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Karajan 100th - Volume 2, Opera and Vocals | 
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| Creators: Erich Kunz, Boris Christoff, Hans Hotter, Heinz Rehfuss, Jose Van Dam, Nicola Zaccaria [singer], Walter Berry, Johann Sebastian Bach, Ludwig Van Beethoven, Johannes Brahms, Claude Debussy, Gaetano Donizetti, Charles Gounod, Franz Joseph Haydn, Engelbert Humperdinck, Ruggero Leoncavallo, Pietro Mascagni, Wolfgang Amadeus Mozart, Modest Mussorgsky, Jacques Offenbach
Label: EMI Classics
Category: Music
List Price: $171.98
Buy New: $129.87
You Save: $42.11 (24%)
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Avg. Customer Rating:  5 reviews
Sales Rank: 52858
Format: Box Set
Media: Audio CD
Discs: 72
Shipping Weight (lbs): 4.5
Dimensions (in): 9.2 x 5.2 x 5.2
EAN: 5099951197322
ASIN: B000ZBPQEE
Release Date: April 15, 2008
Availability: Usually ships in 1-2 business days
Condition: BRAND NEW CD! Original Shrinkwrap and Security Tag. Most products ship with DELIVERY CONFIRMATION. We ship from several U.S. locations.
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| Tracks:
Disc 1
| • | La ci darem la mano | | • | Or sai chi l'onore | | • | Batti, batti, o bel Masetto | | • | Crudele? Non mi dir | | • | Non piu andrai | | • | Voi, che sapete | | • | Voi, che sapete | | • | Intermezzo | | • | Intermezzo | | • | Si, mi chiamano Mimi | | • | Quando me n'vo | | • | O mio babbino caro | | • | Bei Maennern, welche Liebe fuehlen | | • | Martern aller Arten | | • | So elend und treu | | • | Endlich allein. Wie fremd und tot | | • | Es gibt ein Reich |
Disc 2
| • | Act 3. Wach auf! | | • | Act 3. Prelude | | • | Treulich gefuehrt (Bridal chorus) | | • | Summ' und Brumm' | | • | Act 3. Introduction & Sailors' Chorus | | • | March & Entry of the Guests | | • | Da zu dir der Heiland kam | | • | Kann mich auch an ein Maedel erinnern | | • | Quinquin, er soll jetzt geh'n | | • | Herr Gott im Himmel | | • | Abstieg in die Cisterne | | • | Ah! Du wolltest mich nicht | | • | Ah! warum hast du mich nicht angeseh'n |
Disc 3
| • | Overture | | • | Act 1. Zu Hilfe! Zu Hilfe! | | • | Act 1. Der Vogelfaenger bin ich ja | | • | Act 1. Die Bildnis ist bezaubernd schoen | | • | Act 1. O zittre nicht, mein lieber Sohn | | • | Act 1. Hm! hm! hm! hm! | | • | Act 1. Du feines Taeubchen, nur herein | | • | Act 1. Bei Maennern, welche Liebe fuehlen | | • | Act 1. Zum Ziele fuehrt dich diese Bahn | | • | Act 1. Zurueck! Zueruck? | | • | Act 1. O ew'ge Nacht! | | • | Act 1. Wie stark ist nicht dein Zauberton | | • | Act 1. Schnelle Fuesse, rascher Mut | | • | Act 1. Wer viel wagt, gewinnt oft viel! Das klinget so herrlich | | • | Act 1. Koennte jeder brave Mann | | • | Act 1. Es lebe Sarastro! | | • | Act 1. Herr, ich bin zwar Verbrecherin! | | • | Act 1. Nun, stolzer Juengling, nur hierher! | | • | Act 1. Fuehrt diese beiden Fremdlinge |
Disc 4
| • | Act 2. March of the Priests | | • | Act 2. O Isis und Osiris | | • | Act 2. Bewahret euch vor Weibertuecken | | • | Act 2. Wie? wie? wie? | | • | Act 2. Alles fuehlt der Liebe Freuden | | • | Act 2. Der Hoelle Rache kocht in meinem Herzen | | • | Act 2. In diesen heil'gen Hallen | | • | Act 2. Seid uns zum zweiten Mal willkommen | | • | Act 2. Ach, ich fuehl's | | • | Act 2. O Isis und Osiris | | • | Act 2. Soll ich dich, Teurer | | • | Act 2. Ein Maedchen oder Weibchen | | • | Act 2. Bald prangt, den Morgen zu verkuenden | | • | Act 2. Der, welcher wandelt diese Strasse voll Beschwerden | | • | Act 2. Tamino mein! O welch ein Glueck! | | • | Act 2. Triumph, Triumph, Triumph, du edles Paar | | • | Act 2. Papagena! | | • | Act 2. Pa-pa-gena! Pa-pa-geno! | | • | Act 2. Nur stille! | | • | Act 2. Die Strahlen der Sonne |
