UPC · Release
D'Oyly Carte Opera Company
Last verified:
The UPC for “Gilbert and Sullivan Edition” by D'Oyly Carte Opera Company is 028947827481. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2011-01-01. Label: Decca. This release contains 456 tracks, each with its own ISRC. Tracks include GBF076140101, GBF076140102, GBF076140103.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | The Gondoliers: Overture | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2 | The Gondoliers: Act I. “List and learn” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 3 | The Gondoliers: Act I. “Good morrow, pretty maids” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 4 | The Gondoliers: Act I. “For the merriest fellows are we” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 5 | The Gondoliers: Act I. “See, see at last they come to make their choice” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 6 | The Gondoliers: Act I. “Buon’ giorno, signorine!” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 7 | The Gondoliers: Act I. “We’re called gondolieri, but that’s a vagary” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 8 | The Gondoliers: Act I. “And now to choose our brides!” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 9 | The Gondoliers: Act I. “Are you peeping?” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 10 | The Gondoliers: Act I. “Thank you gallant gondolieri” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 11 | The Gondoliers: Act I. “From the sunny Spanish shore” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 12 | The Gondoliers: Act I. “In enterprise of martial kind” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 13 | The Gondoliers: Act I. “O rapture, when alone together” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 14 | The Gondoliers: Act I. “There was a time, a time for ever gone” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 15 | The Gondoliers: Act I. “I stole the Prince” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 16 | The Gondoliers: Act I. “But, bless my heart, consider my position!” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 17 | The Gondoliers: Act I. “Try we life-long we can never” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 18 | The Gondoliers: Act I. “Bride-groom and bride!” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 19 | The Gondoliers: Act I. “When a merry maiden marries” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 20 | The Gondoliers: Act I. “Kind sir, you cannot have the heart, our lives to part” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 21 | The Gondoliers: Act I. “Do not give way to this uncalled-for grief” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 22 | The Gondoliers: Act I. “Then one of us will be a queen” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-1 | The Gondoliers: Act I. “Now pray, what is the cause of this remarkable hilarity” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-2 | The Gondoliers: Act I. “Replying, we sing as one individual” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-3 | The Gondoliers: Act I. “For ev’ryone who feels inclined” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-4 | The Gondoliers: Act I. “Come let’s away – our island crown awaits me” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-5 | The Gondoliers: Act I. “Now, Marco dear, my wishes hear” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-6 | The Gondoliers: Act I. “Then away they go to an island fair” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-7 | The Gondoliers: Act II. “Of happiness the very pith” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-8 | The Gondoliers: Act II. “Rising early in the morning” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-9 | The Gondoliers: Act II. “Take a pair of sparkling eyes” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-10 | The Gondoliers: Act II. “Here we are, at the risk of our lives” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-11 | The Gondoliers: Act II. “After sailing to this land” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-12 | The Gondoliers: Act II. “Dance a cachucha, fandango, bolero” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-13 | The Gondoliers: Act II. “There lived a king, as I’ve been told” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-14 | The Gondoliers: Act II. “In a contemplative fashion and a tranquil frame of mind” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-15 | The Gondoliers: Act II. “With ducal pomp and ducal pride” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-16 | The Gondoliers: Act II. “This polite attention” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-17 | The Gondoliers: Act II. “On the day when I was wedded” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-18 | The Gondoliers: Act II. “To help unhappy commonors” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-19 | The Gondoliers: Act II. “Small titles and orders for mayors and recorders” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-20 | The Gondoliers: Act II. “I am a courtier grave and serious” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-21 | The Gondoliers: Act II. “Here is a case unprecedented!” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-22 | The Gondoliers: Act II. “Now let the loyal lieges gather round” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-23 | The Gondoliers: Act II. “Speak woman speak, we’re all attention!” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-24 | The Gondoliers: Act II. “The royal prince was by the king entrusted” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-25 | The Gondoliers: Act II. “Luiz! Casilda!” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-26 | The Gondoliers: Act II. “One more, gondolieri” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 3-1 | Overture | — | ||
| 3-2 | Won't it be a pretty wedding? | — | ||
| 3-3 | Pretty Lisa, fair and tasty | — | ||
| 3-4 | By the mystic regulation | — | ||
| 3-5 | Were I a king in very truth | — | ||
| 3-6 | How would I play this part | — | ||
| 3-7 | My goodness me! What shall I do? | — | ||
| 3-8 | Ten minutes since I met a chap | — | ||
| 3-9 | About a century since | — | ||
| 3-10 | Strange the views some people hold | — | ||
| 3-11 | Now take a card, and gaily sing | — | ||
| 3-12 | The good Grand Duke of Pfennig Halbpfennig | — | ||
| 3-13 | A pattern to professors of monarchical autonomy | — | ||
| 3-14 | As o'er out penny roll we sing | — | ||
| 3-15 | When you find you're a broken-down critter | — | ||
| 3-16 | Come hither, all you people | — | ||
| 4-1 | As before you we defile | — | ||
| 4-2 | Your loyalty our... At the outset I may mention | — | ||
| 4-3 | Yes, Ludwig and his Julia are mated! | — | ||
| 4-4 | Take care of him - he's much too good to live! | — | ||
| 4-5 | Now Julia, come, consider it from this dainty point of | — | ||
| 4-6 | Your Highness, there's a party at the door | — | ||
| 4-7 | Now away to the wedding we go | — | ||
| 4-8 | So ends my dream...Broken ev'ry promise plighted | — | ||
| 4-9 | If the light of love's lingering ember | — | ||
| 4-10 | Come, bumpers-aye, ever-so-many | — | ||
| 4-11 | Why, who is this approaching? | — | ||
| 4-12 | The Prince of Monte-Carlo | — | ||
| 4-13 | His Highness we know not | — | ||
| 4-14 | We're rigged out in magnificent array | — | ||
| 4-15 | Dance | — | ||
| 4-16 | Take my advice - when deep in debt | — | ||
| 4-17 | Hurrah! Now away to the wedding | — | ||
| 4-18 | Well, you're a pretty kind of fellow | — | ||
| 4-19 | Happy couples, lightly treading | — | ||
| 4-20 | Overture di Ballo | — | ||
| 4-21 | Allegro moderato alla Marcia | — | ||
| 4-22 | Allegretto grazioso | — | ||
| 5-1 | Overture | — | ||
| 5-2 | We shall sail the ocean blue | — | ||
| 5-3 | Hail! Men o'war's men..I'm called little buttercup | — | ||
| 5-4 | The nightingale sighed | — | ||
| 5-5 | A maiden fair to see | — | ||
| 5-6 | My gallant crew...I am the Captain of the Pinafore | — | ||
| 5-7 | Sir, you are sad | — | ||
| 5-8 | Sorry her lot who loves too well | — | ||
| 5-9 | Over the bright blue sea | — | ||
| 5-10 | Sir Joseph's barge is seen | — | ||
| 5-11 | Now give three cheers...I am the monarch of the sea | — | ||
| 5-12 | When I was a lad | — | ||
| 5-13 | A British tar | — | ||
| 5-14 | Refrain, audacious tar | — | ||
| 5-15 | Can I survive this overbearing | — | ||
| 6-1 | Entracte | — | ||
| 6-2 | Fair moon to thee I sing | — | ||
| 6-3 | Things are seldom what they seem | — | ||
| 6-4 | The hours creep on apace | — | ||
| 6-5 | Never mind the why and wherefore | — | ||
| 6-6 | Kind Captain, I've important information | — | ||
| 6-7 | Carefully on tip-toe...He is an Englishman | — | ||
| 6-8 | Farewell, my own | — | ||
| 6-9 | A many years ago | — | ||
| 6-10 | A joy! Oh rapture unforseen | — | ||
| 7-1 | Overture | — | ||
| 7-2 | Tripping hither, tripping thither | — | ||
| 7-3 | Iolanthe! From thy dark exile | — | ||
| 7-4 | Good morrow, good mother, Good mother, good morrow | — | ||
| 7-5 | Fare thee well, attractive stranger | — | ||
| 7-6 | Good morrow, good lover! Good lover, good morrow! | — | ||
