, L'Adoration De La Terre: II. Les augures printaniers / Danses des adolescentes | — | ||
| 11-3 | Le Sacre du Printemps, L'Adoration De La Terre: III. Jeu de rapt | — | ||
| 11-4 | Le Sacre du Printemps, L'Adoration De La Terre: IV. Rondes printanières | — | ||
| 11-5 | Le Sacre du Printemps, L'Adoration De La Terre: V. Jeux des cités rivales | — | ||
| 11-6 | Le Sacre du Printemps, L'Adoration De La Terre: VI. Cortège du sage | — | ||
| 11-7 | Le Sacre du Printemps, L'Adoration De La Terre: VII. Adoration de la Terre (Le Sage) | — | ||
| 11-8 | Le Sacre du Printemps, L'Adoration De La Terre: VIII. Danse de la terre | — | ||
| 11-9 | Le Sacre du Printemps, Le Sacrifice: I. Introduction | — | ||
| 11-10 | Le Sacre du Printemps, Le Sacrifice: II. Cercles mysterieux des adolescentes | — | ||
| 11-11 | Le Sacre du Printemps, Le Sacrifice: III. Glorification de l'élue | — | ||
| 11-12 | Le Sacre du Printemps, Le Sacrifice: IV. Evocation des ancêtres | — | ||
| 11-13 | Le Sacre du Printemps, Le Sacrifice: V. Action rituelle des ancêtres | — | ||
| 11-14 | Le Sacre du Printemps, Le Sacrifice: VI. Danse sacrale (L'élue) | — | ||
| 11-15 | Symphony in Three Movements: I. [ ] | — | ||
| 11-16 | Symphony in Three Movements: II. Andante | — | ||
| 11-17 | Symphony in Three Movements: III. Con moto | — | ||
| 12-1 | Summertime | — | ||
| 12-2 | A Woman Is A Sometime Thing | — | ||
| 12-3 | Overflow | — | ||
| 12-4 | Since I Lose My Man | — | ||
| 12-5 | The Promise' Lan' | — | ||
| 12-6 | I Got Plenty O' Nuttin' | — | ||
| 12-7 | Bess, You Is My Woman Now | — | ||
| 12-8 | O, I Can't Sit Still | — | ||
| 12-9 | It Ain't Necessarily So | — | ||
| 12-10 | There's A Boat Dats leavin' Soon For New York | — | ||
| 12-11 | O, Lawd I'm On My Way | — | ||
| 12-12 | An American In Paris | — | ||
| 12-13 | Cuban Overture | — | ||
| 13-1 | Violin Concerto no. 2, op. 66 "I profeti": I. Isaiah - Grave e medative | — | ||
| 13-2 | Violin Concerto no. 2, op. 66 "I profeti": II. Jeremiah - Espressivo e dolente | — | ||
| 13-3 | Violin Concerto no. 2, op. 66 "I profeti": III. Elijah - Fiero e impetuoso | — | ||
| 13-4 | Violin Concerto: I. Allegro | — | ||
| 13-5 | Violin Concerto: II. Andante affettuoso | — | ||
| 13-6 | Violin Concerto: III. Vivo | — | ||
| 14-1 | Violin Concerto No. 1 in D major, Op. 6, MS 21, I. Allegro maestoso | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 14-2 | Violin Concerto No. 1 in D major, Op. 6, MS 21, II. Adagio espressivo | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 14-3 | Violin Concerto No. 1 in D major, Op. 6, MS 21, III. Rondo: Allegro spiritoso | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 14-4 | Introduction and Rondo Capriccioso in A minor, for violin & orchestra, Op. 28 | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 14-5 | Havanaise in E major for Violin & Piano (or Orchestra), op. 83 | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 14-6 | Carmen Fantasy for violin & orchestra | Maxim Vengerov, Israel Philharmonic Orchestra, Zubin Mehta | T-900.086.039-9 | |