Disc 5
| • | Overture | | • | Act 1. Cinque, dieci, venti | | • | Act 1. Se a caso Madama | | • | Act 1. Se vuol ballare | | • | Act 1. La vendetta, oh, la vendetta | | • | Act 1. Via resti servita, madama brillante | | • | Act 1. Non so piu cosa son, cosa faccio | | • | Act 1. Cosa sento! | | • | Act 1. Giovani liete, fiori spargete | | • | Act 1. Non piu andrai | | • | Act 2. Porgi, amor | | • | Voi, che sapete che cosa e amor | | • | Act 2. Venite, inginocchiatevi | | • | Act 2. Susanna, or via sortite | | • | Act 2. Aprite, presto, aprite | | • | Act 2. Esci omai, garzon mainato | | • | Act 2. Signore! Cos'e quel stupore? | | • | Act 2. Conoscete, signor Figaro | | • | Act 2. Voi signor, che giusto siete |
Disc 6
| • | Act 3. Crudel! Perche finora farmi languir cosi? | | • | Act 3. Hai gia vinto la causa! Vedro, mentr'io sospiro | | • | Act 3. Riconosci in quest'amplesso | | • | Act 3. E Susanna non vien! Dove sono | | • | Act 3. Sull'aria | | • | Act 3. Ricevete, o padroncina | | • | Act 3. Ecco la marcia. Amanti costanti | | • | Act 4. L'ho perduta, me meschina! | | • | Act 4. Tutto e disposto. Aprite un po' quegli occhi | | • | Act 4. Giunse alfin il momento. Deh, vieni, non tardar | | • | Act 4. Pian, pianin, le andro piu presso | | • | Act 4. Tutto e tranquillo e placido | | • | Act 4. Pace, pace, mio dolce tesoro | | • | Act 4. Gente, gente, all'armi, all'armi! |
Disc 7
| • | Wie schoen ist die Prinzessin Salome heute Nacht! | | • | Nach mir wird einer kommen | | • | Ich will nicht bleiben | | • | Siehe, der Herr is gekommen | | • | Jauchze nicht du Land Palaestina | | • | Du wirst das fuer mich tun | | • | Wo ist er, dessen Suendenbecher jetzt voll ist? | | • | Jochanaan! Ich bein verliebt in deinen Leib | | • | Wird dir nicht bange, Tochter der Herodias? | | • | Wo ist Salome? Wo ist die Prinzessin? | | • | Es ist kalt hier | | • | Salome, komm, trink Wein mit mir | | • | Sieh, die Zeit ist gekommen | | • | Wahrhaftig, Herr, is waere besser | | • | Siehe, der Tag ist nahe |
Disc 8
| • | Eine Menge Menschen wird sich gegen sie sammeln | | • | Tanz fuer mich, Salome | | • | Dance of the Seven Veils | | • | Ah! Herrlich! Wundervoll! Wundervoll! | | • | Still, sprich nicht zu mir! | | • | Salome, bedenk, was du tun willst | | • | Wer hat meinen Ring genommen? | | • | Es ist kein Laut zu vernehmen | | • | Ah! Du wolltest mich nicht deinen Mund kuessen | | • | Sie ist ein Ungeheuer, deine Tochter | | • | Ah! Ich habe deinen Mund gekuesst, Jochanaan |
Disc 9
| • | Act 1. Scene 1. Si, corre voce che l'Etiope ardisca | | • | Act 1. Scene 1. Se quel guerrier io fossi! | | • | Act 1. Scene 1. Se quel guerrier io fossi! | | • | Act 1. Scene 1. Celeste Aida | | • | Act 1. Scene 1. Quale insolita gioia nei tuo sguardo! | | • | Act 1. Scene 1. Vieni, o diletta, appressanti | | • | Act 1. Scene 1. Alta cagion v'aduna | | • | Act 1. Scene 1. Su! del Nilo al sacro lido | | • | Act 1. Scene 1. Ritorna vincitor! | | • | Act 1. Scene 2. Possente, possente Ftha | | • | Act 1. Scene 2. Sacred dance of the Priestesses. Mortal, diletto ai numi | | • | Act 1. Scene 2. Nume, custode e vindice |
Disc 10
