jueves, 26 de mayo de 2011


A 20th Century Opera Collection
Este espacio dedicado a la Opera del siglo XX, ya no sera alimentado con nuevas entregas ni reposiciones.
Los registros se mantendrán por lo que invitamos a descargar y, si es posible subir a otros blogs, que difundan la opera mas radical de toda la Hisitoria.
Fue un placer compartir.

sábado, 19 de febrero de 2011

Dmitri Shostakovich: Lady Macbeth of Mtsensk - Rostropovich

Dmitri Shostakovich: Lady Macbeth of Mtsensk - Rostropovich - London PO
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 695MB Label: EMI | Year of release: 2002 | ADD

Lady Macbeth of Mtsensk, Opera in 4 acts

Katerina Ismailova - Galina Vishnevskaya
Sergey - Nicolai Gedda
Boris Ismailov - Dimiter Petkov

London Philharmonic Orchestra
Mstislav Rostropovich

Amazon Review:

Written between 1930 and 1932, Lady Macbeth of Mtsensk was one of the most brilliant achievements of Shostakovich's long career. It was also the work that got him into trouble with Stalin. When the Soviet leader attended a performance in Moscow in 1936, almost two years after the opera's acclaimed Leningrad premiere, he personally ordered the publication of a scathing article in Pravda ("Muddle Instead of Music"), unleashing a ruthless campaign to reduce the arts in Soviet Russia to a state of dogmatic subservience to the regime. Lady Macbeth would disappear from the repertory for 30 years, and Shostakovich, despite his great gifts for opera, would focus his attention on symphonic and chamber music instead.

But what an opera this one was! Notwithstanding its title, it has nothing to do with Shakespeare's Macbeth and quite a lot to do with Dostoevsky (even though it's based on a story by another 19th-century writer, Nikolai Leskov). The plot has all the elements of a Russian epic--boredom, need, irresistible sexual longing, infidelity, murder, suicide--and the music is vintage Shostakovich, swinging between farce and tragedy with astonishing sureness, magnificently intense, deeply absorbing, yet approachable. The opera's climactic scenes are driven by music of incredible power, and there are pages of haunting lyric beauty as well, such as Katarina's aria in scene 3, or the extraordinary music that begins the love scene between Katarina and Sergey--mysterious, edgy, sensuous, and vast. It's all brought home on this recording, a labor of love from two of the composer's closest friends and greatest champions. Vishnevskaya, the great exponent of the role of Katarina, sings with untrammeled splendor, while Rostropovich, the supreme interpreter of the music of Shostakovich in our time, conducts a characterful, white-hot performance by the London Philharmonic. --Ted Libbey


Disc 1:
ACT 1 - Scene 1
1 Akh, nye spitsa ból'she, popróbuyu (Katerina) 2:26
2 V dyévkakh lúchshe býlo (Katerina) 2:58
3 Gribki sevódnya búdut? (Boris/Katerina) 3:52
4 Prigotóv otrávu dlya krys (Boris/Katerina) 1:34
5 Govorl! ... Plotinu-to na ... (Zinovy/Mill-hand/Boris/Chorus/Sergey/Coachman/Aksinya) 2:45
6 Proshcháy, Katerina (Zinoviy/Boris/Katerina) 2:50
7 Chevó vstal? Chevó ostanovilsa? (Aksinya/Boris) 1:39
8 Interlude (Orchestra) 2:43

ACT 1 - Scene 2
9 Ay! Ay! Ay! (Aksinya/Shabby peasant/Porter/Chorus/Steward/Sergey) 2:50
10 Bárynya!...Ay...Shto s tobóyu? (Shabby peasant/Aksinya/Katerina/Sergey) 2:24
11 A nu-s, pozvól'te rúku-s (Sergey/Katerina/Shabby peasant/Boris) 4:10
12 Interlude (Orchestra) 1:55