| 7-7 | None shall part us from each other | — | ||
| 7-8 | Loudly let the trumpet bray | — | ||
| 7-9 | Entrance of the Lord Chancellor tha's | — | ||
| 7-10 | The law is the embodiment | — | ||
| 7-11 | My well-beloved Lord | — | ||
| 7-12 | Nay, tempt me not | — | ||
| 7-13 | Spurn not the nobly born | — | ||
| 7-14 | Lords, it may not be | — | ||
| 7-15 | Said I to myself, said I | — | ||
| 7-16 | When darkly looms the day | — | ||
| 8-1 | When all night long a chap remains | — | ||
| 8-2 | Strephon's a member of Parliament | — | ||
| 8-3 | When Britain really ruled the waves | — | ||
| 8-4 | In vain to us you plead | — | ||
| 8-5 | Oh, foolish fay | — | ||
| 8-6 | Though p'r'aps I may incur your blame | — | ||
| 8-7 | Love unrequited | — | ||
| 8-8 | If you go in you're sure to win | — | ||
| 8-9 | If you're weak enough to tarry | — | ||
| 8-10 | My Lord, a suppliant at your feet | — | ||
| 8-11 | It may not be | — | ||
| 8-12 | Soon as we may, off and away | — | ||
| 9-1 | The Mikado: Overture | Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | T-901.158.945-0 | |
| 9-2 | The Mikado: Act I. “If you want to know who we are” | Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-3 | The Mikado: Act I. “Gentlemen, I pray you tell me” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-4 | The Mikado: A Wand'ring Minstrel I | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | T-310.692.078-5 | |
| 9-5 | The Mikado: Act I. “Our great Mikado, virtuous man” | Michael Rayner, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-6 | The Mikado: Act I. “Young man, despair” | Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-7 | The Mikado: Act I. “And have I journey’d for a month” | Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-8 | The Mikado: Act I. “Behold the Lord High Executioner!” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-9 | The Mikado: Act I. “As someday it may happen that a victim must be found” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-10 | The Mikado: Act I. “Comes a train of little ladies” | Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-11 | The Mikado: Act I. “Three little maids from school are we” | Valerie Masterson, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | T-909.735.202-8 | |
| 9-12 | The Mikado: So Please You, Sir, We Much Regret | D’Oyly Carte Opera Chorus, Peggy Ann Jones, Valerie Masterson, Kenneth Sandford, Pauline Wales, Royal Philharmonic Orchestra, Royston Nash | — | |
| 9-13 | The Mikado: Act I. “Were you not to Ko-Ko plighted” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-14 | The Mikado: Act I. “I am so proud, If I allowed” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-15 | The Mikado: Act I. “With aspect stern and gloomy stride” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-16 | The Mikado: Act I. “The threatn’d cloud has pass’d away” | Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-17 | The Mikado: Act I. “Your revels cease! Assist me, all of you!” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-18 | The Mikado: Act I. “Oh fool, that flee-est My hallow’d joys!” | Peggy Ann Jones, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-19 | The Mikado: Act I. “For he’s going to marry Yum-Yum” | Peggy Ann Jones, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-20 | The Mikado: Act I. “The hour of gladness is dead and gone” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-21 | The Mikado: Act I. “Ye torrents roar! Ye tempests howl!” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-1 | The Mikado: Act II. “Braid the raven hair, Weave the supple tresses” | Peggy Ann Jones, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-2 | The Mikado: Act II. “The sun whose rays are all ablaze” | Valerie Masterson, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | T-011.700.255-7 | |
| 10-3 | The Mikado: Act II. “Brightly dawns our wedding day” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-4 | Here's a How-De-Do! | Valerie Masterson, John Reed, Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-5 | The Mikado: Act II. “Miya sama, miya sama, o n'mma no maye ni” | Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-6 | The Mikado: Act II. “From ev’ry kind of man Obedience I expect” | John Ayldon, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-7 | The Mikado: Act II. “A more humane Mikado never did in Japan exist” | John Ayldon, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-8 | The Criminal Cried as He Dropp'd Him Down | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-9 | The Mikado: Act II. “See how the fates their gifts allot” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-10 | The Mikado: The Flowers That Bloom in the Spring, Tra La | D’Oyly Carte Opera Chorus, Peggy Ann Jones, Valerie Masterson, John Reed, Kenneth Sandford, Colin Wright, Royal Philharmonic Orchestra, Royston Nash | T-912.860.535-6 | |
| 10-11 | The Mikado: Act II. “Alone and yet alive” | Lyndsie Holland, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-12 | Hearts do not break! They sting and ache | — | ||
| 10-13 | The Mikado: On a Tree By a River a Little Tom Tit | John Reed, Royal Philharmonic Orchestra, Royston Nash | — | |
| 10-14 | The Mikado: Act II. “There is beauty in the bellow of the blast” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-15 | The Mikado: Act II. Fanfare | Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-16 | The Mikado: Act II. “For he’s gone and married Yum-Yum” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 11-1 | Overture | — | ||
| 11-2 | Twenty love-sick maidens we | — | ||
| 11-3 | Still brooding on their mad infatuation! | — | ||
| 11-4 | I cannot tell what this love may be | — | ||
| 11-5 | Twenty love-sick maidens we | — | ||
| 11-6 | The soldiers of our Queen | — | ||
| 11-7 | If you want a receipt for that popular mystery | — | ||
| 11-8 | In a doleful train two and two we walk all day | — | ||
| 11-9 | Twenty love-sick maidens we | — | ||
| 11-10 | When I first put this uniform on | — | ||
| 11-11 | Am I alone and unobserved? | — | ||
| 11-12 | If you're anxious for to shine in the high aesthetic.. | — | ||
| 11-13 | Long years ago - fourteen, maybe | — | ||
| 11-14 | Prithee, pretty maiden - Prithee | — | ||
| 11-15 | Though to marry you | — | ||
| 11-16 | Let the merry cymbals sound | — | ||
| 11-17 | Now tell us, we pray you | — | ||
| 11-18 | Heart broken at my Patience's barbarity | — | ||
| 11-19 | Stay, we implore you, before our hopes are blighted | — | ||
| 11-20 | Your maiden hearts, ah, do steel | — | ||
| 12-1 | Come, walk up, and purchase with avidity | — | ||
| 12-2 | We've been thrown over, we're aware | — | ||
| 12-3 | And are you going a ticket to buy? | — | ||
| 12-4 | Hold! Stay your hand! | — | ||
| 12-5 | True love must single hearted be | — | ||
| 12-6 | I hear the soft note of the echoing voice | — | ||
| 12-7 | But who is this, whose god-like grace... | — | ||
| 12-8 | List Reginald, whilst I confess a love that's all... | — | ||
| 12-9 | On such eyes as maidens cherish | — | ||
| 12-10 | Sad is a woman's lot who, year by year | — | ||
| 12-11 | Silvered is the raven hair | — | ||
| 12-12 | Turn, oh turn in this direction | — | ||
| 12-13 | A magnet hung in a hardware shop | — | ||
| 12-14 | Love is a plaintive song | — | ||
| 12-15 | So go to him and say to him, with compliment ironical | — | ||
| 12-16 | It's clear that the mediaeval art alone retains... | — | ||
| 12-17 | If Saphir I choose to marry, I shall be fixed... | — | ||
| 12-18 | When I go out of the door | — | ||
| 12-19 | I'm a Waterloo House young man | — | ||
| 12-20 | After much debate internal, I on Lady Jane decide | — | ||
| 13-1 | Overture | — | ||
| 13-2 | Pour, oh pour the pirate sherry | — | ||
| 13-3 | When Fred'ric was a little lad | — | ||
| 13-4 | Oh, better far to live and die | — | ||
| 13-5 | Oh, false one, you have deceived me | — | ||
| 13-6 | Climbing over rocky mountain | — | ||
| 13-7 | Stop! ladies, pray! A man! | — | ||
| 13-8 | Oh, is there not one maiden breast | — | ||
| 13-9 | Oh, sisters, deaf to pity's name, For shame! | — | ||
| 13-10 | Poor wand'ring one! | — | ||
| 13-11 | What ought we to do, Gentle sisters say? | — | ||
| 13-12 | How beautifully blue the sky | — | ||
| 13-13 | Stay, we must not lose our senses | — | ||
| 13-14 | Hold, Monsters! | — | ||
| 13-15 | I am the very model of a modern Major-General | — | ||
| 14-1 | Oh, men of dark and dismal fate | — | ||
| 14-2 | Hail Poetry, thou heav'n born maid! | — | ||
| 14-3 | You may go, for you're at liberty | — | ||
| 14-4 | Pray observe the magnanimity | — | ||
| 14-5 | Oh, dry the glist'ning tear | — | ||
| 14-6 | Then Frederic | — | ||
| 14-7 | When the foeman bares his steel | — | ||
| 14-8 | Now for the pirates lair! | — | ||
| 14-9 | When you had left our pirate fold | — | ||
| 14-10 | Away, away, my heart's on fire | — | ||
| 14-11 | All is prepared | — | ||
| 14-12 | Stay, Fred'ric stay! | — | ||
| 14-13 | Ah, leave me not to pine alone and desolate | — | ||
| 14-14 | Oh, here is love and here is truth | — | ||
| 14-15 | No, I'll be brave | — | ||
| 14-16 | Sergeant approach (Dialogue) | — | ||