| • | Act 2. Scene 1. Chi mai fra gi'inni e i plausi | | • | Act 2. Scene 1. Dance of the Moorish slaves | | • | Act 2. Scene 1. Vieni, sul crin ti piovano | | • | Act 2. Scene 1. Fu la sorte dell'armi a' tuoi funesta | | • | Act 2. Scene 1. Pieta ti prenda del mio dolor | | • | Act 2. Scene 1. Su! del Nilo al sacro lido | | • | Act 2. Scene 2. Gloria all'Egitto, ad Iside | | • | Act 2. Scene 2. Triumphal March | | • | Act 2. Scene 2. Ballet | | • | Act 2. Scene 2. Vieni, o guerriero vindice | | • | Act 2. Scene 2. Salvator della patria | | • | Act 2. Scene 2. Che veggo! Egli? Mio padre! | | • | Act 2. Scene 2. Il dolor che in quel volto favella | | • | Act 2. Scene 2. O Re, p;ei sacri numi,Gloria all'Egitto, ad Iside |
Disc 11
| • | Act 3. O tu che sei d'Osiride | | • | Act 3. Vieni d'Iside al tempio | | • | Act 3. Qui Radames verra! | | • | Act 3. O patria mia | | • | Act 3. Ciel! mio padre! | | • | Act 3. Rivedrai le forest imbalsamate | | • | Act 3. Pur ti riveggo, mia dolce Aida | | • | Act 3. Nel fiero anelito di nuova guerra | | • | Act 3. Fuggiam gli ardori inospiti. La, tra foreste vergini | | • | Act 3. Ma dimmi: per qual via | | • | Act 4. Scene 1. L'abborrita rivale a me sfuggia | | • | Act 4. Scene 1. Gia i sacerdoti adunansi | | • | Act 4. Scene 1. Ohime! morir mi sento! | | • | Act 4. Scene 1. Spirto del nume, sovra noi discende! | | • | Act 4. Scene 1. A lui vivo, la tomba! | | • | Act 4. Scene 2. La fatal pietra sovra me si chiuse | | • | Act 4. Scene 2. O terra, addio |
Disc 12
| • | Kyrie. Kyrie eleison | | • | Kyrie. Christe eleison | | • | Kyrie. Kyrie eleison | | • | Gloria. Gloria in excelsis Deo | | • | Gloria. Laudamus te | | • | Gloria. Gratias agimus tibi | | • | Gloria. Domine Deus | | • | Gloria. Qui tollis peccata mundi | | • | Gloria. Qui sedes ad dexteram Patris | | • | Gloria. Quoniam tu solus sanctus | | • | Gloria. Cum Sancto Spiritu |
Disc 13
| • | Credo. Credo in unum Deum | | • | Credo. Patrem omnipotentem | | • | Credo. Et in unum Dominum | | • | Credo. Et incarnatus est | | • | Credo. Crucifixus | | • | Credo. Et resurrexit | | • | Credo. Et in Spiritum Sanctum Dominum | | • | Credo. Confiteor | | • | Credo. Et exspecto | | • | Sanctus. Sanctus | | • | Sanctus. Osanna in excelsis | | • | Sanctus. Benedictus | | • | Sanctus. Osanna in excelsis | | • | Agnus Dei. Agnus Dei | | • | Agnus Dei. Dona nobis pacem | | • | Duet. Christe eleison | | • | Aria. Laudamus te | | • | Duet. Et in unum Dominum |
Disc 14
| • | Selig sind, die da Leid tragen | | • | Denn alles Fleisch, es ist wie Gras | | • | Herr, lehre doch mich | | • | Wie lieblich sind deine Wohnungen | | • | Ihr habt non Traurigkeit | | • | Denn wir haben hier keine bleibende Stadt | | • | Selig sind die Toten |
Disc 15
| • | 1. Kyrie | | • | 2. Gloria | | • | 2. Qui tollis | | • | 2. Quoniam tu solus Sanctus | | • | 3. Credo | | • | 3. Et incarnatus est | | • | 3. Et ressurxit | | • | 4. Sanctus | | • | 4. Benedictus |
Disc 16
| • | 5. Agnus Dei | | • | 5. Dona nobis pacem | | • | Abscheulicher! | | • | Komm Hoffnung | | • | 1. Fruehling | | • | 2. Beim schlafengehen | | • | 3. Im Abendrot | | • | 4. September |
Disc 17
| • | Overture | | • | Act One. Scene One. Suse, Liebe Suse, was Raschelt im Stroh? | | • | Act One. Scene One. So recht! Und willst du nun nicht mehr klagen | | • | Act One. Scene One. Bruderchen, komm tanz mit mir | | • | Act One. Scene Two. Holla!... Himmel! | | • | Act One. Scene Two. Marsch! Fort in den Wald! | | • | Act One. Scene Three. Ra la la la, heissa, Mutter, ich bin da! | | • | Act One. Scene Three. Ho, ho! Wer spek-spekta-kelt mir | | • | Act One. Scene Three. Doch halt, wo bleiben die Kinder? | | • | Act One. Scene Three. Wenn sie sich verirrten im Walde dort | | • | Act One. Scene Three. Eine Hex steinalt | | • | Act One. Scene Three. Witch's Rdie | | • | Act Two. Scene One. Eine Mannlein steht im Walde | | • | Act Two. Scene One. Meine Erbelkoerbchen ist voll bis oben! | | • | Act Two. Scene One. Gretel, ich weiss den weg nicht mehr! | | • | Act Two. Scene Two. Der kleine Sandmann bin ich, s-t! | | • | Act Two. Scene Two. Abends will ich schlafen gehn | | • | Act Two. Scene Three. Dream Pantomime |
