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• 
  

• 
  Anagni
  Anagni is an ancient town and comune in Latium, central Italy, in the hills east-southeast of Rome. It is a historical center in Ciociaria.
  Anagni appears today as a small medieval town, placed on the ridge of a hill (475 meters above sea level), with small twisting streets and steep lanes everywhere. It is built inside powerful Roman boundary walls, which seem to preserve, like a treasure-chest, its innumerable treasuries of art and history and its troubling modern contradictions.
  The built-up area initially included only the acropolis (the north-east zone comprising the Cathedral, Tufoli gate, and Piazza Dante) and partially defended by walls in opus quasi-quadratum (almost squared work). Under Roman domination, the map of the city changed, starting from the modification of the boundary walls. The archaic inhabited places spread out protected by the so-called Servian walls, made with stone blocks placed in alternate lines and dating back to the beginning of the 3rd century BC. Most of the boundary walls have been subjected to rebuilding and restorations in the course of the first millennium AD; but the most remarkable re-arrangement took place in the 16th century.
  
  wn.com/Anagni
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  Anzio
  Anzio is a city and comune on the coast of the Lazio region of Italy, about 56 km (35 mi) south of Rome.
  Well known for its seaside harbour setting, it is a fishing port and a departure point for ferries and hydroplanes to the Pontine Islands of Ponza, Palmarola and Ventotene. The city bears great historical significance as the site of a crucial Allied landing during World War II.
  Called Antium in ancient times, it was the capital of the Volsci people until it was conquered by the Romans.
  With the latter expansion of Rome it was just far enough away to be insulated from the riots and tumults of Rome. When Cicero returned from exile, it was at Antium that he reassembled the battered remains of his libraries, where the scrolls would be secure. Leading Romans built magnificent seaside villas at Antium. The Julian and Claudian emperors frequently visited it: Gaius Maecenas had a villa at Antium; both Emperor Caligula and Nero were born in Antium; the latter founded a colony of veterans and built a new harbour, the projecting moles of which still exist.
  
  wn.com/Anzio
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  Frosinone
  Frosinone (Italian: [ˌfroziˈnɔːne] ( listen)) is a town and comune in Lazio, central Italy, the administrative seat of the Province of Frosinone. It is located about 75 km south-east of Rome close to the Rome-Naples Autostrada A1. It is commonly identified as the capital of the geographical region of Ciociaria.
  Frosinone is located on a hill overlooking the valley of the Sacco River, and is surrounded by the Ernici and Lepini mountain ranges.
  East of Frosinone lies an early gothic Cistercian cloister.
  Media related to Frosinone at Wikimedia Commons
  
  
  
  wn.com/Frosinone
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  Monte Carlo
  Monte Carlo (French: Monte-Carlo, Occitan: Montcarles, Monégasque: Monte-Carlu) is an administrative area of the Principality of Monaco.
  Monte Carlo is widely known for its casino and its prominence. The permanent population is about 15,000 in Quarter. Monte Carlo quarter includes not only Monte Carlo proper where the Le Grand Casino is located, it also includes the neighbourhoods of Saint-Michel, Saint-Roman/Tenao, and the beach community of Larvotto. It is also one of Monaco's 10 wards, with a population of 3,500. It borders the French town of Beausoleil (sometimes referred to as Monte-Carlo-Supérieur).
  The "Monte Carlo" name is of Italian origin, meaning "Mount Charles" named after the Prince Charles III of Monaco during the time of his reign.
  Founded in 1866, Monte Carlo has a name of Italian origin meaning "Mount Charles", in honor of the then-reigning prince, Charles III of Monaco. The specific mountain is the escarpment at the foot of the Maritime Alps on which the town stands.
  The history of the area and the ruling Grimaldi family, however, dates back centuries. The port of Monaco is first mentioned in historical records as early as 43 BC, when Julius Caesar concentrated his fleet there while waiting in vain for Pompey. In the 12th century, the area fell under the sovereignty of Genoa, which was granted the entire coastline from Porto Venere to Monaco. After much conflict, the Grimaldis regained the rock in 1295, but suffered a significant amount of opposition in the ensuing years. In 1506 the Monegasques, under Lucien, Lord of Monaco, were under siege for some four months by the Genoan army, which had ten times the number of men. Monaco officially received full autonomy in 1524, but experienced difficulty retaining power, and on occasions briefly fell under the domination of Spain, Sardinia, and France.
  
