UPC · Release
Oper für Dummies
Various Artists
5099908786951
20 tracksReleased 2011-11-07
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5099908786951 is the Universal Product Code (UPC barcode) for the release “Oper für Dummies” by Various Artists, released 2011-11-07. 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 20 tracks, each with its own ISRC. Tracks include GBAYC8600623, GBAYC8600648, GBAYC8600674.
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UPCOper für Dummies
ISRC20 recordings
ISWC34 works
IPI7 songwriters
Track List (20)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 4-1 | Le nozze di Figaro, K. 492: Sinfonia | Wiener Philharmoniker, Riccardo Muti | — | |
| 4-2 | Le Nozze di Figaro, K. 492: "Voi che sapete" (Cherubino) | Ann Murray, Wiener Philharmoniker, Riccardo Muti | T-929689299-4 | |
| 4-3 | Le nozze di Figaro, K. 492: Act III, Scene VIII. No. 20 Aria "Dove sono i bei momenti" (La Contessa) | Margaret Price, Wiener Philharmoniker, Riccardo Muti | — | |
| 4-4 | Don Giovanni: Atto I. “Madamina, il catalogo è questo” | Samuel Ramey, Wiener Philharmoniker, Riccardo Muti | T-929621870-7 | |
| 4-5 | Don Giovanni: Atto I. “Là ci darem la mano” | Susanne Mentzer, William Shimell, Wiener Philharmoniker, Riccardo Muti | — | |
| 4-6 | Don Giovanni: Atto I. No. 11 Aria “Fin ch’han dal vino” (Don Giovanni) | William Shimell, Wiener Philharmoniker, Riccardo Muti | T3069408153 | |
| 4-7 | Don Giovanni: Atto II. No. 24 Finale “Don Giovanni, a cenar teco” (Il Commendatore, Don Giovanni, Leporello) | Wiener Philharmoniker, Riccardo Muti | — | |
| 4-8 | Così fan tutte: Atto I, scena 6: “Soave sia il vento” | Agnes Baltsa, Margaret Marshall, José van Dam, Vienna Philharmonic Orchestra, Riccardo Muti | T9025256488 | |
| 4-9 | Lucio Silla (Atto III): "Fra i pensier piu funesti di morte" (Giunia) | Barbara Hendricks, English Chamber Orchestra, Jeffrey Tate | — | |
| 4-10 | La clemenza di Tito K621, Act I, Scene 9: 9. Aria: Parto, parto, ma tu ben mio (Sesto) | Ann Murray, Scottish Chamber Orchestra, Raymond Leppard | — | |
| 4-11 | Zaide: Akt I. Arie “Ruhe sanft, mein holdes Leben” (Zaide) | Natalie Dessay, Orchestra of the Age of Enlightenment, Louis Langrée | — | |
| 4-12 | Die Entführung aus dem Serail, K. 384: "Martern aller Arten" (Konstanze) | Anneliese Rothenberger, Wiener Philharmoniker, Josef Krips | — | |
| 4-13 | Die Entführung aus dem Serail, K. 384: "Welche Wonne, welche Lust" (Blonde) | Lucia Popp, Wiener Philharmoniker, Josef Krips | — | |
| 4-14 | Die Zauberflöte: Akt I. „Der Vogelfänger bin ich ja” | Wolfgang Brendel, Chor des Bayerischen Rundfunks, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink | — | |
| 4-15 | Die Zauberflöte K620: O zitt're nicht (Act 1) | Edita Gruberová, Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink | — | |
| 4-16 | Die Zauberflöte: Akt II. „O Isis und Osiris” | Roland Bracht, Chor des Bayerischen Rundfunks, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink | — | |
| 4-17 | Die Zauberflöte: Akt II. No. 14: Aria: „Der Hölle Rache kocht in meinem Herzen“ (Queen of the Night) | Edita Gruberová, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink | T9182451178 | |
| 4-18 | Die Zauberflöte: Akt II. No. 17: Aria: „Ach ich fühl's, es ist verschwunden!“ (Pamina) | Lucia Popp, Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink | — | |
| 4-19 | Die Zauberflöte: Akt II. „Ein Mädchen oder Weibchen” | Wolfgang Brendel, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink | — | |
| 4-20 | Die Zauberflöte: Akt II. „Pa-pa-gena! Pa-pa-geno!” | Wolfgang Brendel, Chor des Bayerischen Rundfunks, Brigitte Linder, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink | — |
Le nozze di Figaro, K. 492: Sinfonia
Wiener Philharmoniker, Riccardo Muti
—
Ann Murray, Wiener Philharmoniker, Riccardo Muti
Le nozze di Figaro, K. 492: Act III, Scene VIII. No. 20 Aria "Dove sono i bei momenti" (La Contessa)
Margaret Price, Wiener Philharmoniker, Riccardo Muti
—
Samuel Ramey, Wiener Philharmoniker, Riccardo Muti
Don Giovanni: Atto I. “Là ci darem la mano”
Susanne Mentzer, William Shimell, Wiener Philharmoniker, Riccardo Muti
—