Disc 18
| • | Prelude | | • | Act Three. Scene One. Der kleine Taumann heiss' ich | | • | Act Three. Scene One. Wo bin ich? | | • | Act Three. Scene Two. Bleib stehn! | | • | Act Three. Scene Two. Wier duftet's von dorten | | • | Act Three. Scene Three. Knusper, knusper, Knaeauschen | | • | Act Three. Scene Three. Ich bin Rosine Leckermaul | | • | Act Three. Scene Three. Halt!... Hoskuspokus | | • | Act Three. Scene Three. Nun, Gretel, sei vernunftig und nett! | | • | Act Three. Scene Three. Hur hop hop hop | | • | Act Three. Scene Three. Auf! Wach auf, mein Juengelchen | | • | Act Three. Scene Three. Juchhei! Nun ist die Hexe tot | | • | Act Two. Scene Four. Erloest, befreit, fuer alle Zeit! | | • | Act Two. Final Scene. Vater! Mutter! |
Disc 19
| • | Overture | | • | Act One. Scene One. La mia Dorabella capace non e | | • | Act One. Scene One. Cessate di schezar | | • | Act One. Scene One. E la fede delle femine | | • | Act One. Scene One. Schiccherie di poeti! | | • | Act One. Scene One. Una bella serenata | | • | Act One. Scene Two. Ah guarda sorella | | • | Act One. Scene Two. Mi par, che stamattina | | • | Act One. Scene Two. Barbaro fato! Vorrei dir, e cor non ho | | • | Act One. Scene Two. Stelle, Per Carita, Signor Alfonso | | • | Act One. Scene Two. Sento, O Dio, che questo piede | | • | Act One. Scene Two. O cielo, questo e il tamburo funesto | | • | Act One. Scene Two. Bella vita militar! | | • | Act One. Scene Two. Non v' e piu tempo | | • | Act One. Scene Two. Muoio d'affano!...Di scrivermi ogni giorno | | • | Act One. Scene Two. Oh, Dei, come veloce se ne va quella barca! | | • | Act One. Scene Two. Soave sia il vento | | • | Act One. Scene Two. Quante smorfie...quante buffonerie | | • | Act One. Scene Three. | | • | Act One. Scene Three. Ah, scostati! Smanie implacabili che m'agitate | | • | Act One. Scene Three. Signora Dorabella, Signora Fiordiligi | | • | Act One. Scene Three. In uomini, in soldati sperare fedelta? | | • | Act One. Scene Three. Despinetta!... Chi batte? | | • | Act One. Scene Three. Alla bella Despinetta | | • | Act One. Scene Three. | | • | Act One. Scene Three. Come scoglio immoto resta | | • | Act One. Scene Three. | | • | Act One. Scene Three. Non siate reitrosi | | • | Act One. Scene Three. E voi ridete? | | • | Act One. Scene Three. E avete ancora coraggio de fiatar? | | • | Act One. Scene Three. Un'aura amorosa del nostro tesoro | | • | Act One. Scene Three. E come credi che l'affar finira |
Disc 20
| • | Act One. Scene Four. Ah che tutto in un momento | | • | Act One. Scene Four. Si mora, si, si mora | | • | Act One. Scene Four. Eccovi il medico | | • | Act One. Scene Four. Dove son? Che loco e questo? | | • | Act One. Scene Four. Dammi un bacio, o mio tesoso | | • | Act Two. Scene One. Andate la, che siete | | • | Act Two. Scene One. Una donna a quindici anni | | • | Act Two. Scene One. Sorella, cosa dici? | | • | Act Two. Scene One. Prendero quel brunettino | | • | Act Two. Scene Two. Secondate, aurette amiche | | • | Act Two. Scene Two. Cos'e tal mascherata | | • | Act Two. Scene Two. La mano a me date | | • | Act Two. Scene Two. O che bella giornata | | • | Act Two. Scene Two. Il core vi dono | | • | Act Two. Scene Two. Ei parte...senti...ah no! | | • | Act Two. Scene Two. Per pieta, ben mio, perdona | | • | Act Two. Scene Two. Amico, abbiamo vinto! | | • | Act Two. Scene Two. Donne mie, la fate a tanti | | • | Act Two. Scene Two. In qual fiero contrasto | | • | Act Two. Scene Two. Traditio, schernito | | • | Act Two. Scene Two. Bravo, questa e costanza |