  wn.com/Monte_Carlo
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  Naples
  Coordinates: 40°50′42″N 14°15′30″E / 40.845°N 14.25833°E / 40.845; 14.25833
  Naples (Italian: Napoli [ˈnaːpoli] ( listen), Neapolitan: Napule; Latin: Neapolis; Ancient Greek: Νεάπολις, meaning "new city") is the capital of Campania and the third-largest city in Italy, after Rome and Milan. As of 2012^[update], around 960,000 people live within the city's administrative limits. The wider Naples urban area, covering 777 km² (300 sq mi), has a population of over 3 million, and is the 10th-most populous urban area in the European Union. Between 4.1 and 4.4 million people live in the overall Naples metropolitan area, one of the largest European cities on the Mediterranean Sea.
  Naples is one of the oldest continuously inhabited cities in the world. Greek settlements were established on the island of Megaride in the Gulf of Naples as early as the 9th century BC. A larger mainland colony – initially known as Parthenope (Παρθενόπη) – developed around the 7th century BC, and was refounded as Neápolis (Νεάπολις) in the 5th century BC. Naples became a lynchpin of Magna Graecia and played a key role in the merging of Greek culture into Roman society, eventually becoming a cultural centre of the Roman Republic. Naples remained influential after the fall of the Western Roman Empire, serving as the capital city of the Kingdom of Naples between 1282 and 1816. Thereafter, in union with Sicily, it became the capital of the Two Sicilies until the unification of Italy in 1861. During the Neapolitan War of 1815, Naples strongly promoted Italian unification.
  
  wn.com/Naples
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  Opéra-Comique
  Coordinates: 48°52′15″N 2°20′16″E / 48.870962°N 2.337703°E / 48.870962; 2.337703
  The Opéra-Comique is a Parisian opera company, which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with, and for a time took the name of its chief rival the Comédie-Italienne at the Hôtel de Bourgogne, and was also called the Théâtre-Italien up to about 1793, when it again became most commonly known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique, and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the Salle Favart (the third on this site), is located in Place Boïeldieu, in the 2nd arrondissement of Paris, not far from the Palais Garnier, one of the theatres of the Paris Opéra. The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France, and to French opera. Its current mission is to reconnect with its history, and discover its unique repertoire, to ensure production and dissemination of operas for the wider public. Mainstays of the repertory at the Opéra-Comique during its history have included the following works which have each been performed more than 1,000 times by the company: Cavalleria Rusticana, Le chalet, La dame blanche, Le domino noir, La fille du régiment, Lakmé, Manon, Mignon, Les noces de Jeannette, Le pré aux clercs, Tosca, La bohème, Werther and Carmen, the last having been performed more than 2,500 times.
  
  wn.com/Opéra-Comique
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  Paris Commune
  The Paris Commune or Fourth French Revolution (French: La Commune de Paris, IPA: [la kɔmyn də paʁi]) was a government that briefly ruled Paris from March 18 (more formally, from March 28) to May 28, 1871. It existed before the split between anarchists and Marxists had taken place, and it is hailed by both groups as the first assumption of power by the working class during the Industrial Revolution. Debates over the policies and outcome of the Commune contributed to the break between those two political groups.
  In a formal sense, the Paris Commune simply acted as the local authority, the city council (in French, the "commune"), which exercised power in Paris for two months in the spring of 1871. However, the conditions in which it formed, its controversial decrees, and its violent end make its tenure one of the more important political episodes of the time.
  The Commune was the result of an uprising in Paris after France was defeated in the Franco-Prussian War. This uprising was chiefly caused by the disaster in the war and the growing discontent among French workers. The worker discontent can be traced to the first worker uprisings, the Canut Revolts, in Lyon and Paris in the 1830s (a Canut was a Lyonnais silk worker, often working on Jacquard looms).
  