William Shimell, Wiener Philharmoniker, Riccardo Muti
Don Giovanni: Atto II. No. 24 Finale “Don Giovanni, a cenar teco” (Il Commendatore, Don Giovanni, Leporello)
Wiener Philharmoniker, Riccardo Muti
—
Agnes Baltsa, Margaret Marshall, José van Dam, Vienna Philharmonic Orchestra, Riccardo Muti
Lucio Silla (Atto III): "Fra i pensier piu funesti di morte" (Giunia)
Barbara Hendricks, English Chamber Orchestra, Jeffrey Tate
—
La clemenza di Tito K621, Act I, Scene 9: 9. Aria: Parto, parto, ma tu ben mio (Sesto)
Ann Murray, Scottish Chamber Orchestra, Raymond Leppard
—
Zaide: Akt I. Arie “Ruhe sanft, mein holdes Leben” (Zaide)
Natalie Dessay, Orchestra of the Age of Enlightenment, Louis Langrée
—
Die Entführung aus dem Serail, K. 384: "Martern aller Arten" (Konstanze)
Anneliese Rothenberger, Wiener Philharmoniker, Josef Krips
—
Die Entführung aus dem Serail, K. 384: "Welche Wonne, welche Lust" (Blonde)
Lucia Popp, Wiener Philharmoniker, Josef Krips
—
Die Zauberflöte: Akt I. „Der Vogelfänger bin ich ja”
Wolfgang Brendel, Chor des Bayerischen Rundfunks, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink
—
Die Zauberflöte K620: O zitt're nicht (Act 1)
Edita Gruberová, Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink
—
Die Zauberflöte: Akt II. „O Isis und Osiris”
Roland Bracht, Chor des Bayerischen Rundfunks, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink
—
Die Zauberflöte: Akt II. No. 14: Aria: „Der Hölle Rache kocht in meinem Herzen“ (Queen of the Night)
Edita Gruberová, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink
Die Zauberflöte: Akt II. No. 17: Aria: „Ach ich fühl's, es ist verschwunden!“ (Pamina)
Lucia Popp, Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink
—
Die Zauberflöte: Akt II. „Ein Mädchen oder Weibchen”
Wolfgang Brendel, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink
—
Die Zauberflöte: Akt II. „Pa-pa-gena! Pa-pa-geno!”
Wolfgang Brendel, Chor des Bayerischen Rundfunks, Brigitte Linder, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink
—
Additional database matches (104)
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Lohengrin: Choeur des fiançailles (extr.) | Chor der Bayerischen Staatsoper München, Bayerisches Staatsorchester, Robert Heger | T3096695404 |
| Lebe wohl, mein flandrisch Mädchen (Marquis von Chateauneuf, Marie, Chor, aus "Zar und Zimmermann", 2.Akt) | [unknown] | — |
| Der Freischütz · Oper in 3 Akten, 3. Akt: Was gleicht wohl auf Erden dem Jägervergnügen (Chor: Jägerchor) | [unknown] | — |
| Wozzeck: Act III, Scene V. Ringel, Ringel, Rosenkranz, Ringelreih’n! (Kinder, Mariens Knabe) | Philharmoniker Hamburg, Ingo Metzmacher | — |
| Beglückt darf nun (Pilgrims' Chorus) from Tannhäuser | [unknown] | — |
| Faust, Acte II : Air des bijoux : ''Ah ! Je ris de me voir si belle en ce miroir'' (Marguerite) | [unknown] | — |
| Lakmé : Acte I. « Dôme épais » (Flower Duet) | Mady Mesplé, Danielle Millet, Orchestre du Théâtre National de l’Opéra-Comique, Alain Lombard | T9001428268 |
| Manon : Adieu notre petite table (Manon) | [unknown] | — |
| Les Troyens, Acte 1 - Récit et air de Cassandre : Les Grecs ont disparu... Malheureux roi ! (Cassandre) | [unknown] | — |
| Les Puritains, Acte I - Polacca d'Elvira : Son vergin vezzosa (Elvira) | June Anderson, Monte-Carlo Philharmonic Orchestra, Nicola Rescigno | — |
| Orphée et Eurydice, Wq. 41 : Acte 2. Ballet des ombres heureuses, 1. Lent, très doux – Même mouvement – Tempo primo | Orchestre de l’Opéra de Lyon, John Eliot Gardiner | — |
| Samson et Dalila - Acte II : Mon coeur s'ouvre à ta voix comme s'ouvrent les fleurs (Dalila) | [unknown] | — |
| Serse, HWV 40: Atto I. “Ombra mai fu” (Serse) | Gérard Lesne, Il Seminario Musicale | T3080213038 |
| Les Contes d’Hoffmann : Acte 2. « Les Oiseaux dans la charmille » (Olympia) | Natalie Dessay | — |
| La Dame blanche, Act 1 Scene 1: No. 1b, Air, "Ah! quel plaisir d'être soldat" (Georges Brown, Chorus) | Orchestre de chambre de Paris, Marc Minkowski | — |
| Don Carlo: Atto IV, Scena I, No. 10. Introduzione e scena: "Ella giammai m'amò!" (Filippo) | Ruggero Raimondi, Orchestra of the Royal Opera House, Covent Garden, Carlo Maria Giulini | — |
| La vida breve, Act 2 Scene 1: Danza | Manuel de Falla | T0414890746 |