| 14-17 | When a felon's not engaged in his employment | — | ||
| 14-18 | A rollicking band of pirates we | — | ||
| 14-19 | With cat-like tread | — | ||
| 14-20 | Hush! Hush! Not a word | — | ||
| 14-21 | Sighing softly to the river | — | ||
| 14-22 | Now what is this, and what is that | — | ||
| 14-23 | We triumph now | — | ||
| 14-24 | Away with them, and place them at the bar | — | ||
| 14-25 | Poor wand'ring ones, though ye have surely straye | — | ||
| 15-1 | Princess Ida: Overture | The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-2 | Princess Ida: Act I. “Search throughout the panorama” (Chorus, Florian) | D’Oyly Carte Opera Chorus, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-3 | Princess Ida: Act I. “Now hearken to my strict command” (Hildebrand, Chorus) | D’Oyly Carte Opera Chorus, Kenneth Sandford, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-4 | Princess Ida: Act I. “Today we meet… Ida was a twelve-month old” (Hilarion) | Philip Potter, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-5 | Princess Ida: Act I. “From the distant panorama… we are warriors three” (Chorus, Arac, Guron, Scynthius) | Donald Adams, George Cook, D’Oyly Carte Opera Chorus, Anthony Raffell, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | T-318.676.528-2 | |
| 15-6 | Princess Ida: Act I. “If you give me your attention” (Gama, Chorus) | D’Oyly Carte Opera Chorus, John Reed, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-7 | Princess Ida: Act I. Finale “P’raps if you address the lady most politely” | D’Oyly Carte Opera Chorus, David Palmer, Philip Potter, John Reed, Kenneth Sandford, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-8 | Princess Ida: Act II. “Towards the empyrean heights” (Chorus, Lady Psyche, Melissa, Sacharissa) | D’Oyly Carte Opera Chorus, Ann Hood, Valerie Masterson, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-9 | Princess Ida: Act II. “Mighty maiden with a mission” (Chorus) | D’Oyly Carte Opera Chorus, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-10 | Princess Ida: Act II. “Minerva… Oh goddess wise” (Princess, Chorus) | D’Oyly Carte Opera Chorus, Elizabeth Harwood, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-11 | Princess Ida: Act II. “Gently, gently, evidently” (Cyril, Hilarion, Florian) | David Palmer, Philip Potter, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-12 | Princess Ida: Act II. “I am a maiden, cold and stately” (Cyril, Hilarion, Florian) | David Palmer, Philip Potter, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-13 | Princess Ida: Act II. “The world is but a broken toy” (Princess, Cyril, Hilarion, Florian) | Elizabeth Harwood, David Palmer, Philip Potter, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-14 | Princess Ida: Act II. “A lady fair, of lineage high” (Lady Psyche, Cyril, Hilarion, Florian) | Ann Hood, David Palmer, Philip Potter, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-15 | Princess Ida: Act II. “The woman of the wisest wit” (Lady Psyche, Melissa, Cyril, Hilarion, Florian) | Ann Hood, Valerie Masterson, David Palmer, Philip Potter, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-16 | Princess Ida: Act II. “Now wouldn’t you like to rule the roost” (Melissa, Lady Blanche) | Valerie Masterson, Christene Palmer, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-17 | Princess Ida: Act II. “Merrily ring the luncheon bell” (Chorus, Lady Blanche, Cyril) | D’Oyly Carte Opera Chorus, Christene Palmer, David Palmer, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-18 | Princess Ida: Act II. “Would you know the kind of maid” (Cyril) | David Palmer, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-19 | Princess Ida: Act II. Finale “Oh, joy! Our chief is sav’d” | Donald Adams, George Cook, D’Oyly Carte Opera Chorus, Elizabeth Harwood, Ann Hood, Valerie Masterson, Christene Palmer, David Palmer, Philip Potter, Anthony Raffell, Kenneth Sandford, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-20 | Princess Ida: Act II. Finale “We may remark, tho’ nothing can dismay us” | Donald Adams, George Cook, D’Oyly Carte Opera Chorus, Elizabeth Harwood, Adam Hood, Valerie Masterson, Christene Palmer, David Palmer, Philip Potter, Anthony Raffell, Kenneth Sandford, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-1 | Princess Ida: Act III. “Death to the invader” (Chorus, Melissa) | D’Oyly Carte Opera Chorus, Valerie Masterson, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-2 | Princess Ida: Act III. “I built upon a rock” (Princess) | Elizabeth Harwood, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-3 | Princess Ida: Act III. “Whene’er I spoke sarcastic joke” (Gama, Chorus) | D’Oyly Carte Opera Chorus, John Reed, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-4 | Princess Ida: Act III. “When anger spreads his wing” (Chorus) | D’Oyly Carte Opera Chorus, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-5 | Princess Ida: Act III. “This helmet I support” (Arac, Guron, Synthius, Chorus) | Donald Adams, George Cook, D’Oyly Carte Opera Chorus, Anthony Raffell, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-6 | Princess Ida: Act III. “This is our duty plain” (Chorus) | D’Oyly Carte Opera Chorus, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-7 | Princess Ida: Act III. Finale “With joy abiding” | Donald Adams, George Cook, Elizabeth Harwood, Ann Hood, Valerie Masterson, Christene Palmer, David Palmer, Philip Potter, Anthony Raffell, John Reed, Kenneth Sandford, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-8 | Pineapple Poll: Scene I. Opening Dance | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-9 | Pineapple Poll: Scene I. Poll’s Solo and Pas de deux | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-10 | Pineapple Poll: Scene I. Belaye’s Solo | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-11 | Pineapple Poll: Scene I. Pas de Trois | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-12 | Pineapple Poll: Scene I. Finale | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-13 | Pineapple Poll: Scene II. Poll’s Solo, Jasper’s Solo | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-14 | Pineapple Poll: Scene III. Belaye’s Solo and Sailors’ Drill | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-15 | Pineapple Poll: Scene III. Poll’s Solo | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-16 | Pineapple Poll: Scene III. Entry of Belaye with Blanche as Bride | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-17 | Pineapple Poll: Scene III. Reconciliation | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-18 | Pineapple Poll: Scene III. Grande Finale | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 17-1 | Overture | — | ||
| 17-2 | Fair is rose as bright as May day | — | ||
| 17-3 | Sir Rupert Murgatroyd, his leisure and his riches | — | ||
| 17-4 | If somebody there chanced to be | — | ||
| 17-5 | I know a youth who loves a little maid | — | ||
| 17-6 | From the briny sea...I shipp'd, d'ye see | — | ||
| 17-7 | Hornpipe | — | ||
| 17-8 | My boy, you may take it from me | — | ||
| 17-9 | The battle's roar is over | — | ||
| 17-10 | In sailing o'er life's ocean wide | — | ||
| 17-11 | Cheerily carols the lark...To a garden full ... fposies | — | ||
| 17-12 | Welcome, gentry | — | ||
| 17-13 | Oh why am I moody and sad? | — | ||
| 17-14 | You understand? I think I do | — | ||
| 17-15 | Hail the bride of seventeen summers | — | ||
| 17-16 | Hold, bride and bridegroom | — | ||
| 18-1 | Overture, Original version | — | ||
| 18-2 | I once was as meek as a newborn lamb | — | ||
| 18-3 | Happily coupled are we | — | ||
| 18-4 | In bygone days I had thy love | — | ||
| 18-5 | Painted emblems of a race | — | ||
| 18-6 | When the night wind howls | — | ||
| 18-7 | He yields! He yields! | — | ||
| 18-8 | I once was a very abandon'd person | — | ||
| 18-9 | My eyes are fully open to my awful situation | — | ||
| 18-10 | There grew a little flower | — | ||
| 18-11 | Oh, happy the lily when kiss'd by the bee | — | ||
| 18-12 | Overture | — | ||
| 18-13 | We sounded the trumpet | — | ||
| 18-14 | Stay, Bouncer, stay! | — | ||
| 18-15 | Hush'd is the bacon on the grid | — | ||
| 18-16 | My master is punctual always in business | — | ||
| 18-17 | Who are you, sir? | — | ||
| 18-18 | The buttercup dwells on the lowly mead | — | ||
| 18-19 | Not long ago...Finale | — | ||
| 19-1 | Overture | — | ||
| 19-2 | Ring forth, ye bells | — | ||
| 19-3 | Constance, my daughter | — | ||
| 19-4 | When he is here, I sigh with pleasure | — | ||
| 19-5 | The air is charged with amatory numbers | — | ||
| 19-6 | Time was, when love and I were well acquainted | — | ||
| 19-7 | Sir Marmaduke...Minuet | — | ||
| 19-8 | With heart and voice | — | ||
| 19-9 | My kindly friends...Oh, happy young heart | — | ||
| 19-10 | My child, I join in these congratulations | — | ||
| 19-11 | With heart and with voice | — | ||
| 19-12 | Welcome joy! adieu to sadness! | — | ||
| 19-13 | All is prepar'd for sealing and for sighing | — | ||
| 19-14 | Love feeds on many kinds of food | — | ||
| 19-15 | My name is John Wellington Wells | — | ||
| 19-16 | Sprites of earth and air | — | ||
| 19-17 | Now to the banquet we press | — | ||