  wn.com/Paris_Commune
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  Théâtre Lyrique
  The Théâtre Lyrique was one of four opera companies performing in Paris during the middle of the 19th century (the other three being the Opéra, the Opéra-Comique, and the Théâtre-Italien). The company was founded in 1847 as the Opéra-National by the French composer Adolphe Adam and renamed Théâtre Lyrique in 1852. It used four different theatres in succession, the Cirque Olympique, the Théâtre Historique, the Salle du Théâtre-Lyrique (now the Théâtre de la Ville), and the Salle de l'Athénée, until it ceased operations in 1872. The diverse repertoire of the company "cracked the strict organization of the Parisian operatic world by breaking away from the principle that institution and genre were of one substance." The company was generally most successful with revivals of foreign works translated into French, particularly operas by Gluck, Mozart, Weber, and Verdi, but probably is most remembered today for having given the first performance in Paris of Wagner's Rienzi, as well as the premieres of operas by French composers, in particular Georges Bizet's Les pêcheurs de perles, Hector Berlioz's Les Troyens à Carthage, Charles Gounod's Roméo et Juliette, and above all Gounod's Faust, the opera performed most often by the Théâtre Lyrique, and still one of the most popular operas throughout the world. After the company ended operations in 1872 several short-lived companies revived the name, most notably Albert Vizentini's Théâtre National Lyrique (1876–1878), but none were as successful as the original.
  
  wn.com/Théâtre_Lyrique
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  Venice
  Venice (Italian: Venezia [veˈnɛttsja] ( listen), Venetian: Venexia [veˈnɛsja]; (Latin: Venetia) is a city in northeast Italy sited on a group of 118 small islands separated by canals and linked by bridges. It is located in the marshy Venetian Lagoon which stretches along the shoreline between the mouths of the Po and the Piave Rivers. Venice is renowned for the beauty of its setting, its architecture and its artworks. The city in its entirety is listed as World Heritage Site, along with its lagoon.
  Venice is the capital of the Veneto region. In 2009, there were 270,098 people residing in Venice's comune (the population estimate of 272,000 inhabitants includes the population of the whole Comune of Venezia; around 60,000 in the historic city of Venice (Centro storico); 176,000 in Terraferma (the Mainland), mostly in the large frazioni of Mestre and Marghera; 31,000 live on other islands in the lagoon). Together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area (PATREVE) (population 1,600,000).
  
  wn.com/Venice

• Adolphe de Leuven
  Adolphe de Leuven (1800 – 14 April 1884) was a French theatre director and a librettist. Also known as Grenvallet, and Count Adolph Ribbing. He was the son of Adolph Ribbing.
  He produced over 170 plays and librettos, with operatic settings by Adam including Le postillon de Lonjumeau, Clapisson and Thomas.
  He was associated with the Opéra-Comique for fifty years and was co-director from 1862-1874. He resigned in protest at the on-stage murder in Carmen.
  
  wn.com/Adolphe_de_Leuven
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  Alphonse Daudet
  Alphonse Daudet (13 May 1840 – 16 December 1897) was a French novelist. He was the father of Léon Daudet and Lucien Daudet.
  Alphonse Daudet was born in Nîmes, France. His family, on both sides, belonged to the bourgeoisie. The father, Vincent Daudet, was a silk manufacturer — a man dogged through life by misfortune and failure. Alphonse, amid much truancy, had a depressing boyhood. In 1856 he left Lyon, where his schooldays had been mainly spent, and began life as a schoolteacher at Alès, Gard, in the south of France. The position proved to be intolerable and Daudet said later that for months after leaving Alès he would wake with horror, thinking he was still among his unruly pupils.
  On 1 November 1857, he abandoned teaching and took refuge with his brother Ernest Daudet, only some three years his senior, who was trying, "and thereto soberly," to make a living as a journalist in Paris. Alphonse took to writing, and his poems were collected into a small volume, Les Amoureuses (1858), which met with a fair reception. He obtained employment on Le Figaro, then under Cartier de Villemessant's energetic editorship, wrote two or three plays, and began to be recognized, among those interested in literature, as possessing individuality and promise. Morny, Napoleon III's all-powerful minister, appointed him to be one of his secretaries — a post which he held till Morny's death in 1865 — and showed Daudet no small kindness. Daudet had put his foot on the road to fortune.
  