| Marcia trionfale | [unknown] | T-900138252-1 |
| Gianni Schicchi: “O mio babbino caro” (Lauretta) | Montserrat Caballé, London Symphony Orchestra, Charles Mackerras | T-901222501-3 |
| Dido & Aeneas: When I Am Laid in Earth | Susan Graham, Le Concert d'Astrée, Emmanuelle Haïm | — |
| L’Elisir d’amore: Atto II. “Una furtiva lagrima” (Nemorino) | Rolando Villazón, Münchner Rundfunkorchester, Marcello Viotti | T-310639190-2 |
| L'Orfeo: Toccata | Le Concert d'Astrée, Emmanuelle Haïm | T7029289996 |
| La gazza ladra (The Thieving Magpie): Overture | Philharmonia Orchestra, Carlo Maria Giulini | — |
| Rinaldo, HWV 7b, Act 2: "Lascia ch'io pianga" (Almirena) | Jane Gilchrist, Slovak Radio Orchestra, Kirk Trevor | T9027927759 |
| Bajazet: Atto Secondo, Scena VII. Aria "Sposa, son disprezzata" | Vivica Genaux, Europa Galante, Fabio Biondi | — |
| Tristan und Isolde, Act III, Dritte Szene: Mild und leise wie er lächelt (Isolde) | [unknown] | — |
| Martha: „Ach so fromm” (Lyonel) | Rolando Villazón, Münchner Rundfunkorchester, Michel Plasson | — |
| Hippolyte et Aricie: Prélude de l'Acte III | Les Talens Lyriques, Christophe Rousset | — |
| Giustino: “Vedro con mio diletto” (Anastasio) | Philippe Jaroussky, Ensemble Matheus, Jean-Christophe Spinosi | T0350401067 |
| Otello: Atto IV. “Ave Maria, piena di grazia” (Desdemona) | Maria Callas, Orchestre de la Société des Concerts du Conservatoire, Nicola Rescigno | — |
| La bohème: Atto I. “Che gelida manina” | Nicolai Gedda, Orchestra del Teatro dell’Opera di Roma, Thomas Schippers | — |
| Anne Trulove’s Aria (The Rake’s Progress): "I Go, I Go to Him" | Kate Royal, Academy of St Martin in the Fields, Edward Gardner | — |
| Die Fledermaus: Act I. Overture | Münchner Rundfunkorchester, Plácido Domingo | T9286353524 |
| Billy Budd: Look! Through the port comes the moon-shine astray! (Billy) | London Symphony Orchestra, Daniel Harding | — |
| Roméo et Juliette: Je Veux Vivre | [unknown] | — |
| Il Trovatore, Act II Scene One: Coro delle incudini: Vedi le fosche notturne (Coro) | Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Herbert von Karajan | — |
| Der Rosenkavalier, Op. 59, TrV 227, Act 3: "Marie Theres’! … Hab mir’s gelobt … Ist ein Traum, kann nicht wirklich sein" (Octavian, Marschallin, Sophie, Faninal) | Orchestra of the Royal Opera House, Covent Garden, Antonio Pappano | — |
| La Cenerentola: “Non più mesta accanto al fuoco” | Joyce DiDonato, Orchestre de l’Opéra de Lyon, Kazushi Ono | — |
| Norma: “Casta Diva” | Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin | — |
| Il barbiere di Siviglia: Atto I. “Una voce poco fa” | Maria Callas, Philharmonia Orchestra, Alceo Galliera | — |
| Madama Butterfly: Atto II. “Un bel dì vedremo” (Butterfly) | Victoria de los Ángeles, Orchestra del Teatro dell’Opera di Roma, Gabriele Santini | — |
| Madama Butterfly: Atto II. Coro a bocca chiusa (Humming Chorus) | Coro del Teatro dell’Opera di Roma, Orchestra del Teatro dell’Opera di Roma, Gabriele Santini | T0700494003 |
| Norma: “Casta Diva” | Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin | — |
| Pagliacci: Atto I. “Vesti la giubba” (Canio) | José Carreras, Philharmonia Orchestra, Riccardo Muti | — |
| La traviata: “Libiamo ne’ lieti calici” (Alfredo, Violetta, Chœurs) | Alfredo Kraus, Renata Scotto, Ambrosian Opera Chorus, Philharmonia Orchestra, Riccardo Muti | — |
| La traviata: Atto II. Coro: "Noi siamo zingarelle" (Zingarelle, Flora, Marchese) | Richard van Allan, Ambrosian Opera Chorus, Sarah Walker, Philharmonia Orchestra, Riccardo Muti | — |
| Die Zauberflöte: Akt II. No. 14: Aria: „Der Hölle Rache kocht in meinem Herzen“ (Queen of the Night) | Edita Gruberová, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink | — |
| Die Zauberflöte: Akt I. „Der Vogelfänger bin ich ja” | Wolfgang Brendel, Chor des Bayerischen Rundfunks, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink | — |
| Die Zauberflöte: Akt II. No. 14: Aria: „Der Hölle Rache kocht in meinem Herzen“ (Queen of the Night) | Edita Gruberová, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink | T-071522859-3 |