ACT 1 - Scene 3
13 Spat' porá. Dyen proshól (Katerina/Boris) 3:18
14 Zherebyónok k kobýlke torópitsa (Katerina) 5:46
15 Kto éto, kto, kto stuchit? (Katerina/Sergey) 3:16
16 Ya poydù...Proshcháy (Sergey/Katerina/Boris) 4:35

ACT 2 - Scene 4
17 Shto znáchit stárost' (Boris) 2:52
18 Pod óknami u chuzhikh (Boris) 2:39
19 Proshcháy, Kátya, proshcháay! (Sergey/Boris/Katerina/Chorus/Shabby peasant/Porter) 4:30
20 Ustál!....Prikázhete mnye postegát'? (Boris/Porter/Katerina) 2:39
21 V kladovúyu Sergéya záperli (Boris/Porter/Katerina) 3:50
22 Vidno, skóro uzh zaryá (Chorus/Boris/Foremen/Priest) 2:50
23 Bátya, ispovyédatsa (Boris/Priest/Foremen) 1:49
24 Akh, Boris Timoféyevich (Katerina/Priest) 2:20
25 Interlude (Orchestra) 6:43

Disc 2:
ACT 2 - Scene 5
1 Sergéy, Seryózha! (Katerina/Sergey) 1:58
2 Kátya, prikhódit konyéts lyubvi náshey (Katerina/Sergey) 2:80
3 Nye pechál'sa, Sergéy (Katerina/Sergey) 1:47
4 Opyát usnúl (Katerina/Ghost of Boris) 2:45
5 Nu? Chevó tebyé? (Sergey/Katerina) 2:43
6 Slúshay, Sergéy, Sergéy! (Katerina/Sergey) 1:13
7 Katerina!....Kto tam? (Zinoviy/Katerina/Sergey) 3:00
8 Tepyér shabásh (Sergey/Katerina) 3:40

ACT 3 - Scene 6
9 Shto ty tut stoish? (Sergey/Katerina/Shabby pesant) ... Interlude (Orchestra) 1:58
10 U menyá bylá kumá (Shabby peasant) 3:15
11 Interlude (Orchestra) 1:58

ACT 3 - Scene 7
12 Sózdan politséysky byl vo vrémya onó (Sergeant/Policemen) 4:20
13 U Izmaýlovoy seychás pir goróy (Sergeant/Policemen/Policman/Teacher) 2:40
14 Váshe blagorodie!...Chevó tebyé (Shabby peasant/Sergeant/Policemen) 1:13
15 Interlude (Orchestra) 2:23

ACT 3 - Scene 8
16 Sláva suprúgam (Chorus/Priest/Katerina) 5:10
17 Shto takóe? ..Zamók sórvan (Sergey/Chorus/Katerina/Priest/Drunken guest) 1:52
18 Shto takóe? Pózdno! (Katerina/Sergey/Policemen/Sergeant) 2:31

ACT 4 - Scene 9
19 Vyórsty odna za drugóy (Old convict/Chorus) 6:00
20 Stepánych! Propusti menyá (Katerina/Sentry/Sergey) 3:27
21 Nye lekhkó pósle pochóta da poklónov (Katerina) 2:48
22 Moyó pochtyénye! (Sergey/Sonyetka) 2:48
23 Ládno dostánu! (Sergey/Katerina) 2:59
24 Na chulki! Idyóm.Tepyér ty moyá (Sergey/Sonyetka/Katerina/Chorus/Woman convict/Sentry) 2:28
25 V lesú, v sámoy cháshche yest' ózero (Katerina) 3:37
26 Znáesh li, Sonyétka (Sergey/Sonyetka) 1:45
27 Vstaváy! Po mestám! Zh'vo (Officer/Chorus/Old convict) 2:40
28 Akh!...Bózhe moy! Shto takóe? (Sonyetka/Chorus/Officer/Old convict) 4:60


jueves, 13 de enero de 2011

Franz Schreker- Christophorus - Ulrich Windfuhr

Franz Schreker (1878-1934): Christophorus - Ulrich Windfuhr Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 460MB Label: CPO | Year of release: 2005 | DDD