| 20-1 | 'Tis twelve, I think | — | ||
| 20-2 | Dear friends, take pity on my lot | — | ||
| 20-3 | Thou hast the pow'r....It is not love | — | ||
| 20-4 | I rejoice that it's decided | — | ||
| 20-5 | Oh, I have wrought much evil with my spells... | — | ||
| 20-6 | Alexis! Doubt me not...The fearful deed is done | — | ||
| 20-7 | Oh, my voice is sad and low | — | ||
| 20-8 | Oh, joyous boon | — | ||
| 20-9 | Prepare for sad surprises | — | ||
| 20-10 | Or he or I must die | — | ||
| 20-11 | Introduction | — | ||
| 20-12 | The British Public here - you see | — | ||
| 20-13 | I loved her fondly | — | ||
| 20-14 | And now let's go back to where we were...Ah maiden fair | — | ||
| 20-15 | Where is he? | — | ||
| 20-16 | Once more the face I loved so well | — | ||
| 20-17 | Help! Ah Help! | — | ||
| 20-18 | Ho-guards! Minions! | — | ||
| 20-19 | Ladies and Gentlemen! | — | ||
| 20-20 | We gather from what you have said | — | ||
| 20-21 | Where is my daughter? | — | ||
| 20-22 | I'm a simple little child | — | ||
| 20-23 | My Father! | — | ||
| 20-24 | Finale: What do I see in this disguise | — | ||
| 21-1 | Utopia Limited: Imperial March | Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-2 | Utopia Limited: Act I. Introduction | Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-3 | Utopia Limited: Act I. “In lazy languor” (Phylla, Chorus) | D’Oyly Carte Opera Chorus, Rosalind Griffiths, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-4 | Utopia Limited: Act I. “O make way for the wise men!” (Chorus) | D’Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-5 | Utopia Limited: Act I. “In every mental lore” (Scaphio, Phantis, Chorus) | John Ayldon, D’Oyly Carte Opera Chorus, John Reed, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-6 | Utopia Limited: Act I. “Let all your doubts take wing” (Scaphio, Phantis) | John Ayldon, John Reed, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-7 | Utopia Limited: Act I. “Quaff the nectar” (Chorus) | D’Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-8 | Utopia Limited: Act I. “A king of autocratic power we” (King, Chorus) | D’Oyly Carte Opera Chorus, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-9 | Utopia Limited: Act I. “Altho’ of native maids the cream” (Nekaya, Kalyba) | Julia Goss, Judi Merri, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-10 | Utopia Limited: Act I. “Bold-fac’d ranger” (Lady Sophy, Chorus) | D’Oyly Carte Opera Chorus, Lyndsie Holland, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-11 | Utopia Limited: Act I. “First you’re born” (King, Scaphio, Phantis) | John Ayldon, John Reed, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-12 | Utopia Limited: Act I. “Subjected to your heavenly gaze” (Lady Sophy, King) | Lyndsie Holland, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-13 | Utopia Limited: Act I. “O maiden rich in Girton lore” (Chorus, Zara, Captain FitzBattleaxe) | D’Oyly Carte Opera Chorus, Pamela Field, Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-14 | Utopia Limited: Act I. “Ah! gallant soldier, brave and true” (Chorus, Zara, Captain FitzBattleaxe) | D’Oyly Carte Opera Chorus, Pamela Field, Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-15 | Utopia Limited: Act I. “It’s understood, I think” (Zara, Captain FitzBattleaxe, Scaphio, Phantis) | John Ayldon, Pamela Field, John Reed, Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-16 | Utopia Limited: Act I. “O admirable art!” (Zara, Captain FitzBattleaxe) | Pamela Field, Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-17 | Utopia Limited: Act I. Finale “Altho’ your royal summons to appear” | Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-18 | Utopia Limited: Act I. Finale “A company promoter this, with special education” | Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-1 | Utopia Limited: Act II. “Oh, Zara… A tenor, all singers above” (Captain FitzBattleaxe) | Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-2 | Utopia Limited: Act II. “Words of love too loudly spoken” (Zara, Captain FitzBattleaxe) | Pamela Field, Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-3 | Utopia Limited: Act II. “Society has quite forsaken all” (King, Chorus of Flowers of Progress) | D’Oyly Carte Opera Chorus, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-4 | Utopia Limited: Act II. Entrance of Court | Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-5 | Utopia Limited: Act II. Drawing-Room Music | Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-6 | Utopia Limited: Act II. “This ceremonial our wish displays… Eagle high on cloudland soaring” (King, Chorus) | D’Oyly Carte Opera Chorus, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-7 | Utopia Limited: Act II. “With fury deep we burn” (Scaphio, Phantis) | John Ayldon, John Reed, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-8 | Utopia Limited: Act II. “If you think that when banded in unity” (King, Scaphio, Phantis) | John Ayldon, John Reed, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-9 | Utopia Limited: Act II. “With wily brain upon the spot” (Tarara, Phantis, Scaphio) | John Ayldon, Jon Ellison, John Reed, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-10 | Utopia Limited: Act II. “A wonderful joy our eyes to bless” (Mr. Goldbury) | Michael Rayner, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-11 | Utopia Limited: Act II. “Then I may sing and play?” (Nekaya, Kalyba, Lord Dramaleigh, mr. Goldbury) | James Conroy-Ward, Julia Goss, Judi Merri, Michael Rayner, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-12 | Utopia Limited: Act II. “Oh, would some demon power… When but a maid of fifteen year” (Lady Sophy) | Lyndsie Holland, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-13 | Utopia Limited: Act II. “Ah, Lady Sophy” (King, Lady Sophy) | Lyndsie Holland, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-14 | Utopia Limited: Act II. “O rapture unrestrained” (King, Lady Sophy) | Lyndsie Holland, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-15 | Utopia Limited: Act II. Tarantella “Upon our sea-girt land” (Chorus) | D’Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-16 | Utopia Limited: Act II. Finale “There’s a little group of isles beyond the wave” | Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-17 | Overture to Macbeth | Sir Arthur Sullivan | — | |
| 22-18 | Victoria and Merrie England | Sir Arthur Sullivan | — | |
| 22-19 | Overture to Marmion | Sir Arthur Sullivan | — | |
| 23-1 | Overture | — | ||
| 23-2 | "When maiden loves" | — | ||
| 23-3 | "Tower warders under orders" | — | ||
| 23-4 | When our gallant Norman foes | — | ||
| 23-5 | "Alas! I waver to and fro" | — | ||
| 23-6 | "Is life a boon?" | — | ||
| 23-7 | "Here's a man of jollity" | — | ||
| 23-8 | I have a song to sing, oh! | — | ||
| 23-9 | "How say you, maiden" | — | ||
| 23-10 | "I've jibe and joke" | — | ||
| 23-11 | "'Tis done! I am a bride!" | — | ||
| 23-12 | "Were I thy bride" | — | ||
| 23-13 | "Oh, Sergeant Meryll" - "Ye Tower Warders", "Leonard Meryll!", "Forbear, my friends", "Didst thou not", "Leonard!", "As escort for the prisoner" | — | ||
| 24-1 | "Night has spread her pall once more" | — | ||
| 24-2 | "Oh! a private buffoon" | — | ||
| 24-3 | "Hereupon we're both agreed" | — | ||
| 24-4 | "Free from his fetters grim" | — | ||
| 24-5 | "Strange adventure!" | — | ||
| 24-6 | "Hark! What was that, sir?"-"Who fired that shot?"-"Like a ghost his vigil keeping..."-"The river must be dragged" | — | ||
| 24-7 | "A man who would woo a fair maid" | — | ||
| 24-8 | "When a wooer goes a-wooing" | — | ||
| 24-9 | "Rapture, rapture!" | — | ||
| 24-10 | "Comes the pretty young bride"- "'Tis said to you"-"Hold, pretty one!" | — | ||
| 24-11 | Hark the Hour of Ten is Sounding | — | ||
| 24-12 | When First my Old, Old Love I Knew | — | ||
| 24-13 | When I good friends was called to the Bar | — | ||
| 24-14 | Where is the Plaintiff? | — | ||
| 24-15 | May it please you my Lud! | — | ||
| 24-16 | Oh, Gentlemen Listen I Pray | — | ||
| 24-17 | A nice dilemma | — | ||
| 24-18 | I Love him | — | ||
| 25-1 | From The Sunny Spanish Shore | — | ||
| 25-2 | There Was A Time, A Time For Ever Gone | — | ||
| 25-3 | To Help Unhappy Commoners | — | ||
| 25-4 | Then One Of Us Will Be A Queen | — | ||
| 25-5 | Love Unrequited (Nightmare Song) | — | ||
| 25-6 | None Shall Part Us From Each Other | — | ||
| 25-7 | If You Go In You're Sure To Win | — | ||
| 25-8 | When I Went To The Bar (Said I To Myself, Said I) | — | ||
| 25-9 | Though P'r'aps I May Incur Your Blame | — | ||
| 25-10 | My Boy, You May Take It From Me | — | ||
| 25-11 | I Know A Youth Who Loves A Little Maid | — | ||
| 25-12 | There Grew A Little Flower | — | ||
| 25-13 | The Battle's Roar Is Over | — | ||
| 25-14 | In Sailing O'er Life's Ocean Wide | — | ||
| 25-15 | Hereupon We're Both Agreed | — | ||
| 25-16 | I've Jibe And Joke | — | ||
| 25-17 | When A Wooer Goes A-Wooing | — | ||
| 25-18 | A Man Who Would Woo A Fair Maid | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Identifier Graph
028947827481 is a Universal Product Code (UPC) assigned to Gilbert and Sullivan Edition by D'Oyly Carte Opera Company. 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 456 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