| Orfeo ed Euridice: “Che farò senza Euridice?” | Agnes Baltsa, Leslie Pearson, Philharmonia Orchestra, Riccardo Muti | — |
| Don Pasquale, Act 3 Scene 6: No. 12a, Serenata, "Com' è gentil la notte a mezzo" (Ernesto, Chorus) | Sesto Bruscantini, Philharmonia Orchestra, Riccardo Muti | — |
| Così fan tutte: Atto I, scena 6: “Soave sia il vento” | Agnes Baltsa, Margaret Marshall, José van Dam, Vienna Philharmonic Orchestra, Riccardo Muti | — |
| Lohengrin: Prelude to Act I | Berliner Philharmoniker, Klaus Tennstedt | — |
| Lucia di Lammermoor, Atto I, Scena seconda: “Quando, rapito in estasi” (Lucia) | Edita Gruberová, Royal Philharmonic Orchestra, Nicola Rescigno | — |
| Les Contes d’Hoffmann : Acte IV. « Belle nuit, ô nuit d’amour » | Ann Murray, Jessye Norman, Choeurs de l’Opéra Royal de la Monnaie, Orchestre de l’Opéra National du Théâtre Royal de la Monnaie de Bruxelles, Sylvain Cambreling | T0711534994 |
| Le Nozze di Figaro, K. 492: "Voi che sapete" (Cherubino) | Ann Murray, Wiener Philharmoniker, Riccardo Muti | — |
| Le nozze di Figaro, K. 492: Act III, Scene VIII. No. 20 Aria "Dove sono i bei momenti" (La Contessa) | Margaret Price, Wiener Philharmoniker, Riccardo Muti | — |
| Turandot: Act 3. “Nessun dorma!” (Calaf, Chorus) | José Carreras, Chœur de l'Opéra national du Rhin, Orchestre philharmonique de Strasbourg, Alain Lombard | — |
| Rusalka: Song to the Moon | Lesley Garrett, Lucia Popp, Munich Radio Symphony Orchestra, Philharmonia Orchestra, Andrew Greenwood, Stefan Soltész | T-922610201-8 |
| Norma: “Casta Diva” | Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin | — |
| Pagliacci: Atto I. “Vesti la giubba” (Canio) | José Carreras, Philharmonia Orchestra, Riccardo Muti | — |
| Cavalleria rusticana: Intermezzo | Philharmonia Orchestra, Riccardo Muti | T9214184573 |
| Der fliegende Holländer, Act 2: Ballade. “Johohoe! Traft ihr das Schiff im Meere an” (Senta, Chor) | Jessye Norman, Ambrosian Opera Chorus, London Philharmonic Orchestra, Klaus Tennstedt | — |
| Pagliacci: Atto I. “Vesti la giubba” (Canio) | José Carreras, Philharmonia Orchestra, Riccardo Muti | — |
| The Queen of Spades, Op. 68, TH 10, Act 3 Scene 6: Arioso, "Utzh polnoch' blizitsya … Ach, istomilas ja gorem" (Liza) | Пётр Ильич Чайковский | — |
| Eugene Onegin, Op. 24, TH 5, Act 1 Scene 2: "Puskai pogilabnu ya, no pryezhde" (Tatiana) | Пётр Ильич Чайковский | — |
| Summertime | Harolyn Blackwell, Glyndebourne Chorus, London Philharmonic Orchestra, Simon Rattle | T-800364991-1 |
| Fidelio, op. 72: Act I, no. 3. Quartet “Mir ist so wunderbar” (Marzelline, Leonore, Rocco, Jaquino) | Helen Donath, Helga Dernesch, José van Dam, Horst Laubenthal, Berliner Philharmoniker, Herbert von Karajan | — |
| L’incoronazione di Poppea: Atto III, scena 8. “Pur ti miro” | Arleen Augér, Della Jones, City of London Baroque Sinfonia, Richard Hickox | — |
| L'Africaine: Pays merveilleux...O paradis (Act 4) | [unknown] | — |
| Fidelio, op. 72: Act I, no. 3. Quartet “Mir ist so wunderbar” (Marzelline, Leonore, Rocco, Jaquino) | Helen Donath, Helga Dernesch, José van Dam, Horst Laubenthal, Berliner Philharmoniker, Herbert von Karajan | — |
| Tosca: “Vissi d'arte” (Tosca) | Maria Callas, Orchestre de la Société des Concerts du Conservatoire, Georges Prêtre | T-321286864-5 |
| Nessun Dorma from 'Turandot' | José Carreras, Chœur de l'Opéra national du Rhin, Orchestre philharmonique de Strasbourg, Alain Lombard | T-900798623-4 |
| Siegfried, Acte I Scène 3: Scène de la forge: "Was am besten er kann" | Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink | — |
| Carmen - excerpts: Votre toast, je peux vous le rendre (Escamillo/Choeur/Frasquita/Mecedes/Carmen) | [unknown] | — |
| Les Pecheurs de Perles (new edition of original 1863 version: part orch. A. Hammond), Acte I: Je crois entendre encore (Nadir) | [unknown] | T0100603937 |
| Carmen : Acte I. « Quand je vous aimerai ? » … « L’amour est un oiseau rebelle » (Habanera) (Carmen, Chœur) | Grace Bumbry, Chœurs du Théâtre national de l'Opéra de Paris, Orchestre du théâtre national de l'Opéra de Paris, Rafael Frühbeck de Burgos | — |
| Dialogues des Carmelites, Acte 3, Tableau 4: Salve Regina (Les Carmélites) | [unknown] | — |