Christophorus, oder "Die Vision einer Oper"
Opera in two acts, Prelude & Postlude

Meister Johann - Hans Georg Ahrens
Lisa - Susanne Bernhard
Cristoph - Jörg Sabrowski
Anselm - Robert Chafin

Kiel Opera Chorus & Philharmonic Orchestra
Ulrich Windfuhr

Opera Today Review:

How easy it might be to overlook this lesser-known Schreker opera, composed in 1928 and dedicated to Schreker’s good friend Arnold Schoenberg, here in its recorded debut. It has a quite curious libretto, complex and multilayered, and Schreker moves between what are at times quite disparate styles. The whole thing comes off at first blush like a kind of soup made of the leftovers of earlier post-romantic and expressionist idoms, and were it not for our warming sympathies on repeated listening, we might have happily consigned it to the dustbin of history.

Repeated listenings have not been sufficient to entirely sort out the improbable libretto. The story, set in large part in a sort of composer’s atelier, concerns three principal characters, Anselm, Lisa, and Christoph. Anselm is at work upon an opera about the legend of St. Christopher, in which Anselm himself, Lisa, and Christoph, a fellow composition apprentice, are all to play roles. Christopher, Christoph, fiction, real life–the thing’s a narrative muddle, from the dramatic Prelude on. The story comes off like a befuddled Pirandello: half a dozen characters, having found a librettist, now desperately in search of a composer.

Despite the curious nature of the narrative–no let’s get this straight, indeed uninhibited by the narrative–Schreker is in close to full form here. The score is well turned, moments of Berg’s Wozzeck blended with the later Strauss–Ariadne or Arabella . The characters are probable, believable in a kind of irritating way, since they demand a better story line. Anselm’s character, in its developing anger and cynicism, is a model of modernism, and his impassioned interactions with Lisa in Act I are very good operatic duets.

The opera is in two short acts, the first act and its dramatic prelude running just shy of an hour, the second running on 40 minutes. The latter is the tighter of the two: it contains several scenes of good drama and the run away characterizations of the first act settle down here into real persona. Throughout the opera, there is an unusual amount of dialogue, much of it accompanied–a sort of modernist melodrama, where spoken lines are cushioned by a lush, often quietly dissonant orchestral pad. In the whole of Act II, in fact, there is really only one “number,” per se, Scene 3 (track 4), Rosita’s lied. This is Schreker’s portrait of jazz (worthy of comparison with jazz portraits by Weill and Stravinsky), with lisping saxophones and a limpid barrelhouse piano. The lied, in fact, is structured like a duet, and set to a divided stage, on one side Rosita, on the other Christoph in a kind of evaporated opium dream that gradually takes over the stage. Elsewhere operatic “numbers” make an initial appearance, seem to hesitate, and then morph into something else. Now this is nothing new; in German opera, it has been going on at least since Weber’s Euryanthe . But Schreker turns it to his own modernist advantage. Scenes 5 and 6 constitute a lengthy operatic conjuring with a half a dozen characters (and what sounds like a theramin [but may be only a musical saw] and a creepy mandolin obligato) that, in its intensity, harkens back to Weber’s Freischutz Wolfglen scene. And there is a tiny Kinderlied (scene 8), reminiscent of Wozzeck , as well as a lengthier song for child’s voice in the Epilogue, responding in similar fashion to a hazy lied-like passage for Christoph (tracks 14 and 15).

The orchestral writing throughout the work is nothing short of excellent. Orchestral interludes, motivated or not, crop up repeatedly, and beg symphonic treatment. One of the longest of these extends from the end of scene 8 into scene 9 and then moves smoothly into a curious orchestral recitative of a selection from Lao Tzu, before moving into the conclusion of the opera.