Disc 21
| • | Act Two. Scene Three. | | • | Act Two. Scene Three. | | • | Act Two. Scene Three. Comme tutto congiura | | • | Act Two. Scene Three. Fra gli amplessi in pochi isanti | | • | Act Two. Scene Three. Ah, poveretto me, cosa ho vedutto! | | • | Act Two. Scene Three. Tutti accusan le donne | | • | Act Two. Scene Three. Vittoria, padroncini! | | • | Act Two. Scene Four. Fate presto, o cari amici | | • | Act Two. Scene Four. Benedetti i doppi coniugi | | • | Act Two. Scene Four. E nel tuo, nel mio bicchiero | | • | Act Two. Scene Four. Miei signori, tutto e fatto | | • | Act Two. Scene Four. Bella vita militar! | | • | Act Two. Scene Four. Sani e salvi agli amplessi amorosi | | • | Act Two. Scene Four. No Signor, non e un notaio | | • | Act Two. Scene Four. Ah Signor, son rea di morte | | • | Act Two. Scene Four. A voi s'inchina | | • | Act Two. Scene Four. Fortunato l'uom che prende |
Disc 22
| • | Overture | | • | Barcarolle | | • | Vous qui faites l'endormie | | • | Dance of the Hours | | • | Intermezzo | | • | Intermezzo | | • | Intermezzo | | • | Intermezzo | | • | Act 4 Entr'acte | | • | Dance of the Persian Slaves | | • | In the Town of Kazan (Varlaam's Drinking Song) | | • | Act 3 Prelude | | • | Ella giammia m'amo | | • | Dormiro sol | | • | Act 2 Ballet Music |
Disc 23
| • | Overture | | • | Act One. Taubchen, das entflattert ist | | • | Act One. Hahahaha! | | • | Act One. Ich muss mir fur heute Abend Ausgang erschwindeln! | | • | Act One. Ach, ich darf nicht hin zu dir! | | • | Act One. Wie gluecklich die alte Tante ist | | • | Act One. Nein, mit solchen Advokaten | | • | Act One. Beruh'ge endlich diese Wut | | • | Act One. Rekurrieren, appellieren | | • | Act One. Also, noch verscharft die Strafe? | | • | Act One. Komm mit mir zum Souper | | • | Act One. Ja, was ist denn los? ihr tanzt und singt? | | • | Act One. So muss allein ich bleiben | | • | Act One. Er weint und tanzt zugleich | | • | Act One. Trinke, Liebchen, trinke schnell | | • | Act One. Mein Herr, was dachten Sie von mir | | • | Act One. Nein, nein, ich zweifle gar nicht mehr |
Disc 24
| • | Act Two. Ein Souper heut' uns winkt | | • | Act Two. Amusement! Amusement! | | • | Act Two. Ich lade gern mir Gaste ein | | • | Act Two. Das sind allerdings nationale Eigentuemlichkeiten | | • | Act Two. Ach, meine Herren und Damen | | • | Act Two. Mein Herr Marquis, ein Mann wie Sie | | • | Act Two. Na, Herr Marquis | | • | Act Two. Wie fliehen schnell die Stunden fort | | • | Act Two. Es ist also wirklich wahr | | • | Act Two. Dieser Anstand, so manierlich | | • | Act Two. Haha, lieber Marquis | | • | Act Two. Klaenge der Heimat | | • | Act Two. Ausgezeichnet, bravo! | | • | Act Two. Im Feuerstrom der Reben | | • | Act Two. Herr Chevalier, ich grusse Sie! | | • | Act Two. Genug, damit, genug! | | • | Act Three. Entr'acte | | • | Act Three. Hallo, also das is ein fideles Gefaengnis | | • | Act Three. Hahaha, da bin ich wieder in meinem Palais | | • | Act Three. Ah, der Herr Direktor ist schon da! | | • | Act Three. Spiel' ich die Unschuld vom Lande | | • | Act Three. Bravo, ganz entzueckend! | | • | Act Three. Ich stehe voll Zagen | | • | Act Three. Da Ssie alles wissen nun | | • | Act Three. Du wagst es, mir Vorwuerfe zu machen? | | • | Act Three. O Fledermaus, O Fledermaus |
Disc 25