The UPC for “Gilbert and Sullivan Edition” by D'Oyly Carte Opera Company is 028947827481. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2011-01-01. Label: Decca. This release contains 456 tracks, each with its own ISRC. Tracks include GBF076140101, GBF076140102, GBF076140103.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | The Gondoliers: Overture | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2 | The Gondoliers: Act I. “List and learn” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 3 | The Gondoliers: Act I. “Good morrow, pretty maids” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 4 | The Gondoliers: Act I. “For the merriest fellows are we” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 5 | The Gondoliers: Act I. “See, see at last they come to make their choice” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 6 | The Gondoliers: Act I. “Buon’ giorno, signorine!” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 7 | The Gondoliers: Act I. “We’re called gondolieri, but that’s a vagary” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 8 | The Gondoliers: Act I. “And now to choose our brides!” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 9 | The Gondoliers: Act I. “Are you peeping?” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 10 | The Gondoliers: Act I. “Thank you gallant gondolieri” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 11 | The Gondoliers: Act I. “From the sunny Spanish shore” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 12 | The Gondoliers: Act I. “In enterprise of martial kind” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 13 | The Gondoliers: Act I. “O rapture, when alone together” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 14 | The Gondoliers: Act I. “There was a time, a time for ever gone” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 15 | The Gondoliers: Act I. “I stole the Prince” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 16 | The Gondoliers: Act I. “But, bless my heart, consider my position!” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 17 | The Gondoliers: Act I. “Try we life-long we can never” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 18 | The Gondoliers: Act I. “Bride-groom and bride!” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 19 | The Gondoliers: Act I. “When a merry maiden marries” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 20 | The Gondoliers: Act I. “Kind sir, you cannot have the heart, our lives to part” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 21 | The Gondoliers: Act I. “Do not give way to this uncalled-for grief” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 22 | The Gondoliers: Act I. “Then one of us will be a queen” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-1 | The Gondoliers: Act I. “Now pray, what is the cause of this remarkable hilarity” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-2 | The Gondoliers: Act I. “Replying, we sing as one individual” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-3 | The Gondoliers: Act I. “For ev’ryone who feels inclined” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-4 | The Gondoliers: Act I. “Come let’s away – our island crown awaits me” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-5 | The Gondoliers: Act I. “Now, Marco dear, my wishes hear” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-6 | The Gondoliers: Act I. “Then away they go to an island fair” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-7 | The Gondoliers: Act II. “Of happiness the very pith” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-8 | The Gondoliers: Act II. “Rising early in the morning” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-9 | The Gondoliers: Act II. “Take a pair of sparkling eyes” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-10 | The Gondoliers: Act II. “Here we are, at the risk of our lives” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-11 | The Gondoliers: Act II. “After sailing to this land” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-12 | The Gondoliers: Act II. “Dance a cachucha, fandango, bolero” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-13 | The Gondoliers: Act II. “There lived a king, as I’ve been told” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-14 | The Gondoliers: Act II. “In a contemplative fashion and a tranquil frame of mind” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-15 | The Gondoliers: Act II. “With ducal pomp and ducal pride” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-16 | The Gondoliers: Act II. “This polite attention” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-17 | The Gondoliers: Act II. “On the day when I was wedded” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-18 | The Gondoliers: Act II. “To help unhappy commonors” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-19 | The Gondoliers: Act II. “Small titles and orders for mayors and recorders” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-20 | The Gondoliers: Act II. “I am a courtier grave and serious” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-21 | The Gondoliers: Act II. “Here is a case unprecedented!” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-22 | The Gondoliers: Act II. “Now let the loyal lieges gather round” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-23 | The Gondoliers: Act II. “Speak woman speak, we’re all attention!” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-24 | The Gondoliers: Act II. “The royal prince was by the king entrusted” | New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-25 | The Gondoliers: Act II. “Luiz! Casilda!” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 2-26 | The Gondoliers: Act II. “One more, gondolieri” | D’Oyly Carte Opera Chorus, New Symphony Orchestra of London, Isidore Godfrey | — | |
| 3-1 | Overture | — | ||
| 3-2 | Won't it be a pretty wedding? | — | ||
| 3-3 | Pretty Lisa, fair and tasty | — | ||
| 3-4 | By the mystic regulation | — | ||
| 3-5 | Were I a king in very truth | — | ||
| 3-6 | How would I play this part | — | ||
| 3-7 | My goodness me! What shall I do? | — | ||
| 3-8 | Ten minutes since I met a chap | — | ||
| 3-9 | About a century since | — | ||
| 3-10 | Strange the views some people hold | — | ||
| 3-11 | Now take a card, and gaily sing | — | ||
| 3-12 | The good Grand Duke of Pfennig Halbpfennig | — | ||
| 3-13 | A pattern to professors of monarchical autonomy | — | ||
| 3-14 | As o'er out penny roll we sing | — | ||
| 3-15 | When you find you're a broken-down critter | — | ||
| 3-16 | Come hither, all you people | — | ||
| 4-1 | As before you we defile | — | ||
| 4-2 | Your loyalty our... At the outset I may mention | — | ||
| 4-3 | Yes, Ludwig and his Julia are mated! | — | ||
| 4-4 | Take care of him - he's much too good to live! | — | ||
| 4-5 | Now Julia, come, consider it from this dainty point of | — | ||
| 4-6 | Your Highness, there's a party at the door | — | ||
| 4-7 | Now away to the wedding we go | — | ||
| 4-8 | So ends my dream...Broken ev'ry promise plighted | — | ||
| 4-9 | If the light of love's lingering ember | — | ||
| 4-10 | Come, bumpers-aye, ever-so-many | — | ||
| 4-11 | Why, who is this approaching? | — | ||
| 4-12 | The Prince of Monte-Carlo | — | ||
| 4-13 | His Highness we know not | — | ||
| 4-14 | We're rigged out in magnificent array | — | ||
| 4-15 | Dance | — | ||
| 4-16 | Take my advice - when deep in debt | — | ||
| 4-17 | Hurrah! Now away to the wedding | — | ||
| 4-18 | Well, you're a pretty kind of fellow | — | ||
| 4-19 | Happy couples, lightly treading | — | ||
| 4-20 | Overture di Ballo | — | ||
| 4-21 | Allegro moderato alla Marcia | — | ||
| 4-22 | Allegretto grazioso | — | ||
| 5-1 | Overture | — | ||
| 5-2 | We shall sail the ocean blue | — | ||
| 5-3 | Hail! Men o'war's men..I'm called little buttercup | — | ||
| 5-4 | The nightingale sighed | — | ||
| 5-5 | A maiden fair to see | — | ||
| 5-6 | My gallant crew...I am the Captain of the Pinafore | — | ||
| 5-7 | Sir, you are sad | — | ||
| 5-8 | Sorry her lot who loves too well | — | ||
| 5-9 | Over the bright blue sea | — | ||
| 5-10 | Sir Joseph's barge is seen | — | ||
| 5-11 | Now give three cheers...I am the monarch of the sea | — | ||
| 5-12 | When I was a lad | — | ||
| 5-13 | A British tar | — | ||
| 5-14 | Refrain, audacious tar | — | ||
| 5-15 | Can I survive this overbearing | — | ||
| 6-1 | Entracte | — | ||
| 6-2 | Fair moon to thee I sing | — | ||
| 6-3 | Things are seldom what they seem | — | ||
| 6-4 | The hours creep on apace | — | ||
| 6-5 | Never mind the why and wherefore | — | ||
| 6-6 | Kind Captain, I've important information | — | ||
| 6-7 | Carefully on tip-toe...He is an Englishman | — | ||
| 6-8 | Farewell, my own | — | ||
| 6-9 | A many years ago | — | ||
| 6-10 | A joy! Oh rapture unforseen | — | ||
| 7-1 | Overture | — | ||
| 7-2 | Tripping hither, tripping thither | — | ||
| 7-3 | Iolanthe! From thy dark exile | — | ||
| 7-4 | Good morrow, good mother, Good mother, good morrow | — | ||
| 7-5 | Fare thee well, attractive stranger | — | ||