  wn.com/Alphonse_Daudet
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  Camille Saint-Saëns
  Charles-Camille Saint-Saëns (French pronunciation: [ʃaʁl kamij sɛ̃sɑ̃s]; 9 October 1835 – 16 December 1921) was a French late-Romantic composer, organist, conductor, and pianist. He is known especially for The Carnival of the Animals, Danse macabre, Samson and Delilah, Piano Concerto No. 2, Cello Concerto No. 1, Havanaise, Introduction and Rondo Capriccioso, and his Symphony No. 3 (Organ Symphony).
  Saint-Saëns was born in Paris, France, on 9 October 1835. His father, a government clerk, died three months after his birth. He was raised by his mother, Clémence, with the assistance of her aunt, Charlotte Masson, who moved in. Masson introduced Saint-Saëns to the piano, and began giving him lessons on the instrument. At about this time, age two, Saint-Saëns was found to possess perfect pitch. His first composition, a little piece for the piano dated 22 March 1839, is now kept in the Bibliothèque nationale de France. Saint-Saëns's precocity was not limited to music. He learned to read and write by age three, and had some mastery of Latin by the age of seven. His first public concert appearance occurred when he was five years old, when he accompanied a Beethoven violin sonata. He went on to begin in-depth study of the full score of Don Giovanni. In 1842, Saint-Saëns began piano lessons with Camille-Marie Stamaty, a pupil of Friedrich Kalkbrenner, who had his students play the piano while resting their forearms on a bar situated in front of the keyboard, so that all the pianist's power came from the hands and fingers but not the arms. At ten years of age, Saint-Saëns gave his debut public recital at the Salle Pleyel, with a performance of Mozart's Piano Concerto No. 15 in B-flat major (K. 450), and various pieces by Handel, Kalkbrenner, Hummel, and Bach. As an encore, Saint-Saëns offered to play any of Beethoven's 32 piano sonatas from memory. Word of this incredible concert spread across Europe, and as far as the United States with an article in a Boston newspaper.
  
  wn.com/Camille_Saint-Saëns
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  Carl Maria von Weber
  Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 4–5 June 1826) was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.
  Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotiv technique to a hitherto-unprecedented degree, while Oberon anticipated Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.
  A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück (Concert Piece) in F minor, which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, was later orchestrated by Berlioz, while his Polacca Brillante was later orchestrated by Liszt.
  
  wn.com/Carl_Maria_von_Weber
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  Charles Gounod
  Charles-François Gounod (French pronunciation: [ʃaʁl fʁɑ̃swa ɡuno]; 17 June 1818 – 17 October or 18 October 1893) was a French composer, known for his Ave Maria as well as his operas Faust and Roméo et Juliette.
  Gounod was born in Paris, the son of a pianist mother and an artist father. His mother was his first piano teacher. Under her tutelage, Gounod first showed his musical talents. He entered the Paris Conservatoire, where he studied under Fromental Halévy and Pierre Zimmermann (he later married Zimmermann's daughter). In 1839, he won the Prix de Rome for his cantata Fernand. He was following his father; François-Louis Gounod (d. 1823) had won the second Prix de Rome in painting in 1783. During his stay of four years in Italy, Gounod studied the music of Palestrina and other sacred works of the sixteenth century; these he never ceased to cherish. Around 1846-47 he gave serious consideration to joining the priesthood, but he changed his mind before actually taking holy orders, and went back to composition. During that period, he was attached to the Church of Foreign Missions in Paris.
  