| 15-1 | Capriccio italien op. 45 | — | ||
| 15-2 | Swan Lake op. 20 - Scene: Moderato (act II) | — | ||
| 15-3 | Swan Lake op. 20 - Valse (act I) | — | ||
| 15-4 | Swan Lake op. 20 - Danse des cygnes (act II) | — | ||
| 15-5 | Swan Lake op. 20 - Scene: Andante (act II) | — | ||
| 15-6 | Swan Lake op. 20 - Danse hongroise - Czardas (act III) | — | ||
| 15-7 | Swan Lake op. 20 - Mazurka (act III) | — | ||
| 15-8 | Swan Lake op. 20 - Scene finale: Allegro agitato (act IV) | — | ||
| 15-9 | Marche slave, Op.31 | — | ||
| 15-10 | Ouverture solennelle 1812 op. 49 | — | ||
| 16-1 | Carmina Burana: Fortuna Imperatrix Mundi: O Fortuna | London Philharmonic Choir, London Philharmonic Orchestra, Zubin Mehta | T-800.639.771-4 | |
| 16-2 | Carmina Burana: Fortuna Imperatrix Mundi: Fortune plango vulnera | — | ||
| 16-3 | Carmina Burana: I. Primo vere: Veris leta facies | — | ||
| 16-4 | Carmina Burana: I. Primo vere: Omnia Sol temperat | — | ||
| 16-5 | Carmina Burana: I. Primo vere: Ecce gratum | — | ||
| 16-6 | Carmina Burana: Uf dem anger: Tanz | — | ||
| 16-7 | Carmina Burana: Uf dem anger: Floret silva | — | ||
| 16-8 | Carmina Burana: Uf dem anger: Chramer, gip die varwe mir | — | ||
| 16-9 | Carmina Burana: Uf dem anger: Reie – Swaz hie gat umbe – Chume, chum geselle min – Swaz hie gat umbe | — | ||
| 16-10 | Carmina Burana: Uf dem anger: Were diu werlt alle min | — | ||
| 16-11 | Carmina Burana: II. In Taberna: Estuans interius | — | ||
| 16-12 | Carmina Burana: II. In Taberna: Olim lacus colueram | — | ||
| 16-13 | Carmina Burana: II. In Taberna: Ego sum abbas | — | ||
| 16-14 | Carmina Burana: II. In Taberna: In taberna quando sumus | — | ||
| 16-15 | Carmina Burana: III. Cour d’amours: Amor volat undique | — | ||
| 16-16 | Carmina Burana: III. Cour d’amours: Dies, nox et omnia | — | ||
| 16-17 | Carmina Burana: III. Cour d’amours: Stetit puella | — | ||
| 16-18 | Carmina Burana: III. Cour d’amours: Circa mea pectora | — | ||
| 16-19 | Carmina Burana: III. Cour d’amours: Si puer cum puellula | — | ||
| 16-20 | Carmina Burana: III. Cour d’amours: Veni, veni, venias | — | ||
| 16-21 | Carmina Burana: III. Cour d’amours: In trutina | — | ||
| 16-22 | Carmina Burana: III. Cour d’amours: Tempus est iocundum | — | ||
| 16-23 | Carmina Burana: III. Cour d’amours: Dulcissime | — | ||
| 16-24 | Carmina Burana: Blanziflor et Helena: Ave formosissima | — | ||
| 16-25 | Carmina Burana: Fortuna Imperatrix Mundi: O Fortuna | — | ||