On the whole the performance is smooth and competent, if the voices are mostly unexceptional. Hans Georg Ahrens does a most sympathetic Anselm, Susan Bernhard an occasionally uneven Lisa, and Joerg Sabrowski a rather cardboard Christoph. Two voices stand out as very good: Roland Holz, in a speaking role as the critic Starkmann, spoken with a lovely Berliner nasal, gritty and nicely irritating; and Hans Georg Ahrens, bass, as the composition master Johann, with a deep, noble resonance. The live recording is sensitive, with a minimum of boots clumping around on stage and a good set of microphones in the pit.

The booklet is of good use here, explaining the opera’s misfortunes in terms of the years after the First World War, Schreker’s career, the stylistic turns of fortune in which the opera got caught up, and a nice excurse on the stylistic politics of the day. For good measure, the booklet reproduces an “Introduction” penned by the composer, which would seem to explain the need for this twisted narrative (sometimes in unabashedly personal terms), but instead merely adds to the confusion. Schreker’s introduction reads like an apology, but in truth the only thing to be regretted here is the storyline.

It would be a shame to make this work simply an historical artifact, a product, warted, of its day and its composer’s traumas. There is enough good writing here, however, to make the opera worthy of our admiration without recourse to history. What we need now (now that most of Schreker’s opera are available in modern scores and good recordings) is a critical overview. It would be good to compare Christophorus with the “hits,” the better known Schreker operas such as Der ferne Klang , Die Gezeichneten , and Der Schatzgräber , not merely in historical terms (a subject interesting in their own right) but as possible entries into the canon of twentieth-century opera.

This recording stems from a three-part Schrecker cycle at the Kiel Opera from 2001 to 2003, under the artistic director, Kirsten Harms, the other two operas being the premier in full score of Die Flammen , Schreker’s first opera, and Das Spielwerk und die Prinzessin from 1913, perhaps the moment at which Schreker’s career was in fullest flower. The latter two operas are also available on the CPO label.

Murray Dineen


Disc: 1
1. Glocken
2. Prelude. Scene 1. Ihre Augen Listen
3. Prelude. Scene 2. Kennst du denn, Frederik
4. Prelude. Scene 3. Ein Quartett?
5. Prelude. Scene 4. Dort, dort seht hin!
6. Prelude. Scene 5. Schäm dich, du!
7. Prelude. Glocken
8. Act 1. Part 1. Scene 1. Ein Akt fügt sich ein
9. Act 1. Part 1. Scene 2. Niemand zu Hause?
10.Act 1. Part 1. Scene 3. Der zweite Akt, der formet sich klar.
11.Act 1. Part 1. Scene 4. Ah, da bist du!
12.Act 1. Part 1. Scene 5. Ich hatte stets Angst vor dir / Scene 6
13.Act 1. Part 1. Scene 7. So kam's!
14.Act 1. Part 1. Scene 8. Christoph! Christoph!
15.Act 1. Part 1. Scene 9. Da sind sie!
16.Act 1. Part 1. Scene 10. Die Versöhnung zu besiegeln
17.Act 1. Part 2. Scene 1. Ist mein Mann zu Hause!
18.Act 1. Part 2. Scene 2. Lisa, was soll dies Kostüm!
19.Act 1. Part 2. Zwischenspiel
20.Act 1. Part 2. Scene 3. Sie schläft. Noch ist sie schön
21.Act 1. Part 2. Scene 4. Ah - du sagst es?
22.Act 1. Part 2. Scene 4. Nach meinen Worten, nach meinen Klang.
23.Act 1. Part 2. Scene 4. Schönheit ist wie der blühende Baum.
24.Act 1. Part 2. Scene 4. Die Komödie ist aus.