| • | Prologue. Overture | | • | Prologue. Mein Herr Haushofmeister | | • | Prologue. Lieber Freund! Verschaffen sie mir die Geigen | | • | Prologue. O, ich moecht' vieles aendern Noch in zwoelfter Stund' | | • | Prologue. Das! fuer einen Bacchus! | | • | Prologue. Erst nach der Oper kommen wir daran | | • | Prologue. Nach meiner Oper? | | • | Prologue. Meine Partner! Meine erprobten Freunde! | | • | Prologue. Die Herrschaften stehen vom Tisch uuf! | | • | Prologue. Ariadne auf Naxos, Herr | | • | Prologue. Nein, Herr, so kommt es nicht! | | • | Prologue. Kindskopf! Merkt auf! Wir spielen mit in dem Stueck "Ariadne auf Naxos" | | • | Prologue. An ihre Plaetze, Meine Damen und Herrn! | | • | Opera. Overture | | • | Opera. Schlaeft sie? | | • | Opera. Ach! Wo war ich? | | • | Opera. Ein schoenes war, hiess Theseus-Ariadne | | • | Opera. Ach, so versuchet doch ein kleines Lied!...Lieben, Hassen, Hoffen, Zagen |
Disc 26
| • | Opera. Es gibt ein Reich | | • | Opera. Die Dame gibt mit truebem Sinn | | • | Opera. Grossmaechtige Prinzessin, wer verstuende nicht | | • | Opera. Huebsch gepredigt! Aber tauben Ohren! | | • | Opera. Ein schoenes Wunder! | | • | Opera. Circe, Circe, kannst du mich hoeren? Circe, Circe, ich konnte fliehen! | | • | Opera. Du schoenes Wesen! | | • | Opera. Bin ich ein Gott, schuf mich ein Gott | | • | Opera. Gibt es kein Hinueber? |
Disc 27
| • | Act One. Introduction | | • | Act One. Wie du warst! Wie du bist! | | • | Act One. Du bist mein Bub', du bist mein Schatz! | | • | Act One. Der Feldmarschall sitzt im krowatischen Wald | | • | Act One. Quinquin, es ist ein Besuch | | • | Act One. Selbstverstaendlich empfaengt mich Ihro Gnaden | | • | Act One. Hat Sie schon einmal mit einem Kavalier | | • | Act One. Macht das einen lahmen Esel aus mir? | | • | Act One. Geben mir Euer Gnaden den Grsaff' da | | • | Act One. Wollen Euer Gnaden leicht den jungen Herren da | | • | Act One. I komm' glei...Drei arme adelige Waisen | | • | Act One. Di rigori armato il seno | | • | Act One. Als Morgengabe, ganz separatim jedoch | | • | Act One. Mein lieber Hippolyte | | • | Act One. Da geht er hin, der aufgeblasene schlechte Kerl | | • | Act One. Ach, du bist wieder da! | | • | Act One. Die Zeit, die ist ein sonderbar' Ding | | • | Act One. Mein schoener Schatz | | • | Act One. Ich werd' jetzt in die Kirchen gehn |
Disc 28
| • | Act Two. Introduction | | • | Act Two. Ein ernster Tag, ein grosser Tag | | • | Act Two. In dieser feierlichen Stunde der Pruefung | | • | Act Two. Mir ist die Ehre widerfahren | | • | Act Two. Ich kenn' Ihn schon recht wohl | | • | Act Two. Jetzt aber kommt mein Herr Zukueunftiger | | • | Act Two. Brav, Faninal, Er weiss was sich gehoert | | • | Act Two. Wird kommen ueber Nacht | | • | Act Two. Hab' nichts dawider | | • | Act Two. Was Sie ist...Mit Ihren Augen voll Traenen | | • | Act Two. Herr Baron von Lerchenau! | | • | Act Two. Er muss mich pardonieren | | • | Act Two. Da lieg' ich! | | • | Act Two. Da... Herr Kavalier! |
Disc 29
| • | Act Three. Introduction and Pantomime | | • | Act Three. Hab'n Euer Gnaden noch weitre Befehle? | | • | Act Three. Nein, nein, nein, nein! I trink' kein Wein | | • | Act Three. Ach, lass Sie schon einmal das fade Wort! | | • | Act Three. Die schoene Musi! | | • | Act Three. Wie die Stund' hingeht | | • | Act Three. Halt! Keiner ruehrt sich! | | • | Act Three. Sind desto eher im Klaren! | | • | Act Three. Muss jetzt partout zu ihr!... Ihre hochfuerstliche Gnaden | | • | Act Three. Ist halt vorbei | | • | Act Three. Mein Gott, es war nicht mehr als eine Farce | | • | Act Three. Heut oder morgen oder den uebernaechsten Tag | | • | Act Three. Marie Theres'...Hab' mir's gelobt | | • | Act Three. Ist ein Traum, kann nicht wirklich sein | | • | Act Three. Ist ein Traum...Spuer' nur dich allein |