| 17-1 | Symphonie fantastique, Op. 14, "Episode de la vie d'un artiste" : I. Rêveries, passions | — | ||
| 17-2 | Symphonie fantastique, Op. 14, "Episode de la vie d'un artiste" : II. Un Bal | — | ||
| 17-3 | Symphonie fantastique, Op. 14, "Episode de la vie d'un artiste" : III. Scène aux champs | — | ||
| 17-4 | Symphonie fantastique, Op. 14, "Episode de la vie d'un artiste" : IV. Marche au supplice | — | ||
| 17-5 | Symphonie fantastique, Op. 14, "Episode de la vie d'un artiste" : V. Songe d'une nuit du Sabbat | — | ||
| 17-6 | Le Caranaval romain, Op. 9, Ouverture caractéristique | — | ||
| 17-7 | Béatrice et Bénédict | — | ||
| 18-1 | Symphony no. 2, "Resurrection": I. Allegro maestoso | — | ||
| 18-2 | Symphony no. 2, "Resurrection": II. Andante moderato | — | ||
| 18-3 | Symphony no. 2, "Resurrection": III. In ruhig fließender Bewegung | — | ||
| 18-4 | Symphony no. 2, "Resurrection": IV. Urlicht | — | ||
| 18-5 | Symphony no. 2, "Resurrection": V. Scherzo I | — | ||
| 18-6 | Symphony no. 2, "Resurrection": V. Scherzo II | — | ||
| 18-7 | Symphony no. 2, "Resurrection": V. Scherzo III | — | ||
| 18-8 | Symphony no. 2, "Resurrection": V. Scherzo IV | — | ||
| 18-9 | Symphony no. 2, "Resurrection": V. Scherzo V | — | ||
| 18-10 | Symphony no. 2, "Resurrection": V. Scherzo VI | — | ||
| 18-11 | Symphony no. 2, "Resurrection": V. Scherzo VII | — | ||
| 19-1 | Symphony in D Minor - Lento - Allegro non troppo | — | ||
| 19-2 | Symphony in D Minor - Allegretto | — | ||
| 19-3 | Symphony in D Minor - Allegro non Troppo | — | ||
| 19-4 | Symphony Nº 3 (Organ) - Adagio - Allegro Moderato | — | ||
| 19-5 | Symphony Nº 3 (Organ) - Poco Adagio | — | ||
| 19-6 | Symphony Nº 3 (Organ) - Allegro Moderato | — | ||
| 19-7 | Symphony Nº 3 (Organ) - Maestoso | — | ||
| 20-1 | Symphony no. 6: I. Allegro energico, ma non troppo | Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 20-2 | Symphony no. 6: II. Scherzo. Wuchtig | Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 20-3 | Symphony no. 6: III. Andante moderato | Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 20-4 | Symphony no. 6: IV. Finale. Allegro moderato | Israel Philharmonic Orchestra, Zubin Mehta | — | |
| 21-1 | Ô Souverain, Ô Juge, Ô Pere | — | ||
| 21-2 | Amor, vida de mi vida | — | ||
| 21-3 | Pourquoi me réveiller | — | ||
| 21-4 | With a Song in My Heart | — | ||
| 21-5 | Granada | — | ||
| 21-6 | Non ti scordar di me | — | ||
| 21-7 | My Way | — | ||
| 21-8 | Moon River | — | ||
| 21-9 | Because | — | ||
| 21-10 | Singin' in the Rain | — | ||
| 21-11 | Tu, ca nun chiagne | — | ||
| 21-12 | Vesti la giubba | — | ||
| 21-13 | Nessun dorma! | — | ||
| 21-14 | America | — | ||
| 21-15 | All I Ask of You | — | ||
| 21-16 | Funiculì, funiculà | The Three Tenors | T-900.008.829-9 | |