| La bohème: Atto I. “Sì. Mi chiamano Mimì” | Mirella Freni, Orchestra del Teatro dell’Opera di Roma, Thomas Schippers | — |
| Die Walküre: Act 3: Ride of the Valkyries | Oslo Philharmonic Orchestra, Mariss Jansons | T0702578877 |
| La bohème: Atto I. “Che gelida manina” | Nicolai Gedda, Orchestra del Teatro dell’Opera di Roma, Thomas Schippers | — |
| La bohème: Atto I. “Sì. Mi chiamano Mimì” | Mirella Freni, Orchestra del Teatro dell’Opera di Roma, Thomas Schippers | — |
| La bohème: Atto I. “O soave fanciulla, o dolce viso” (Rodolfo, Marcello, Mimi) | Mirella Freni, Nicolai Gedda, Mario Sereni, Orchestra del Teatro dell’Opera di Roma, Thomas Schippers | — |
| Il barbiere di Siviglia: Atto I. Aria "Largo al factotum" (Figaro) | Thomas Hampson, Orchestra della Toscana, Gianluigi Gelmetti | — |
| Manon Lescaut: Atto I. “Donna non vidi mai” (Des Grieux) | Plácido Domingo, New Philharmonia Orchestra, Bruno Bartoletti | T9050400583 |
| Ruslan and Lyudmila: Overture (Presto) | Михаил Иванович Глинка | T3064827498 |
| Rigoletto, Act 1, Scene 2: Gualtier Maldè ...Caro nome | Sherrill Milnes, Philharmonia Orchestra, Julius Rudel | T-913.242.186-4 |
| Rigoletto: “La Donna è mobile” (Duke of Mantua) | Alfredo Kraus, Philharmonia Orchestra, Julius Rudel | T-001455377-5 |
| Bluebeard's Castle, Op. 11, Sz. 48: The Third Door, "The Treasury" (Judith, Bluebeard) | Béla Bartók | — |
| Cavalleria rusticana: Intermezzo | Philharmonia Orchestra, Riccardo Muti | — |
| Norma: Atto I, scena 1. “Costa Diva” (Norma, Oroveso, Coro) | Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin | — |
| Tosca: “Vissi d'arte” (Tosca) | Maria Callas, Orchestre de la Société des Concerts du Conservatoire, Georges Prêtre | T9001458760 |
| Tosca: Atto III. “E lucevan le stelle” (Cavaradossi) | Carlo Bergonzi, Orchestre de la Société des Concerts du Conservatoire, Georges Prêtre | — |
| Norma: “Casta Diva” | Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin | — |
| Werther : Acte III. « Pourquoi me réveiller » | Chœurs du Théâtre National de l'Opéra-Comique, Georges Thill, Elie Cohen, Orchestre du Théâtre National de l'Opéra-Comique | — |
| Orfeo ed Euridice: “Che farò senza Euridice?” | Agnes Baltsa, Leslie Pearson, Philharmonia Orchestra, Riccardo Muti | — |
| Norma: “Casta Diva” | Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin | T-931280185-7 |
| Król Roger: Act III. "Słońce! Słońce! Edrisi!" | City of Birmingham Symphony Orchestra, Sir Simon Rattle | — |
| Pelléas et Mélisande, Act I, Scene One: Interlude | Berliner Philharmoniker, Herbert von Karajan | T0030138034 |
| Salome, Op. 54, TrV 215, Scene 4: Dance of the Seven Veils (Orchestral Interlude) | Richard Strauss | — |
| Alcina: Atto II, Scena XIII. Aria “Ombre pallide” (Alcina) | Arleen Augér, City of London Baroque Sinfonia, Richard Hickox | — |
| Gianni Schicchi: “O mio babbino caro” (Lauretta) | Montserrat Caballé, London Symphony Orchestra, Charles Mackerras | T9012225013 |
| Gianni Schicchi: “O mio babbino caro” (Lauretta) | Montserrat Caballé, London Symphony Orchestra, Charles Mackerras | T9012225013 |
| Cavalleria rusticana: Intermezzo | Philharmonia Orchestra, Riccardo Muti | T9214184573 |
Chor der Bayerischen Staatsoper München, Bayerisches Staatsorchester, Robert Heger
Lebe wohl, mein flandrisch Mädchen (Marquis von Chateauneuf, Marie, Chor, aus "Zar und Zimmermann", 2.Akt)
[unknown]
—
Der Freischütz · Oper in 3 Akten, 3. Akt: Was gleicht wohl auf Erden dem Jägervergnügen (Chor: Jägerchor)
[unknown]
—
Wozzeck: Act III, Scene V. Ringel, Ringel, Rosenkranz, Ringelreih’n! (Kinder, Mariens Knabe)
Philharmoniker Hamburg, Ingo Metzmacher
—
Beglückt darf nun (Pilgrims' Chorus) from Tannhäuser
[unknown]
—
Faust, Acte II : Air des bijoux : ''Ah ! Je ris de me voir si belle en ce miroir'' (Marguerite)
[unknown]
—
Mady Mesplé, Danielle Millet, Orchestre du Théâtre National de l’Opéra-Comique, Alain Lombard
Manon : Adieu notre petite table (Manon)
[unknown]
—
Les Troyens, Acte 1 - Récit et air de Cassandre : Les Grecs ont disparu... Malheureux roi ! (Cassandre)
[unknown]
—
Les Puritains, Acte I - Polacca d'Elvira : Son vergin vezzosa (Elvira)
June Anderson, Monte-Carlo Philharmonic Orchestra, Nicola Rescigno
—