| 7-6 | Good morrow, good lover! Good lover, good morrow! | — | ||
| 7-7 | None shall part us from each other | — | ||
| 7-8 | Loudly let the trumpet bray | — | ||
| 7-9 | Entrance of the Lord Chancellor tha's | — | ||
| 7-10 | The law is the embodiment | — | ||
| 7-11 | My well-beloved Lord | — | ||
| 7-12 | Nay, tempt me not | — | ||
| 7-13 | Spurn not the nobly born | — | ||
| 7-14 | Lords, it may not be | — | ||
| 7-15 | Said I to myself, said I | — | ||
| 7-16 | When darkly looms the day | — | ||
| 8-1 | When all night long a chap remains | — | ||
| 8-2 | Strephon's a member of Parliament | — | ||
| 8-3 | When Britain really ruled the waves | — | ||
| 8-4 | In vain to us you plead | — | ||
| 8-5 | Oh, foolish fay | — | ||
| 8-6 | Though p'r'aps I may incur your blame | — | ||
| 8-7 | Love unrequited | — | ||
| 8-8 | If you go in you're sure to win | — | ||
| 8-9 | If you're weak enough to tarry | — | ||
| 8-10 | My Lord, a suppliant at your feet | — | ||
| 8-11 | It may not be | — | ||
| 8-12 | Soon as we may, off and away | — | ||
| 9-1 | The Mikado: Overture | Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | T-901.158.945-0 | |
| 9-2 | The Mikado: Act I. “If you want to know who we are” | Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-3 | The Mikado: Act I. “Gentlemen, I pray you tell me” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-4 | The Mikado: A Wand'ring Minstrel I | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | T-310.692.078-5 | |
| 9-5 | The Mikado: Act I. “Our great Mikado, virtuous man” | Michael Rayner, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-6 | The Mikado: Act I. “Young man, despair” | Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-7 | The Mikado: Act I. “And have I journey’d for a month” | Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-8 | The Mikado: Act I. “Behold the Lord High Executioner!” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-9 | The Mikado: Act I. “As someday it may happen that a victim must be found” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-10 | The Mikado: Act I. “Comes a train of little ladies” | Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-11 | The Mikado: Act I. “Three little maids from school are we” | Valerie Masterson, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | T-909.735.202-8 | |
| 9-12 | The Mikado: So Please You, Sir, We Much Regret | D’Oyly Carte Opera Chorus, Peggy Ann Jones, Valerie Masterson, Kenneth Sandford, Pauline Wales, Royal Philharmonic Orchestra, Royston Nash | — | |
| 9-13 | The Mikado: Act I. “Were you not to Ko-Ko plighted” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-14 | The Mikado: Act I. “I am so proud, If I allowed” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-15 | The Mikado: Act I. “With aspect stern and gloomy stride” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-16 | The Mikado: Act I. “The threatn’d cloud has pass’d away” | Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-17 | The Mikado: Act I. “Your revels cease! Assist me, all of you!” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-18 | The Mikado: Act I. “Oh fool, that flee-est My hallow’d joys!” | Peggy Ann Jones, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-19 | The Mikado: Act I. “For he’s going to marry Yum-Yum” | Peggy Ann Jones, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-20 | The Mikado: Act I. “The hour of gladness is dead and gone” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 9-21 | The Mikado: Act I. “Ye torrents roar! Ye tempests howl!” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-1 | The Mikado: Act II. “Braid the raven hair, Weave the supple tresses” | Peggy Ann Jones, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-2 | The Mikado: Act II. “The sun whose rays are all ablaze” | Valerie Masterson, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | T-011.700.255-7 | |
| 10-3 | The Mikado: Act II. “Brightly dawns our wedding day” | Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-4 | Here's a How-De-Do! | Valerie Masterson, John Reed, Colin Wright, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-5 | The Mikado: Act II. “Miya sama, miya sama, o n'mma no maye ni” | Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-6 | The Mikado: Act II. “From ev’ry kind of man Obedience I expect” | John Ayldon, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-7 | The Mikado: Act II. “A more humane Mikado never did in Japan exist” | John Ayldon, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-8 | The Criminal Cried as He Dropp'd Him Down | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-9 | The Mikado: Act II. “See how the fates their gifts allot” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-10 | The Mikado: The Flowers That Bloom in the Spring, Tra La | D’Oyly Carte Opera Chorus, Peggy Ann Jones, Valerie Masterson, John Reed, Kenneth Sandford, Colin Wright, Royal Philharmonic Orchestra, Royston Nash | T-912.860.535-6 | |
| 10-11 | The Mikado: Act II. “Alone and yet alive” | Lyndsie Holland, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-12 | Hearts do not break! They sting and ache | — | ||
| 10-13 | The Mikado: On a Tree By a River a Little Tom Tit | John Reed, Royal Philharmonic Orchestra, Royston Nash | — | |
| 10-14 | The Mikado: Act II. “There is beauty in the bellow of the blast” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-15 | The Mikado: Act II. Fanfare | Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 10-16 | The Mikado: Act II. “For he’s gone and married Yum-Yum” | John Reed, Royal Philharmonic Orchestra, Royston Nash, D’Oyly Carte Opera Chorus | — | |
| 11-1 | Overture | — | ||
| 11-2 | Twenty love-sick maidens we | — | ||
| 11-3 | Still brooding on their mad infatuation! | — | ||
| 11-4 | I cannot tell what this love may be | — | ||
| 11-5 | Twenty love-sick maidens we | — | ||
| 11-6 | The soldiers of our Queen | — | ||
| 11-7 | If you want a receipt for that popular mystery | — | ||
| 11-8 | In a doleful train two and two we walk all day | — | ||
| 11-9 | Twenty love-sick maidens we | — | ||
| 11-10 | When I first put this uniform on | — | ||
| 11-11 | Am I alone and unobserved? | — | ||
| 11-12 | If you're anxious for to shine in the high aesthetic.. | — | ||
| 11-13 | Long years ago - fourteen, maybe | — | ||
| 11-14 | Prithee, pretty maiden - Prithee | — | ||
| 11-15 | Though to marry you | — | ||
| 11-16 | Let the merry cymbals sound | — | ||
| 11-17 | Now tell us, we pray you | — | ||
| 11-18 | Heart broken at my Patience's barbarity | — | ||
| 11-19 | Stay, we implore you, before our hopes are blighted | — | ||
| 11-20 | Your maiden hearts, ah, do steel | — | ||
| 12-1 | Come, walk up, and purchase with avidity | — | ||
| 12-2 | We've been thrown over, we're aware | — | ||
| 12-3 | And are you going a ticket to buy? | — | ||
| 12-4 | Hold! Stay your hand! | — | ||
| 12-5 | True love must single hearted be | — | ||
| 12-6 | I hear the soft note of the echoing voice | — | ||
| 12-7 | But who is this, whose god-like grace... | — | ||
| 12-8 | List Reginald, whilst I confess a love that's all... | — | ||
| 12-9 | On such eyes as maidens cherish | — | ||
| 12-10 | Sad is a woman's lot who, year by year | — | ||
| 12-11 | Silvered is the raven hair | — | ||
| 12-12 | Turn, oh turn in this direction | — | ||
| 12-13 | A magnet hung in a hardware shop | — | ||
| 12-14 | Love is a plaintive song | — | ||
| 12-15 | So go to him and say to him, with compliment ironical | — | ||
| 12-16 | It's clear that the mediaeval art alone retains... | — | ||
| 12-17 | If Saphir I choose to marry, I shall be fixed... | — | ||
| 12-18 | When I go out of the door | — | ||
| 12-19 | I'm a Waterloo House young man | — | ||
| 12-20 | After much debate internal, I on Lady Jane decide | — | ||
| 13-1 | Overture | — | ||
| 13-2 | Pour, oh pour the pirate sherry | — | ||
| 13-3 | When Fred'ric was a little lad | — | ||
| 13-4 | Oh, better far to live and die | — | ||
| 13-5 | Oh, false one, you have deceived me | — | ||
| 13-6 | Climbing over rocky mountain | — | ||
| 13-7 | Stop! ladies, pray! A man! | — | ||
| 13-8 | Oh, is there not one maiden breast | — | ||
| 13-9 | Oh, sisters, deaf to pity's name, For shame! | — | ||
| 13-10 | Poor wand'ring one! | — | ||
| 13-11 | What ought we to do, Gentle sisters say? | — | ||
| 13-12 | How beautifully blue the sky | — | ||
| 13-13 | Stay, we must not lose our senses | — | ||
| 13-14 | Hold, Monsters! | — | ||
| 13-15 | I am the very model of a modern Major-General | — | ||
| 14-1 | Oh, men of dark and dismal fate | — | ||
| 14-2 | Hail Poetry, thou heav'n born maid! | — | ||
| 14-3 | You may go, for you're at liberty | — | ||
| 14-4 | Pray observe the magnanimity | — | ||
| 14-5 | Oh, dry the glist'ning tear | — | ||
| 14-6 | Then Frederic | — | ||
| 14-7 | When the foeman bares his steel | — | ||
| 14-8 | Now for the pirates lair! | — | ||
| 14-9 | When you had left our pirate fold | — | ||
| 14-10 | Away, away, my heart's on fire | — | ||
| 14-11 | All is prepared | — | ||
| 14-12 | Stay, Fred'ric stay! | — | ||
| 14-13 | Ah, leave me not to pine alone and desolate | — | ||