| 21-17 | Sous les ponts de Paris | The Three Tenors | T-003.016.474-9 | |
| 21-18 | Brazil | — | ||
| 21-19 | Be My Love | — | ||
| 21-20 | Marechiare | — | ||
| 21-21 | Lippen Schweigen | — | ||
| 21-22 | Santa Lucia Luntana | — | ||
| 21-23 | Those Were the Days | — | ||
| 21-24 | Te quiero dijiste | — | ||
| 21-25 | Torna a surriento | — | ||
| 21-26 | La donna è mobile | — | ||
| 21-27 | Libiamo ne' lieti calici | — | ||
| 22-1 | Aida: Preludio (Andante mosso) | — | ||
| 22-2 | Aida: Atto I, scena 1. “Sì, corre voce che l'Etiope ardisca” (Ramfis, Radamès) | — | ||
| 22-3 | Aida: Atto I, scena 1. Recitativo, “Se quel guerrier io fossi!” (Radamès) | — | ||
| 22-4 | Aida: Atto I, scena 1. Romanza, “Celeste Aida” (Radamès) | — | ||
| 22-5 | Aida: Atto I, scena 1. “Quale insolita gioia nel tuo sguardo!” (Amneris, Radamès) | — | ||
| 22-6 | Aida: Atto I, scena 1. “Vieni, o diletta' appressati” (Amneris, Aida, Radamès) | — | ||
| 22-7 | Aida: Atto I, scena 1. “Alta cagion v'aduna” | — | ||
| 22-8 | Aida: Atto I, scena 1. “Su! del Nilo al sacro lido” (Il Re, Ramfis, Radamès, Amneris, Aida, Messaggiero, Ramfis, Priests, Ministers, Captains) | — | ||
| 22-9 | Aida: Atto I, scena 1. Scena e romanza, “Ritorna vincitor!” (Aida) | — | ||
| 22-10 | Aida: Atto I, scena 2. “Possente Fthà...Ti che nulla hai tratto” (Priestess, Ramfis, Priests, Priestesses) | — | ||
| 22-11 | Aida: Atto I, scena 2. Sacred Dance of the Priestesses, “Mortal, diletto ai numi” (Ramfis, Priests) | — | ||
| 22-12 | Aida: Atto I, scena 2. “Nume, custode e vindice” (Ramfis, Radamès, Priests, Priestesses) | — | ||
| 22-13 | Aida: Atto II, scena 1. “Chi mai fra gl'inni e i plausi” (Slaves, Amneris) | — | ||
| 22-14 | Aida: Atto II, scena 1. Dance of the Moorish Slaves | — | ||
| 22-15 | Aida: Atto II, scena 1. “Vieni, sul crin ti piovano” (Slaves, Amneris) | — | ||
| 22-16 | Aida: Atto II, scena 1. “Fu la sorte dell'armi a' tuoi funesta” (Amneris, Aida) | — | ||
| 22-17 | Aida: Atto II, scena 1. “Pietà ti prenda del mio dolor” (Amneris, Aida) | — | ||
| 22-18 | Aida: Atto II, scena 1. “Su! del Nilo...Numi, pietà del mio martir” (Chorus, Amneris, Aida) | — | ||
| 22-19 | Aida: Atto II, scena 2. Gran Finale, “Gloria all'Egitto, ad Iside” (Il Popolo, Sacerdoti, Donne) | — | ||
| 22-20 | Aida: Atto II, scena 2. Triumphal March | — | ||
| 22-21 | Aida: Atto II, scena 2. Ballet | — | ||
| 22-22 | Aida: Atto II, scena 2. “Vieni, o guerriero vindice” (People, Priests) | — | ||
| 22-23 | Aida: Atto II, scena 2. “Salvator della patria” (King, Radamès, Ramfis, Priests) | — | ||
| 22-24 | Aida: Atto II, scena 2. “Che veggo!...Ma tu, Re” (Aida, Amneris, Amonasro, Il Re, Slaves, Prisoners, Ramfis, Priests, Radamès) | — | ||
| 22-25 | Aida: Atto II, scena 2. “Il dolor che in quel volto favella” (Tutti) | — | ||