Orphée et Eurydice, Wq. 41 : Acte 2. Ballet des ombres heureuses, 1. Lent, très doux – Même mouvement – Tempo primo
Orchestre de l’Opéra de Lyon, John Eliot Gardiner
—
Samson et Dalila - Acte II : Mon coeur s'ouvre à ta voix comme s'ouvrent les fleurs (Dalila)
[unknown]
—
Gérard Lesne, Il Seminario Musicale
Les Contes d’Hoffmann : Acte 2. « Les Oiseaux dans la charmille » (Olympia)
Natalie Dessay
—
La Dame blanche, Act 1 Scene 1: No. 1b, Air, "Ah! quel plaisir d'être soldat" (Georges Brown, Chorus)
Orchestre de chambre de Paris, Marc Minkowski
—
Don Carlo: Atto IV, Scena I, No. 10. Introduzione e scena: "Ella giammai m'amò!" (Filippo)
Ruggero Raimondi, Orchestra of the Royal Opera House, Covent Garden, Carlo Maria Giulini
—
Manuel de Falla
[unknown]
Montserrat Caballé, London Symphony Orchestra, Charles Mackerras
Dido & Aeneas: When I Am Laid in Earth
Susan Graham, Le Concert d'Astrée, Emmanuelle Haïm
—
Rolando Villazón, Münchner Rundfunkorchester, Marcello Viotti
Le Concert d'Astrée, Emmanuelle Haïm
La gazza ladra (The Thieving Magpie): Overture
Philharmonia Orchestra, Carlo Maria Giulini
—
Jane Gilchrist, Slovak Radio Orchestra, Kirk Trevor
Bajazet: Atto Secondo, Scena VII. Aria "Sposa, son disprezzata"
Vivica Genaux, Europa Galante, Fabio Biondi
—
Tristan und Isolde, Act III, Dritte Szene: Mild und leise wie er lächelt (Isolde)
[unknown]
—
Martha: „Ach so fromm” (Lyonel)
Rolando Villazón, Münchner Rundfunkorchester, Michel Plasson
—
Hippolyte et Aricie: Prélude de l'Acte III
Les Talens Lyriques, Christophe Rousset
—
Philippe Jaroussky, Ensemble Matheus, Jean-Christophe Spinosi
Otello: Atto IV. “Ave Maria, piena di grazia” (Desdemona)
Maria Callas, Orchestre de la Société des Concerts du Conservatoire, Nicola Rescigno
—
La bohème: Atto I. “Che gelida manina”
Nicolai Gedda, Orchestra del Teatro dell’Opera di Roma, Thomas Schippers
—
Anne Trulove’s Aria (The Rake’s Progress): "I Go, I Go to Him"
Kate Royal, Academy of St Martin in the Fields, Edward Gardner
—
Münchner Rundfunkorchester, Plácido Domingo
Billy Budd: Look! Through the port comes the moon-shine astray! (Billy)
London Symphony Orchestra, Daniel Harding
—
Roméo et Juliette: Je Veux Vivre
[unknown]
—
Il Trovatore, Act II Scene One: Coro delle incudini: Vedi le fosche notturne (Coro)
Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Herbert von Karajan
—
Der Rosenkavalier, Op. 59, TrV 227, Act 3: "Marie Theres’! … Hab mir’s gelobt … Ist ein Traum, kann nicht wirklich sein" (Octavian, Marschallin, Sophie, Faninal)
Orchestra of the Royal Opera House, Covent Garden, Antonio Pappano
—
La Cenerentola: “Non più mesta accanto al fuoco”
Joyce DiDonato, Orchestre de l’Opéra de Lyon, Kazushi Ono
—
Norma: “Casta Diva”
Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin
—
Il barbiere di Siviglia: Atto I. “Una voce poco fa”
Maria Callas, Philharmonia Orchestra, Alceo Galliera
—
Madama Butterfly: Atto II. “Un bel dì vedremo” (Butterfly)
Victoria de los Ángeles, Orchestra del Teatro dell’Opera di Roma, Gabriele Santini
—
Coro del Teatro dell’Opera di Roma, Orchestra del Teatro dell’Opera di Roma, Gabriele Santini
Norma: “Casta Diva”
Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin
—
Pagliacci: Atto I. “Vesti la giubba” (Canio)
José Carreras, Philharmonia Orchestra, Riccardo Muti
—
La traviata: “Libiamo ne’ lieti calici” (Alfredo, Violetta, Chœurs)
Alfredo Kraus, Renata Scotto, Ambrosian Opera Chorus, Philharmonia Orchestra, Riccardo Muti
—
La traviata: Atto II. Coro: "Noi siamo zingarelle" (Zingarelle, Flora, Marchese)
Richard van Allan, Ambrosian Opera Chorus, Sarah Walker, Philharmonia Orchestra, Riccardo Muti
—
Die Zauberflöte: Akt II. No. 14: Aria: „Der Hölle Rache kocht in meinem Herzen“ (Queen of the Night)
Edita Gruberová, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink
—
Die Zauberflöte: Akt I. „Der Vogelfänger bin ich ja”
Wolfgang Brendel, Chor des Bayerischen Rundfunks, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink
—
Die Zauberflöte: Akt II. No. 14: Aria: „Der Hölle Rache kocht in meinem Herzen“ (Queen of the Night)
Edita Gruberová, Sinfonie-Orchester des Bayerischen Rundfunks, Bernard Haitink
Orfeo ed Euridice: “Che farò senza Euridice?”