Disc: 2
1. Glocken
2. Act 2. Scene 1. Ich bin außer mir
3. Act 2. Scene 2. Bravo etc.
4. Act 2. Scene 3. Schwer drückend des Tages Brunst
5. Act 2. Scene 4. Komm, komm - es schleichen Gespenster
6. Act 2. Scene 5. Hier sehen Sie, meine Damen und Herren
7. Act 2. Ich kann - nicht sehen - ein zweiter Wille / Scene 6.
8. Act 2. Scene 7. Verdammt, ein Licht
9. Act 2. Scene 8. Ihr lieben Leute, gebt eine Gabe
10.Act 2. Zwischenspiel
11.Postlude. Wer seine männliche Kraft erkennt
12.Postlude. Wie die Motte dem Licht
13.Postlude. Nun bin ich gewandert
14.Postlude. Aus deinen Augen, mein süßes Kind
15.Postlude. Die Welt des Teaters endet, versinkt
16.Postlude. Andante con rigore



sábado, 25 de diciembre de 2010

Leos Janácek-From the House of the Dead - Bohumil Gregor

Leos Janácek: Z mrtvého domu (From the House of the Dead) - Bohumil Gregor Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 545MB Label: Supraphon | Year of release: 2008 | ADD

Z mrtvého domu --(From the House of the Dead)
Opera in 3 Acts

Alexander Petrovich Goryanchikov - Václav Bednár
Aleia - Helena Tattermuschová
Luka Kuzmich - Beno Blachut

Prague National Theatre Chorus & Orchestra
Bohumil Gregor

Rec. 1965


This is the first CD release of the legendary 1964 production of Janacek's last opera by Bohumil Gregor and soloists of the National Theater. The vinyl release was awarded the prestigious Grand Prix du disque lyrique in Paris in 1978. The cast and direction of the recording reflect the National Theater production which premiered in April, 1964, breaking new ground in the interpretation of this work. Janacek wrote his last opera towards the very end of his life, and it wasn't premiered until 1930, two years after his death. He sketched out the script and wrote the libretto himself, basing it on Dostoevsky's novel The House of the Dead, which takes place in a Siberian prison camp, describing the fates of individual prisoners. The work is full of immense compassion for human suffering in that each of the stories demonstrates that a harsh environment and poverty were the main causes of the prisoners' crimes. This well-preserved recording not only presents a period interpretation of Janacek's work and the superior quality of the National Theater ensemble, but also an extraordinary musical experience, thanks to the unforgettable vocal performances.


Disk 1
1 Overture
2 Act I : Introduction "Today They?Ll Bring A Gentleman!"
3 Act I : "What?S Your Name?"
4 Act I : "Wretched Creature! It Resists!"
5 Act I : "Never Again Will My Eyes Behold My Birthplace"
6 Act I : "I, A Maiden, Went To A Fête"
7 Act I : "Alieia, Get Me A Thread!"
8 Act Ii : Introduction
9 Act Ii : "My Dear, Dear Alieia!"
10Act Ii : "Alexander Petrovich, There Will Be A Holiday"
11Act Ii : "Eh, I, Poor And Useless Man"
12Act Ii : "A Day Passes, Two, Three"
13Act Ii : "La, La, La..." "You Can'T White-Wash A Black Horse" The Play About Ked
14Act Ii : The Pantomime About The Miller?S Beautiful Wife
15Act Ii : "Nice Plays, Weren?T They?"

Disk 2

1 Act Iii : Introduction "Jesus, The Prophet Of God"
2 Act Iii : "O, Brothers! That Pain Is Nothing!"
3 Act Iii : "Ah, My Dear Children"
4 Act Iii : "You, Said Filka"
5 Act Iii : "And Filka Shouts"
6 Act Iii : "And I Was Drunk Right Up To The Wedding Day"
7 Act Iii : "The Next Day, Drunk As A Sod"
8 Act Iii : "Hou ? Hou! Hou ? Hou!" "Petrovich, I Have Offended You"

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martes, 2 de noviembre de 2010