| 22-26 | Aida: Atto II, scena 2. “O Re, pei sacri Numi ... Gloria all'Egitto, ad Iside” (Tutti) | — | ||
| 23-1 | Aida: Atto III. Coro nel Tempio, “O tu che sei d'Osiride” (Chorus) | — | ||
| 23-2 | Aida: Atto III. “Vieni d'Iside al Tempio” (Ramfis, Amneris, Chorus) | — | ||
| 23-3 | Aida: Atto III. Recitativo e Scena, “Qui Radamès verrà!” | — | ||
| 23-4 | Aida: Atto III. “O patria mia” (Aida) | — | ||
| 23-5 | Aida: Atto III. “Ciel! mio padre” | — | ||
| 23-6 | Aida: Atto III. “Rivedrai le foreste imbalsamente” (Amonasro, Aida) | — | ||
| 23-7 | Aida: Atto III. Duetto “Pur ti riveggo, mia dolce Aida” | — | ||
| 23-8 | Aida: Atto III. “Nel fiero anelito di nuova guerra” | — | ||
| 23-9 | Aida: Atto III. “Fuggiam gli ardori inospiti” (Radamès, Aida) | — | ||
| 23-10 | Aida: Atto III. “Ma dimmi, per qual via” (Radamès, Aida, Amonasro, Amneris, Ramfis) | — | ||
| 23-11 | Aida: Atto IV, scena 1. “L'abborrita rivale a me sfuggia” (Amneris) | — | ||
| 23-12 | Aida: Atto IV, scena 1. Duetto “Già i Sacerdoti adunansi” (Amneris, Radamès) | — | ||
| 23-13 | Aida: Atto IV, scena 1. “Ohimè! morir mi sento!” (Amneris) | — | ||
| 23-14 | Aida: Atto IV, scena 1. “Spirito del Nume” | — | ||
| 23-15 | Aida: Atto IV, scena 1. “A lui vivo, la tomba!...Sacerdoti:compiste un delitto!” (Ramfis, Priests, Amneris) | — | ||
| 23-16 | Aida: Atto IV, scena 2. Scena e duetto “La fatal pietra sovra me si chiuse” (Radamès, Aida) | — | ||
| 23-17 | Aida: Atto IV, scena 2. Finale ultimo “Vedi? Di morte l'angelo” | — | ||
| 23-18 | Aida: Atto IV, scena 2. “O terra, addio, valle di pianti“ (Aida, Radamès, Priests, Priestesses) | — | ||
| 24-1 | Tosca: Atto I. “Ah! Finalmente!” | — | ||
| 24-2 | Tosca: Atto I. “Dammi i colori!” | — | ||
| 24-3 | Tosca: Atto I. “Gente là dentro!” | — | ||
| 24-4 | Tosca: Atto I. “Mario! Mario! Mario!” | — | ||
| 24-5 | Tosca: Atto I. “Ah quegli occhi” | — | ||
| 24-6 | Tosca: Atto I. “È buona la mia Tosca” | — | ||
| 24-7 | Tosca: Atto I. “Il cannon del castello!” | — | ||
| 24-8 | Tosca: Atto I. “Un tal baccano in chiesa!” | — | ||
| 24-9 | Tosca: Atto I. “Tosca? Che non mi veda” | — | ||
| 24-10 | Tosca: Atto I. “Ed io venivo a lui” | — | ||
| 24-11 | Tosca: Atto I. “Tre sbirri, una carrozza” | — | ||
| 25-1 | Tosca: Atto II. “Tosca è un buon falco” | — | ||
| 25-2 | Tosca: Atto II. “Ha più forte sapore” | — | ||
| 25-3 | Tosca: Atto II. “Meno male!” | — | ||
| 25-4 | Tosca: Atto II. “Dov’è Angelotti?” | — | ||
| 25-5 | Tosca: Atto II. “Ed or fra noi parliam” | — | ||
| 25-6 | Tosca: Atto II. “Orsù, Tosca, parlate” | — | ||
| 25-7 | Tosca: Atto II. “Nel pozzo … Nel giardino!” | — | ||
| 25-8 | Tosca: Atto II. “La povera mia cena fu interrotta” | — | ||
| 25-9 | Tosca: Atto II. “Vissi d’arte” | — | ||
| 25-10 | Tosca: Atto II. “Chi è là?” | — | ||