Agnes Baltsa, Leslie Pearson, Philharmonia Orchestra, Riccardo Muti
—
Don Pasquale, Act 3 Scene 6: No. 12a, Serenata, "Com' è gentil la notte a mezzo" (Ernesto, Chorus)
Sesto Bruscantini, Philharmonia Orchestra, Riccardo Muti
—
Così fan tutte: Atto I, scena 6: “Soave sia il vento”
Agnes Baltsa, Margaret Marshall, José van Dam, Vienna Philharmonic Orchestra, Riccardo Muti
—
Lohengrin: Prelude to Act I
Berliner Philharmoniker, Klaus Tennstedt
—
Lucia di Lammermoor, Atto I, Scena seconda: “Quando, rapito in estasi” (Lucia)
Edita Gruberová, Royal Philharmonic Orchestra, Nicola Rescigno
—
Ann Murray, Jessye Norman, Choeurs de l’Opéra Royal de la Monnaie, Orchestre de l’Opéra National du Théâtre Royal de la Monnaie de Bruxelles, Sylvain Cambreling
Le Nozze di Figaro, K. 492: "Voi che sapete" (Cherubino)
Ann Murray, Wiener Philharmoniker, Riccardo Muti
—
Le nozze di Figaro, K. 492: Act III, Scene VIII. No. 20 Aria "Dove sono i bei momenti" (La Contessa)
Margaret Price, Wiener Philharmoniker, Riccardo Muti
—
Turandot: Act 3. “Nessun dorma!” (Calaf, Chorus)
José Carreras, Chœur de l'Opéra national du Rhin, Orchestre philharmonique de Strasbourg, Alain Lombard
—
Lesley Garrett, Lucia Popp, Munich Radio Symphony Orchestra, Philharmonia Orchestra, Andrew Greenwood, Stefan Soltész
Norma: “Casta Diva”
Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin
—
Pagliacci: Atto I. “Vesti la giubba” (Canio)
José Carreras, Philharmonia Orchestra, Riccardo Muti
—
Philharmonia Orchestra, Riccardo Muti
Der fliegende Holländer, Act 2: Ballade. “Johohoe! Traft ihr das Schiff im Meere an” (Senta, Chor)
Jessye Norman, Ambrosian Opera Chorus, London Philharmonic Orchestra, Klaus Tennstedt
—
Pagliacci: Atto I. “Vesti la giubba” (Canio)
José Carreras, Philharmonia Orchestra, Riccardo Muti
—
The Queen of Spades, Op. 68, TH 10, Act 3 Scene 6: Arioso, "Utzh polnoch' blizitsya … Ach, istomilas ja gorem" (Liza)
Пётр Ильич Чайковский
—
Eugene Onegin, Op. 24, TH 5, Act 1 Scene 2: "Puskai pogilabnu ya, no pryezhde" (Tatiana)
Пётр Ильич Чайковский
—
Harolyn Blackwell, Glyndebourne Chorus, London Philharmonic Orchestra, Simon Rattle
Fidelio, op. 72: Act I, no. 3. Quartet “Mir ist so wunderbar” (Marzelline, Leonore, Rocco, Jaquino)
Helen Donath, Helga Dernesch, José van Dam, Horst Laubenthal, Berliner Philharmoniker, Herbert von Karajan
—
L’incoronazione di Poppea: Atto III, scena 8. “Pur ti miro”
Arleen Augér, Della Jones, City of London Baroque Sinfonia, Richard Hickox
—
L'Africaine: Pays merveilleux...O paradis (Act 4)
[unknown]
—
Fidelio, op. 72: Act I, no. 3. Quartet “Mir ist so wunderbar” (Marzelline, Leonore, Rocco, Jaquino)
Helen Donath, Helga Dernesch, José van Dam, Horst Laubenthal, Berliner Philharmoniker, Herbert von Karajan
—
Maria Callas, Orchestre de la Société des Concerts du Conservatoire, Georges Prêtre
José Carreras, Chœur de l'Opéra national du Rhin, Orchestre philharmonique de Strasbourg, Alain Lombard
Siegfried, Acte I Scène 3: Scène de la forge: "Was am besten er kann"
Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink
—
Carmen - excerpts: Votre toast, je peux vous le rendre (Escamillo/Choeur/Frasquita/Mecedes/Carmen)
[unknown]
—
Carmen : Acte I. « Quand je vous aimerai ? » … « L’amour est un oiseau rebelle » (Habanera) (Carmen, Chœur)
Grace Bumbry, Chœurs du Théâtre national de l'Opéra de Paris, Orchestre du théâtre national de l'Opéra de Paris, Rafael Frühbeck de Burgos
—
Dialogues des Carmelites, Acte 3, Tableau 4: Salve Regina (Les Carmélites)
[unknown]
—
La bohème: Atto I. “Sì. Mi chiamano Mimì”