Richard Strauss - Salome - Herbert von Karajan

Richrad Strauss (1864-1949): Salome - Herbert von Karajan - Wiener Philharmoniker
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 503MB
Label:EMI | Year of release: 1999 | ADD

Richrad Strauss (1864-1949): Salome - Herbert von Karajan - Wiener Philharmoniker
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 503MB
Label:EMI | Year of release: 1999 | ADD

Salome - Hildegard Behrens
Jochanaan - Jose Van Dam
Herodias - Agnes Baltsa
Herodes - Karl-Walter Bohm
Narraboth - Wieslaw Ochman

Wiener Philharmoniker
Herbert von Karajan

Recorded 1978

CD 1:

1. Wie schön ist die Prinzessin Salome heute Nacht!
2. Nach mir wird einer kommen
3. Ich will nicht bleiben
4. Siehe, der Herr ist gekommen
5. Jauchze nicht, du Land Palästina
6. Du wirst das für mich tun
7. Wo ist er, dessen Sündenbecher jetzt voll ist?
8. Jochanaan! Ich bin verliebt in deinen Leib
9. Wird dir nicht bange, Tochter der Herodias?
10. Wo ist Salome? Wo ist die Prinzessin?
11. Es ist kalt hier. Es weht ein Wind
12. Salome, komm, trink Wein mit mir
13. Sieh, die Zeit ist gekommen
14. Wahrhaftig, Herr es wäre besser
15. Siehe, der Tag is nahe, der Tag des Herrn


1. Eine Menge Menschen wird sich gegen sie sammeln
2. Tanz für mich, Salome
3. Tanz der Sieben Schleier/Dance of the Seven Veils
4. Ah! Herrlich! Wundervoll!
5. Still, sprich nicht zu mir!
6. Salome, bedenk, was du tun willst
7. Wer hat meinen Ring genommen?
8. Es ist kein Laut zu vernehmen
9. Ah, du wolltest mich nicht deinen Mund Küssen lassen
10. Sie ist ein Ungeheuer, deine Tochter
11. Ah! Ich habe deinen Mund geküsst



martes, 26 de octubre de 2010

Bartók - Bluebeard's Castle - Eliahu Inbal

Béla Bartók (1881-1945): Bluebeard's Castle - Eliahu Inbal - RSO Frankfurt
Opera | Early 20th Century | 1CD | EACRip | APE+LOG+CUE | Covers | RS.com | 265MB
Label:Denon | Year of release: 1994 | DDD

Judith: Katalin Szendrényi
Duke Bluebeard: Falk Struckmann

Radio Sinfonie Orchester Frankfurt
Eliahu Inbal
Rec. 1992

Amazon REVIEW:
There are more exciting, more strongly characterized recordings of this strange masterpiece. Kertesz (Decca), Dorati (Mercury) and Boulez (Sony or DGG) all present performances that absolutely brim with theatrical atmosphere; you can almost visualize how each performance would appear on stage. Inbal (like Fischer on Sony) takes a different tack. Inbal plays "Bluebeard" as interiorized mind-drama and, in a way, this is perfectly suited to the kind of theatre piece Bartok and his collaborator Bela Balasz created over 70 years ago. Like Debussy in "Pelleas and Melisande," Bartok in "Bluebeard's Castle" presents a drama that really occurs in someone's mind - Bluebeard's - or the author's - or the listener's. Sort of like theatrical chamber music ala Strindberg. Inbal's singers are not in the same league as Dorati's et al., but this is a recording that should be heard nevertheless. Wonderfully rich yet transparent sound from Denon.
T. Beers