| 25-11 | Tosca: Atto II. “E qual via scegliete?” | — | ||
| 25-12 | Tosca: Atto III. “Io de’ sospiri” | — | ||
| 25-13 | Tosca: Atto III. “Mario Cavaradossi? A voi” | — | ||
| 25-14 | Tosca: Atto III. “E lucevan le stelle” | — | ||
| 25-15 | Tosca: Atto III. “Ah! Franchigia a Floria Tosca” | — | ||
| 25-16 | Tosca: Atto III. “O dolci mani” | — | ||
| 25-17 | Tosca: Atto III. “E non giungono” | — | ||
| 25-18 | Tosca: Atto III. “Come è lunga l’attesa” | — | ||
| 25-19 | Tosca: Atto III. “Presto, su! Mario!” | — | ||
| 26-1 | La Traviata: Preludio | — | ||
| 26-2 | La Traviata: Atto I. Dell'invito trascorsa è già l'ora? | — | ||
| 26-3 | La Traviata: Atto I. Libiamo, libiamo ne'lieti calici (Brindisi) | — | ||
| 26-4 | La Traviata: Atto I. Che è ciò? | — | ||
| 26-5 | La Traviata: Atto I. Oh! Qual palor! | — | ||
| 26-6 | La Traviata: Atto I. Un dì felice | — | ||
| 26-7 | La Traviata: Atto I. Si ridesta in ciel l'aurora | — | ||
| 26-8 | La Traviata: Atto I. È strano! È strano! ... Ah, fors'è lui | — | ||
| 26-9 | La Traviata: Atto I. Follie! ... Sempre libera | — | ||
| 26-10 | La Traviata: Atto II. Lunge da lei | — | ||
| 26-11 | La Traviata: Atto II. De'miei bollenti spiriti | — | ||
| 26-12 | La Traviata: Atto II. Annina, donde vieni? | — | ||
| 26-13 | La Traviata: Atto II. O mio rimorso! | — | ||
| 26-14 | La Traviata: Atto II. Alfredo? | — | ||
| 26-15 | La Traviata: Atto II. Pura siccome un angelo | — | ||
| 26-16 | La Traviata: Atto II. Dite alla giovine | — | ||
| 26-17 | La Traviata: Atto II. Dammi tu forza, o cielo! | — | ||
| 26-18 | La Traviata: Atto II. Ah, vive sol quel core | — | ||
| 26-19 | La Traviata: Atto II. Di Provensa il mar | — | ||
| 27-1 | La Traviata: Atto II. Avrem lieta di maschere la notte | — | ||
| 27-2 | La Traviata: Atto II. Noi siamo zingarelle | — | ||
| 27-3 | La Traviata: Atto II. Di Madride noi siam matadori | — | ||
| 27-4 | La Traviata: Atto II. Alfredo! Voi! | — | ||
| 27-5 | La Traviata: Atto II. Invitato a qui seguirmi | — | ||
| 27-6 | La Traviata: Atto II. Ogni suo aver | — | ||
| 27-7 | La Traviata: Atto II. Di sprezzo degno | — | ||
| 27-8 | La Traviata: Atto III. Preludio | — | ||
| 27-9 | La Traviata: Atto III. Annina? - Commandate? | — | ||
| 27-10 | La Traviata: Atto III. Teneste la promessa | — | ||
| 27-11 | La Traviata: Atto III. Addio, del passato bei sogni | — | ||
| 27-12 | La Traviata: Atto III. Largo al quadrupede sir della festa | — | ||
| 27-13 | La Traviata: Atto III. Signora... - Che t'accadde? | — | ||
| 27-14 | La Traviata: Atto III. Parigi, o cara, noi lasceremo | — | ||
| 27-15 | La Traviata: Atto III. Ah! Gran dio! Morir sì giovine | — | ||
| 27-16 | La Traviata: Act III. Ah! Violetta! - Voi, Signor | — | ||
| 27-17 | La Traviata: Act III. Se una pudica vergine | — |