Disc 30
| • | Act One. Part One. Falstaff!... Ola! | | • | Act One. Part One. So che se andiam, la notte | | • | Act One. Part One. Ma e tempo d'assottigliar l'ingegno | | • | Act One. Part One. L'onore! Ladri!... lo stesso, si, io io | | • | Act One. Part Two. Alice!... Meg!... Nannetta! | | • | Act One. Part Two. Fulgida Alice! amor t'offro | | • | Act One. Part Two. Ripeti... In due parole | | • | Act One. Part Two. Pst, pst, Nannetta!... Vien qua... Labbra di foco! | | • | Act One. Part Two. Falstaff m'ha canzonata | | • | Act One. Part Two. Torno all'assalto... Torna alla gara | | • | Act One. Part Two. Udrai quanta egli sfoggia magniloquenza altera | | • | Act One. Part Two. Del tuo barbaro diagnostico | | • | Act Two. Part One. Siam pentiti e contriti | | • | Act Two. Part One. Reverenza! | | • | Act Two. Part One. Va, vecchio John | | • | Act Two. Part One. Signore, v'assista il cielo | | • | Act Two. Part One. Ve lo diro?. C'e a Windsor una dama | | • | Act Two. Part One. Lo conoscete?... Il diavolo se lo porti all'inferno | | • | Act Two. Part One. E sogno? o realta? | | • | Act Two. Part One. Eccomi qua. Son pronto |
Disc 31
| • | Act Two. Part Two. Presenteremo un 'bill' per una tassa al parlamento | | • | Act Two. Part Two. Giunta all'Albergo della Giarrettiera | | • | Act Two. Part Two. Gaie comari di Windsor! E l'ora! | | • | Act Two. Part Two. Alfin t'ho colto, raggiante fior | | • | Act Two. Part Two. T'immagino fregiata del mio stemma | | • | Act Two. Part Two. Quand'ero paggio del Duca di Norfolk | | • | Act Two. Part Two. Vien qua... Che chiasso! | | • | Act Two. Part Two. Al ladro! | | • | Act Two. Part Two. Facciamo le viste d'attendere ai panni | | • | Act Two. Part Two. Bella! ridente! | | • | Act Three. Part One. Ehi! Taverniere!... Io, dunque, avro? vissuto tanti anni | | • | Act Three. Part One. Buono. Ber del vin dolce | | • | Act Three. Part One. Reverenza! La bella Alice | | • | Act Three. Part One. T'aspettero? nel Parco Real | | • | Act Three. Part One. Brava! Quelle corna saranno la mia gioia! | | • | Act Three. Part One. Avro? con me dei putti | | • | Act Three. Part Two. Dal labbro il canto estasiato vola | | • | Act Three. Part Two. Nossignore! Tu indossa questa cappa | | • | Act Three. Part Two. Una, due, tre, quattro, cinque, sei | | • | Act Three. Part Two. Ninfe! Elfi! Silfi! Doridi! Sirene! | | • | Act Three. Part Two. Sul fil d'un soffio etesio |
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| Customer Reviews:
 warning August 25, 2008
4 out of 4 found this review helpful
This is a fabulous bargain for people new to this material, but be warned: EMI has not reissued their latest remasterings in this set. You can find a complete track listing for this set on EMI's website, complete with remastering dates, many of which are from the late 1980's. EMI's reliance on these is a shame because quite a lot of these operas are classics and have been recently remastered in EMI's Great Recordings, Great Artists etc series. Here is an (important) example: Karajan's 1947 recording of Brahms's Requiem was remastered in 2004 for EMI's Great Artists series, but its website lists the version used in this set as the remastering of 1987. I cannot compare the two remasterings, but I do know that the 2004 remastering shows the age of the recording (as is to be expected), and my guess is that the sound on the 1987 remastering is significantly inferior. Why would EMI reissue its earlier remasterings, in preference to its latest ones? Your guess is as good as mine.