1. Prologue
2. Curtain - beginning theme
3. Door 1
4. Door 2
5. Door 3
6. Door 4
7. Door 5
8. Door 6
9. Door 7



domingo, 10 de octubre de 2010

Hans Pfitzner: Palestrina - Otmar Suitner - Staatskapelle Berlin

Hans Pfitzner (1869-1949): Palestrina - Otmar Suitner - Staatskapelle Berlin
Opera | Early 20th Century | 3CD | EACRip | APE+LOG+CUE | Covers | RS.com | 857MB
Label: Berlin Classics | Year of release: 1990 | DDD

Palestrina, Musical Legend in three Acts

Palestrina - Peter Schreier
Borromeo - Siegfried Lorenz

Staatskapelle Berlin
Otmar Suitner
Rec. Live 1986-88

Musicweb review:

This Berlin Classics recording is up against considerable competition. The DG Kubelik version (427 417 2GC3) has been around on silver disc since 1989 having been recorded in the early 1970s. Kubelik is (and I speak from memory here) every bit the committed champion for a beloved neglected work. His starry cast is 1960s Golden Age with Karl Ridderbusch, Bernd Weikl, Dietrich Fischer-Dieskau, Hermann Prey, Helen Donath, Brigitte Fassenbaender and Nicolai Gedda as Palestrina.

Recorded nearly twenty years later the present set sounds very good while a scintilla of shrillness reportedly affects the DG set. That hint is not at all evident here. Technically and artistically this Berlin Classics box is a most satisfying set and one that although it does not supersede the glories of the DG set complements it and in some cases excels it. Both the orchestra and the loving empathy of the much undervalued Othmar Suitner are never in doubt. That is apparent from the opening bars. The singers and the performance generally benefit from the live environment and their ease, one with the other, must surely be down to their having grown together into the roles in the opera house. Peter Schreier's voice is more honeyed of tone than Fischer-Dieskau's in the earlier DG recording (which I recall from broadcast during the 1970s).

Rob Barnett

1. Palestrina, opera in 3 acts: Vorspiel
2. Palestrina, opera in 3 acts: Act 1. Scene 1. Schönste, ungnäd'ge Dame
3. Palestrina, opera in 3 acts: Act 1. Scene 2. Ighino, gut, daß ich dich seh!
4. Palestrina, opera in 3 acts: Act 1. Scene 3. Schönste, ungnäd'ge Dame
5. Palestrina, opera in 3 acts: Act 1. Scene 4. Der letzte Freund
6. Palestrina, opera in 3 acts: Act 1. Scene 5. (first part) Für Ihn! Sein Wesen will's
1. Palestrina, opera in 3 acts: Act 1. Scene 5. (conclusion) Nicht ich - schwach bin ich
2. Palestrina, opera in 3 acts: Act 1. Scene 6. Allein in dunkler Tiefe
3. Palestrina, opera in 3 acts: Act 1. Scene 7. Ighino, sieh doch, komm herein
4. Palestrina, opera in 3 acts: Act 2. Vorspiel
5. Palestrina, opera in 3 acts: Act 2. Scene 1. Noch eine Bank! Und Schnell!
6. Palestrina, opera in 3 acts: Act 2. Scene 2. Morone ist von Innsbruck schon herein
7. Palestrina, opera in 3 acts: Act 2. Scene 3. Ein liebreich würd'ger Herr
8. Palestrina, opera in 3 acts: Act 2. Scene 4. Zahlreich wird heit'di heilige Versammlung
1. Palestrina, opera in 3 acts: Act 2. Scene 5. Den Heil'gen Geist
2. Palestrina, opera in 3 acts: Act 2. Scene 6. Was nun! Was nun!
3. Palestrina, opera in 3 acts: Act 2. Scene 7. habt Ihr's gesehn?
4. Palestrina, opera in 3 acts: Act 3. Vorspiel
5. Palestrina, opera in 3 acts: Act 3. Scene 1. Wie lange sie bleiben
6. Palestrina, opera in 3 acts: Act 3. Scene 2. Ist Palestrine, der Meister, hier?
7. Palestrina, opera in 3 acts: Act 3. Scene 3. Nun schmiede mich