  wn.com/Charles_Gounod
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  Charles Lecocq
  Alexandre Charles Lecocq (June 3, 1832, Paris – October 24, 1918, Paris) was a French musical composer. He was admitted into the Conservatoire in 1849, being already an accomplished pianist. He studied under François Bazin, François Benoist, and Fromental Halévy, winning the first prize for harmony in 1850, and the second prize for fugue in 1852. He first gained notice by sharing with Georges Bizet the first prize for an operetta in a competition instituted by Jacques Offenbach.
  His opéra comique, Le Docteur Miracle, was performed at the Théâtre des Bouffes Parisiens in 1857. After that he wrote constantly for theatres, but produced nothing especially successful until Fleur-de-thé (1868), which ran for more than a hundred nights. Les cent vierges (1872) was also favorably received.
  Yet all his previous successes were cast into the shade by La fille de Madame Angot (Brussels, 1872), which in Paris in 1873 was performed for more than 400 nights consecutively, and which has since gained and retained enormous popularity. After 1873, Lecocq produced a large number of operettas, though he never equalled his early triumph in La fille de Madame Angot. Camille Saint-Saëns was a friend of Lecocq's, and never ceased to admire the latter's music.
  
  wn.com/Charles_Lecocq
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  Daniel Auber
  Daniel François Esprit Auber (French pronunciation: [daɲɛl fʁɑ̃swa ɛspʁi obɛːʁ]) (29 January 1782 – 12/13 May 1871) was a French composer.
  The son of a Paris print-seller, Auber was born in Caen in Normandy. Though his father expected him to continue in the print-selling business, he also allowed his son to learn how to play several musical instruments. His first teacher was the Tirolean composer, Josef Alois Ladurner (1769–1851). At the age of 20 Auber was sent to London for business training, but he was obliged to leave England in 1804 when the Treaty of Amiens was breached.
  Auber had already attempted musical composition, and at this period produced several concertos pour basse, modeled after violoncellist Lamarre, in whose name they were published. The praise given to his concerto for the violin, which was played at the Paris Conservatoire by Mazas, encouraged him to undertake a resetting of an old comic opera, Julie (1811). He also began to study with the renowned Luigi Cherubini.
  In 1813 the unfavourable reception of his one-act debut opera Le Séjour militaire put an end for some years to his attempts as composer. But his failure in business, and the death of his father in 1819, compelled him once more to turn to music. He produced another opera, Le Testament et les billets-doux (1819), which was no better received than the former. But he persevered, and the next year was rewarded by the complete success of La Bergère châtelaine, an opera in three acts.
  
  wn.com/Daniel_Auber
• Donald Jay Grout
  Donald Jay Grout (Sept. 28, 1902 - Mar. 9, 1987) was an American musicologist.
  Grout attended Syracuse University and graduated with a degree in philosophy in 1923. He took his Ph.D. at Harvard University in 1939. He taught at Harvard from 1936 to 1942, at the University of Texas from 1942 to 1945 and at Cornell University until 1970.
  Early in his career, Grout's main body of research was in opera. After 1960 he became more interested in philosophies of music history, due in large part to his publication of a general music history textbook, A History of Western Music. This work, which has gone through seven editions as of 2008 and whose later editions were co-written by Claude Palisca and then J. Peter Burkholder after Grout's death, was the foremost English-language general history of music used in colleges and universities in the late 20th century.
  Grout also performed as a pianist and organist up until the early 1950s. He served as editor of JAMS from 1948 to 1951, and was president of the American Musicological Society (1952-54, 1960-62) and the International Musicological Society (1961-64).
  
  wn.com/Donald_Jay_Grout
• Edward Greenfield
  Edward Greenfield (born 1928, Westcliff-on-Sea, England) is an English music critic and broadcaster. He joined the Manchester Guardian in 1953, working as a lobby correspondent in the House of Commons. He has been a record critic for the newspaper since 1955, a music critic since 1964, and was chief music critic from 1977 until his retirement in 1993. He has contributed to Gramophone magazine since 1960, and has been joint editor of The Stereo Record Guide since 1960. A regular broadcaster on the BBC, he presented classical music programmes on the World Service, including The Greenfield Collection, and was a regular contributor to the 'Building a Library' feature of Radio 3's Record Review (now CD Review) for many years.
  He is the author of monographs on Puccini (1958), Joan Sutherland (1972) and André Previn (1973). He was awarded the OBE in 1994.
  Extracts from Edward Greenfield’s memoirs can be found here.
  
  wn.com/Edward_Greenfield
• Edward J. Dent
  Edward Joseph Dent, generally known by his initials as E. J. Dent (16 July 1876, Ribston, Yorkshire – 22 August 1957, London) was a British writer on music.
  Educated at Eton and King's College, Cambridge, Dent was Professor of Music at Cambridge University from 1926 to 1941. He was President of the I.S.C.M. from its foundation in 1922 until 1938. He was a governor of Sadler's Wells Opera, and translated many libretti for it. He wrote influential books on Alessandro Scarlatti, Ferruccio Busoni, Handel, English Operas and the operas of Mozart.
  