 A big black box. May 29, 2008
4 out of 4 found this review helpful
This really is an extraordinary bargain. When you look at the merits of these recordings it is also an extraordinary achievement. The standard and inspiration maintained across 23 complete opera recordings is phenomenal. Many of these recordings are constantly referred to by experts, collectors and performers as contenders for best recordings, as classics or incredible artistic achievments (Rosenkavalier, Ariadne, Butterfly, Callas Trovatore, the first Meistersinger, Falstaff). Others may be slightly less worshipped but are considered excellent recordings ( the best, or close to by many including the Penguin guide)and are liked for their indiviual approach or interesting choice of singers (Aida, Don Carlo, Tristan, Figaro, Flute, Pelleas, Salome, Fledermaus, Hansel und Gretel etc).
There is only one real stinker ( the second Trovatore), and some of the choral recordings (however there are fascinating early Brahms and Bach recordings) and operas are not his best (only one or two though)but there are always fine moments, interesting approaches and amazing singers.
As for singers........it includes some of the finest; more of the most famous singers from the postwar 40 years that you can poke a stick at. I am looking foward to poking my stick at the recordings I do not know and finding more treasures, especially from the earlier recordings.
Karajan is criticised for being too controlling and for creating a sound that was too homogenous. One never gets a sense of this in his opera recordings where he chose a wide variety of singers and obviouslly revelled in the excitement they could bring to his music.
The presentation as mentioned in other reviews is not the best and the lack of information on the back of the sleeves is cheap...but then so is the box. Just buy it.
Priceless... at a very low price May 18, 2008
6 out of 6 found this review helpful
Most people considering this set are probably already familiar with Karajan's work and probably already own quite a few of his EMI recordings. Therefore, there really is no need for me to get into depth with regards to the quality of the Karajan's work or the recordings. It is at a bare minimum, satisfactory; in most cases excellent.
The real issue here is is it worth spending the money for this set, especially if you already have many of these recordings in the standard jewel case editions? The answer is a resounding yes! Depending on the number of jewel cases you already own, think of the amount of shelf space you will save with this box set. It measures a mere 10 1/2 inches in length, while containing a whopping 72 discs (71 music discs and 1 disc wherein the lyrics are available as PDF files). Donate your old ones to a library, give them to friends, or sell them as "new and used" on Amazon.
There are a couple problems with the packaging however. The first being, the discs are packaged in cardboard sleeves, which in turn are in a box, which in turn is slip-cased. You must be very careful when removing the slipcase because if the CDs are not facing up, they can and will fall out into a confusing mess.
The second problem is more problematic: The cardbord sleeves only list the "theme" of the disc or the title of the work. Even though this set is at a bargain price, one would think that EMI could have given a complete track listing on each sleeve. Yes, there is a booklet that does, but having to refer to it every time you put on a disc is not very convenient.
In summary, albeit the couple of packaging issues, this set is very much worth the money (at the time of this writing, $2/disc). It is so very complete and saves so much shelf space. And again, obviously, the conductor's works during this time period are invaluable.
Unbelievable deal May 8, 2008
8 out of 9 found this review helpful
I'm a beginner trying to find out what there is to like about opera. So far, I'm liking Verdi and am trying to find some best recordings. Scouting around on Amazon, people tend to go nuts about the Callas and Karajan recordings, so I went to the record store to buy a couple and came across this box. All of the ones I was looking at were in here, so this box was a deal immediately. Not to mention, there are about 20 operas that I don't know but clearly should so this lays down a decent project for the next couple years.
I recently bought a Bach complete works box from here (also an incredible deal) that has a similar benefit. You can figure out what you like and then buy better recordings if you so desire. However, the Karajan box actually gives you great recordings. You may want different interpretations later on, hopefully so, but your point of comparison from this box is a definitive reference point. Bach - less than a buck a disc (so so recordings) Karajan - ~2 bucks a disc superior recordings. How's that for apples and oranges? Both are some of the best money you can spend.
As a comparison point, the Karajan Mass in B Minor compares favorably with the Gardiner, better soloists, and is quite a bonus. Not saying better, just another quality version with a different take. Since that's the single piece of music that may stand to redeem the disasters of humanity, it's probably best to have a couple versions on hand.
Karajan 1946-1984 April 22, 2008
3 out of 3 found this review helpful
Karajan recorded leider in the 1940's. His first opera recording was done in 1950, the last in 1984. There are 71 CDs in this set with one CD of librettos in PDF format. If you really like Karajan, grab this, and the companion orchestral volume, before they disappear.
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