| 14-14 | Oh, here is love and here is truth | — | ||
| 14-15 | No, I'll be brave | — | ||
| 14-16 | Sergeant approach (Dialogue) | — | ||
| 14-17 | When a felon's not engaged in his employment | — | ||
| 14-18 | A rollicking band of pirates we | — | ||
| 14-19 | With cat-like tread | — | ||
| 14-20 | Hush! Hush! Not a word | — | ||
| 14-21 | Sighing softly to the river | — | ||
| 14-22 | Now what is this, and what is that | — | ||
| 14-23 | We triumph now | — | ||
| 14-24 | Away with them, and place them at the bar | — | ||
| 14-25 | Poor wand'ring ones, though ye have surely straye | — | ||
| 15-1 | Princess Ida: Overture | The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-2 | Princess Ida: Act I. “Search throughout the panorama” (Chorus, Florian) | D’Oyly Carte Opera Chorus, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-3 | Princess Ida: Act I. “Now hearken to my strict command” (Hildebrand, Chorus) | D’Oyly Carte Opera Chorus, Kenneth Sandford, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-4 | Princess Ida: Act I. “Today we meet… Ida was a twelve-month old” (Hilarion) | Philip Potter, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-5 | Princess Ida: Act I. “From the distant panorama… we are warriors three” (Chorus, Arac, Guron, Scynthius) | Donald Adams, George Cook, D’Oyly Carte Opera Chorus, Anthony Raffell, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | T-318.676.528-2 | |
| 15-6 | Princess Ida: Act I. “If you give me your attention” (Gama, Chorus) | D’Oyly Carte Opera Chorus, John Reed, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-7 | Princess Ida: Act I. Finale “P’raps if you address the lady most politely” | D’Oyly Carte Opera Chorus, David Palmer, Philip Potter, John Reed, Kenneth Sandford, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-8 | Princess Ida: Act II. “Towards the empyrean heights” (Chorus, Lady Psyche, Melissa, Sacharissa) | D’Oyly Carte Opera Chorus, Ann Hood, Valerie Masterson, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-9 | Princess Ida: Act II. “Mighty maiden with a mission” (Chorus) | D’Oyly Carte Opera Chorus, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-10 | Princess Ida: Act II. “Minerva… Oh goddess wise” (Princess, Chorus) | D’Oyly Carte Opera Chorus, Elizabeth Harwood, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-11 | Princess Ida: Act II. “Gently, gently, evidently” (Cyril, Hilarion, Florian) | David Palmer, Philip Potter, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-12 | Princess Ida: Act II. “I am a maiden, cold and stately” (Cyril, Hilarion, Florian) | David Palmer, Philip Potter, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-13 | Princess Ida: Act II. “The world is but a broken toy” (Princess, Cyril, Hilarion, Florian) | Elizabeth Harwood, David Palmer, Philip Potter, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-14 | Princess Ida: Act II. “A lady fair, of lineage high” (Lady Psyche, Cyril, Hilarion, Florian) | Ann Hood, David Palmer, Philip Potter, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-15 | Princess Ida: Act II. “The woman of the wisest wit” (Lady Psyche, Melissa, Cyril, Hilarion, Florian) | Ann Hood, Valerie Masterson, David Palmer, Philip Potter, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-16 | Princess Ida: Act II. “Now wouldn’t you like to rule the roost” (Melissa, Lady Blanche) | Valerie Masterson, Christene Palmer, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-17 | Princess Ida: Act II. “Merrily ring the luncheon bell” (Chorus, Lady Blanche, Cyril) | D’Oyly Carte Opera Chorus, Christene Palmer, David Palmer, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-18 | Princess Ida: Act II. “Would you know the kind of maid” (Cyril) | David Palmer, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-19 | Princess Ida: Act II. Finale “Oh, joy! Our chief is sav’d” | Donald Adams, George Cook, D’Oyly Carte Opera Chorus, Elizabeth Harwood, Ann Hood, Valerie Masterson, Christene Palmer, David Palmer, Philip Potter, Anthony Raffell, Kenneth Sandford, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 15-20 | Princess Ida: Act II. Finale “We may remark, tho’ nothing can dismay us” | Donald Adams, George Cook, D’Oyly Carte Opera Chorus, Elizabeth Harwood, Adam Hood, Valerie Masterson, Christene Palmer, David Palmer, Philip Potter, Anthony Raffell, Kenneth Sandford, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-1 | Princess Ida: Act III. “Death to the invader” (Chorus, Melissa) | D’Oyly Carte Opera Chorus, Valerie Masterson, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-2 | Princess Ida: Act III. “I built upon a rock” (Princess) | Elizabeth Harwood, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-3 | Princess Ida: Act III. “Whene’er I spoke sarcastic joke” (Gama, Chorus) | D’Oyly Carte Opera Chorus, John Reed, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-4 | Princess Ida: Act III. “When anger spreads his wing” (Chorus) | D’Oyly Carte Opera Chorus, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-5 | Princess Ida: Act III. “This helmet I support” (Arac, Guron, Synthius, Chorus) | Donald Adams, George Cook, D’Oyly Carte Opera Chorus, Anthony Raffell, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-6 | Princess Ida: Act III. “This is our duty plain” (Chorus) | D’Oyly Carte Opera Chorus, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-7 | Princess Ida: Act III. Finale “With joy abiding” | Donald Adams, George Cook, Elizabeth Harwood, Ann Hood, Valerie Masterson, Christene Palmer, David Palmer, Philip Potter, Anthony Raffell, John Reed, Kenneth Sandford, Jeffrey Skitch, The Royal Philharmonic Orchestra, Sir Malcolm Sargent | — | |
| 16-8 | Pineapple Poll: Scene I. Opening Dance | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-9 | Pineapple Poll: Scene I. Poll’s Solo and Pas de deux | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-10 | Pineapple Poll: Scene I. Belaye’s Solo | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-11 | Pineapple Poll: Scene I. Pas de Trois | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-12 | Pineapple Poll: Scene I. Finale | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-13 | Pineapple Poll: Scene II. Poll’s Solo, Jasper’s Solo | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-14 | Pineapple Poll: Scene III. Belaye’s Solo and Sailors’ Drill | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-15 | Pineapple Poll: Scene III. Poll’s Solo | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-16 | Pineapple Poll: Scene III. Entry of Belaye with Blanche as Bride | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-17 | Pineapple Poll: Scene III. Reconciliation | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 16-18 | Pineapple Poll: Scene III. Grande Finale | The Philharmonia Orchestra, Sir Charles Mackerras | — | |
| 17-1 | Overture | — | ||
| 17-2 | Fair is rose as bright as May day | — | ||
| 17-3 | Sir Rupert Murgatroyd, his leisure and his riches | — | ||
| 17-4 | If somebody there chanced to be | — | ||
| 17-5 | I know a youth who loves a little maid | — | ||
| 17-6 | From the briny sea...I shipp'd, d'ye see | — | ||
| 17-7 | Hornpipe | — | ||
| 17-8 | My boy, you may take it from me | — | ||
| 17-9 | The battle's roar is over | — | ||
| 17-10 | In sailing o'er life's ocean wide | — | ||
| 17-11 | Cheerily carols the lark...To a garden full ... fposies | — | ||
| 17-12 | Welcome, gentry | — | ||
| 17-13 | Oh why am I moody and sad? | — | ||
| 17-14 | You understand? I think I do | — | ||
| 17-15 | Hail the bride of seventeen summers | — | ||
| 17-16 | Hold, bride and bridegroom | — | ||
| 18-1 | Overture, Original version | — | ||
| 18-2 | I once was as meek as a newborn lamb | — | ||
| 18-3 | Happily coupled are we | — | ||
| 18-4 | In bygone days I had thy love | — | ||
| 18-5 | Painted emblems of a race | — | ||
| 18-6 | When the night wind howls | — | ||
| 18-7 | He yields! He yields! | — | ||
| 18-8 | I once was a very abandon'd person | — | ||
| 18-9 | My eyes are fully open to my awful situation | — | ||
| 18-10 | There grew a little flower | — | ||
| 18-11 | Oh, happy the lily when kiss'd by the bee | — | ||
| 18-12 | Overture | — | ||
| 18-13 | We sounded the trumpet | — | ||
| 18-14 | Stay, Bouncer, stay! | — | ||
| 18-15 | Hush'd is the bacon on the grid | — | ||
| 18-16 | My master is punctual always in business | — | ||
| 18-17 | Who are you, sir? | — | ||
| 18-18 | The buttercup dwells on the lowly mead | — | ||
| 18-19 | Not long ago...Finale | — | ||
| 19-1 | Overture | — | ||
| 19-2 | Ring forth, ye bells | — | ||
| 19-3 | Constance, my daughter | — | ||
| 19-4 | When he is here, I sigh with pleasure | — | ||
| 19-5 | The air is charged with amatory numbers | — | ||
| 19-6 | Time was, when love and I were well acquainted | — | ||
| 19-7 | Sir Marmaduke...Minuet | — | ||
| 19-8 | With heart and voice | — | ||
| 19-9 | My kindly friends...Oh, happy young heart | — | ||
| 19-10 | My child, I join in these congratulations | — | ||
| 19-11 | With heart and with voice | — | ||
| 19-12 | Welcome joy! adieu to sadness! | — | ||
| 19-13 | All is prepar'd for sealing and for sighing | — | ||
| 19-14 | Love feeds on many kinds of food | — | ||