Mirella Freni, Orchestra del Teatro dell’Opera di Roma, Thomas Schippers
—
Oslo Philharmonic Orchestra, Mariss Jansons
La bohème: Atto I. “Che gelida manina”
Nicolai Gedda, Orchestra del Teatro dell’Opera di Roma, Thomas Schippers
—
La bohème: Atto I. “Sì. Mi chiamano Mimì”
Mirella Freni, Orchestra del Teatro dell’Opera di Roma, Thomas Schippers
—
La bohème: Atto I. “O soave fanciulla, o dolce viso” (Rodolfo, Marcello, Mimi)
Mirella Freni, Nicolai Gedda, Mario Sereni, Orchestra del Teatro dell’Opera di Roma, Thomas Schippers
—
Il barbiere di Siviglia: Atto I. Aria "Largo al factotum" (Figaro)
Thomas Hampson, Orchestra della Toscana, Gianluigi Gelmetti
—
Plácido Domingo, New Philharmonia Orchestra, Bruno Bartoletti
Михаил Иванович Глинка
Sherrill Milnes, Philharmonia Orchestra, Julius Rudel
Alfredo Kraus, Philharmonia Orchestra, Julius Rudel
Bluebeard's Castle, Op. 11, Sz. 48: The Third Door, "The Treasury" (Judith, Bluebeard)
Béla Bartók
—
Cavalleria rusticana: Intermezzo
Philharmonia Orchestra, Riccardo Muti
—
Norma: Atto I, scena 1. “Costa Diva” (Norma, Oroveso, Coro)
Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin
—
Maria Callas, Orchestre de la Société des Concerts du Conservatoire, Georges Prêtre
Tosca: Atto III. “E lucevan le stelle” (Cavaradossi)
Carlo Bergonzi, Orchestre de la Société des Concerts du Conservatoire, Georges Prêtre
—
Norma: “Casta Diva”
Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin
—
Werther : Acte III. « Pourquoi me réveiller »
Chœurs du Théâtre National de l'Opéra-Comique, Georges Thill, Elie Cohen, Orchestre du Théâtre National de l'Opéra-Comique
—
Orfeo ed Euridice: “Che farò senza Euridice?”
Agnes Baltsa, Leslie Pearson, Philharmonia Orchestra, Riccardo Muti
—
Norberto Mola, Maria Callas, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Tullio Serafin
Król Roger: Act III. "Słońce! Słońce! Edrisi!"
City of Birmingham Symphony Orchestra, Sir Simon Rattle
—
Berliner Philharmoniker, Herbert von Karajan
Salome, Op. 54, TrV 215, Scene 4: Dance of the Seven Veils (Orchestral Interlude)
Richard Strauss
—
Alcina: Atto II, Scena XIII. Aria “Ombre pallide” (Alcina)
Arleen Augér, City of London Baroque Sinfonia, Richard Hickox
—
Montserrat Caballé, London Symphony Orchestra, Charles Mackerras
Montserrat Caballé, London Symphony Orchestra, Charles Mackerras
Philharmonia Orchestra, Riccardo Muti
What other identifiers does this connect to?
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
00000000551434210000000055165743000000005517446300000000551972000000000058883804000000006097350X0000000063086009000000006310299600000000809693050000000081490638
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000000008153199700000000816924320000000081697153000000008182481000000000818535900000000083682633000000008390276300000000840371930000000084118145000000010661744800000001078322380000000108559026000000010865367X0000000108653733000000010866418400000001089441780000000109144113000000010920127X0000000109223786000000010930050X000000010937067100000001093841410000000109388660000000010941075X0000000109426524000000010943586900000001094475600000000109800096000000010995275100000001101365750000000110142625000000011015406000000001102350470000000110273895000000011034017000000001106409150000000110717468000000011073661800000001107366690000000110829427
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What is UPC 5099908786951?
5099908786951 is a Universal Product Code (UPC) assigned to Oper für Dummies by Various Artists. 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.
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