| 19-15 | My name is John Wellington Wells | — | ||
| 19-16 | Sprites of earth and air | — | ||
| 19-17 | Now to the banquet we press | — | ||
| 20-1 | 'Tis twelve, I think | — | ||
| 20-2 | Dear friends, take pity on my lot | — | ||
| 20-3 | Thou hast the pow'r....It is not love | — | ||
| 20-4 | I rejoice that it's decided | — | ||
| 20-5 | Oh, I have wrought much evil with my spells... | — | ||
| 20-6 | Alexis! Doubt me not...The fearful deed is done | — | ||
| 20-7 | Oh, my voice is sad and low | — | ||
| 20-8 | Oh, joyous boon | — | ||
| 20-9 | Prepare for sad surprises | — | ||
| 20-10 | Or he or I must die | — | ||
| 20-11 | Introduction | — | ||
| 20-12 | The British Public here - you see | — | ||
| 20-13 | I loved her fondly | — | ||
| 20-14 | And now let's go back to where we were...Ah maiden fair | — | ||
| 20-15 | Where is he? | — | ||
| 20-16 | Once more the face I loved so well | — | ||
| 20-17 | Help! Ah Help! | — | ||
| 20-18 | Ho-guards! Minions! | — | ||
| 20-19 | Ladies and Gentlemen! | — | ||
| 20-20 | We gather from what you have said | — | ||
| 20-21 | Where is my daughter? | — | ||
| 20-22 | I'm a simple little child | — | ||
| 20-23 | My Father! | — | ||
| 20-24 | Finale: What do I see in this disguise | — | ||
| 21-1 | Utopia Limited: Imperial March | Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-2 | Utopia Limited: Act I. Introduction | Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-3 | Utopia Limited: Act I. “In lazy languor” (Phylla, Chorus) | D’Oyly Carte Opera Chorus, Rosalind Griffiths, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-4 | Utopia Limited: Act I. “O make way for the wise men!” (Chorus) | D’Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-5 | Utopia Limited: Act I. “In every mental lore” (Scaphio, Phantis, Chorus) | John Ayldon, D’Oyly Carte Opera Chorus, John Reed, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-6 | Utopia Limited: Act I. “Let all your doubts take wing” (Scaphio, Phantis) | John Ayldon, John Reed, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-7 | Utopia Limited: Act I. “Quaff the nectar” (Chorus) | D’Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-8 | Utopia Limited: Act I. “A king of autocratic power we” (King, Chorus) | D’Oyly Carte Opera Chorus, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-9 | Utopia Limited: Act I. “Altho’ of native maids the cream” (Nekaya, Kalyba) | Julia Goss, Judi Merri, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-10 | Utopia Limited: Act I. “Bold-fac’d ranger” (Lady Sophy, Chorus) | D’Oyly Carte Opera Chorus, Lyndsie Holland, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-11 | Utopia Limited: Act I. “First you’re born” (King, Scaphio, Phantis) | John Ayldon, John Reed, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-12 | Utopia Limited: Act I. “Subjected to your heavenly gaze” (Lady Sophy, King) | Lyndsie Holland, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-13 | Utopia Limited: Act I. “O maiden rich in Girton lore” (Chorus, Zara, Captain FitzBattleaxe) | D’Oyly Carte Opera Chorus, Pamela Field, Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-14 | Utopia Limited: Act I. “Ah! gallant soldier, brave and true” (Chorus, Zara, Captain FitzBattleaxe) | D’Oyly Carte Opera Chorus, Pamela Field, Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-15 | Utopia Limited: Act I. “It’s understood, I think” (Zara, Captain FitzBattleaxe, Scaphio, Phantis) | John Ayldon, Pamela Field, John Reed, Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-16 | Utopia Limited: Act I. “O admirable art!” (Zara, Captain FitzBattleaxe) | Pamela Field, Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-17 | Utopia Limited: Act I. Finale “Altho’ your royal summons to appear” | Royal Philharmonic Orchestra, Royston Nash | — | |
| 21-18 | Utopia Limited: Act I. Finale “A company promoter this, with special education” | Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-1 | Utopia Limited: Act II. “Oh, Zara… A tenor, all singers above” (Captain FitzBattleaxe) | Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-2 | Utopia Limited: Act II. “Words of love too loudly spoken” (Zara, Captain FitzBattleaxe) | Pamela Field, Meston Reid, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-3 | Utopia Limited: Act II. “Society has quite forsaken all” (King, Chorus of Flowers of Progress) | D’Oyly Carte Opera Chorus, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-4 | Utopia Limited: Act II. Entrance of Court | Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-5 | Utopia Limited: Act II. Drawing-Room Music | Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-6 | Utopia Limited: Act II. “This ceremonial our wish displays… Eagle high on cloudland soaring” (King, Chorus) | D’Oyly Carte Opera Chorus, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-7 | Utopia Limited: Act II. “With fury deep we burn” (Scaphio, Phantis) | John Ayldon, John Reed, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-8 | Utopia Limited: Act II. “If you think that when banded in unity” (King, Scaphio, Phantis) | John Ayldon, John Reed, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-9 | Utopia Limited: Act II. “With wily brain upon the spot” (Tarara, Phantis, Scaphio) | John Ayldon, Jon Ellison, John Reed, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-10 | Utopia Limited: Act II. “A wonderful joy our eyes to bless” (Mr. Goldbury) | Michael Rayner, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-11 | Utopia Limited: Act II. “Then I may sing and play?” (Nekaya, Kalyba, Lord Dramaleigh, mr. Goldbury) | James Conroy-Ward, Julia Goss, Judi Merri, Michael Rayner, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-12 | Utopia Limited: Act II. “Oh, would some demon power… When but a maid of fifteen year” (Lady Sophy) | Lyndsie Holland, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-13 | Utopia Limited: Act II. “Ah, Lady Sophy” (King, Lady Sophy) | Lyndsie Holland, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-14 | Utopia Limited: Act II. “O rapture unrestrained” (King, Lady Sophy) | Lyndsie Holland, Kenneth Sandford, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-15 | Utopia Limited: Act II. Tarantella “Upon our sea-girt land” (Chorus) | D’Oyly Carte Opera Chorus, Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-16 | Utopia Limited: Act II. Finale “There’s a little group of isles beyond the wave” | Royal Philharmonic Orchestra, Royston Nash | — | |
| 22-17 | Overture to Macbeth | Sir Arthur Sullivan | — | |
| 22-18 | Victoria and Merrie England | Sir Arthur Sullivan | — | |
| 22-19 | Overture to Marmion | Sir Arthur Sullivan | — | |
| 23-1 | Overture | — | ||
| 23-2 | "When maiden loves" | — | ||
| 23-3 | "Tower warders under orders" | — | ||
| 23-4 | When our gallant Norman foes | — | ||
| 23-5 | "Alas! I waver to and fro" | — | ||
| 23-6 | "Is life a boon?" | — | ||
| 23-7 | "Here's a man of jollity" | — | ||
| 23-8 | I have a song to sing, oh! | — | ||
| 23-9 | "How say you, maiden" | — | ||
| 23-10 | "I've jibe and joke" | — | ||
| 23-11 | "'Tis done! I am a bride!" | — | ||
| 23-12 | "Were I thy bride" | — | ||
| 23-13 | "Oh, Sergeant Meryll" - "Ye Tower Warders", "Leonard Meryll!", "Forbear, my friends", "Didst thou not", "Leonard!", "As escort for the prisoner" | — | ||
| 24-1 | "Night has spread her pall once more" | — | ||
| 24-2 | "Oh! a private buffoon" | — | ||
| 24-3 | "Hereupon we're both agreed" | — | ||
| 24-4 | "Free from his fetters grim" | — | ||
| 24-5 | "Strange adventure!" | — | ||
| 24-6 | "Hark! What was that, sir?"-"Who fired that shot?"-"Like a ghost his vigil keeping..."-"The river must be dragged" | — | ||
| 24-7 | "A man who would woo a fair maid" | — | ||
| 24-8 | "When a wooer goes a-wooing" | — | ||
| 24-9 | "Rapture, rapture!" | — | ||
| 24-10 | "Comes the pretty young bride"- "'Tis said to you"-"Hold, pretty one!" | — | ||
| 24-11 | Hark the Hour of Ten is Sounding | — | ||
| 24-12 | When First my Old, Old Love I Knew | — | ||
| 24-13 | When I good friends was called to the Bar | — | ||
| 24-14 | Where is the Plaintiff? | — | ||
| 24-15 | May it please you my Lud! | — | ||
| 24-16 | Oh, Gentlemen Listen I Pray | — | ||
| 24-17 | A nice dilemma | — | ||
| 24-18 | I Love him | — | ||
| 25-1 | From The Sunny Spanish Shore | — | ||
| 25-2 | There Was A Time, A Time For Ever Gone | — | ||
| 25-3 | To Help Unhappy Commoners | — | ||
| 25-4 | Then One Of Us Will Be A Queen | — | ||
| 25-5 | Love Unrequited (Nightmare Song) | — | ||
| 25-6 | None Shall Part Us From Each Other | — | ||
| 25-7 | If You Go In You're Sure To Win | — | ||
| 25-8 | When I Went To The Bar (Said I To Myself, Said I) | — | ||
| 25-9 | Though P'r'aps I May Incur Your Blame | — | ||
| 25-10 | My Boy, You May Take It From Me | — | ||
| 25-11 | I Know A Youth Who Loves A Little Maid | — | ||
| 25-12 | There Grew A Little Flower | — | ||
| 25-13 | The Battle's Roar Is Over | — | ||
| 25-14 | In Sailing O'er Life's Ocean Wide | — | ||
| 25-15 | Hereupon We're Both Agreed | — | ||
| 25-16 | I've Jibe And Joke | — | ||
| 25-17 | When A Wooer Goes A-Wooing | — | ||
| 25-18 | A Man Who Would Woo A Fair Maid | — |