  
  
  
  
  wn.com/Edward_J._Dent
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  El Cid
  Rodrigo Díaz de Vivar (1043 – July 10, 1099), known as El Cid Campeador (Spanish pronunciation: [el ˈθið kampeaˈðor], "The lord-master of military arts"), was a Castilian nobleman, military leader, and diplomat. Exiled from the court of the Spanish Emperor Alfonso VI of León and Castile, El Cid went on to command a Moorish force consisting of Muladis, Berbers, Arabs and Malians, under Yusuf al-Mu'taman ibn Hud, Moorish king of the northeast Al-Andalus city of Zaragoza, and his successor, Al-Mustein II.
  After the Christian defeat at the Battle of Sagrajas in 1086, El Cid was recalled to service by Alfonso VI, and commanded a combined Christian and Moorish army, which he used to create his own fiefdom in the Moorish Mediterranean coastal city of Valencia.
  Rodrigo Díaz was educated in the royal court of Castile and became the alférez, the chief general, of Alfonso VI, and his most valuable asset in the fight against the Moors.
  The name El Cid (Spanish: [el ˈθid]) comes from the article el (which means "the" in both Spanish and Arabic), and the dialectal Arabic word سيد sîdi or sayyid, which means "Lord" or "The Master". The title Campeador means "champion" or "challenger" in Spanish. Because of his exceeding prowess in arms, he was the natural challenger in single combats. In Spanish warfare, it was common for leaders of armies to pit two Champions against each other (similar to the story of David and Goliath) to determine the outcome of the conflict. This way neither side would lose a great number of men. The Cid was the champion of King Alfonso VI of Castile. He had gained the title of "Campeador" when he won victory on behalf of Alfonso against the forces of Granada.
  
  wn.com/El_Cid
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  Emmanuel Chabrier
  Emmanuel Chabrier (pronounced: [ɛmanɥɛl ʃabʁie]; January 18, 1841 – September 13, 1894) was a French Romantic composer and pianist. Although known primarily for two of his orchestral works, España and Joyeuse marche, he left an important corpus of operas (including the increasingly popular L'étoile), songs, and piano music as well. These works, though small in number, are of very high quality, and he was admired by composers as diverse as Debussy, Ravel, Richard Strauss, Satie, Schmitt, Stravinsky, and the group of composers known as Les six. Stravinsky alluded to España in his ballet Petrushka, Ravel wrote that the opening bars of Le roi malgré lui changed the course of harmony in France, Poulenc wrote a biography of the composer, and Richard Strauss conducted the first staged performance of Chabrier's incomplete opera Briséïs.
  Chabrier was also associated with some of the leading writers and painters of his time. He was especially friendly with the painters Claude Monet and Édouard Manet, and collected Impressionist paintings before Impressionism became fashionable. A number of such paintings from his personal collection are now housed in some of the world's leading art museums.
  
  wn.com/Emmanuel_Chabrier
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  Enrico Caruso
  Enrico Caruso (Italian pronunciation: [enˈriːko kaˈruːzo]) (February 25, 1873 – August 2, 1921) was an Italian tenor. He sang to great acclaim at the major opera houses of Europe and North and South America, appearing in a wide variety of roles from the Italian and French repertoires that ranged from the lyric to the dramatic. Caruso also made approximately 290 commercially released recordings from 1902 to 1920. All of these recordings, which span most of his stage career, are available today on CDs and as digital downloads.
  Caruso's 1904 recording of "Vesti la giubba" from Leoncavallo's opera Pagliacci was the first sound recording to sell a million copies.
  Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera before he died from an infection at the age of 48. His fame has lasted to the present day despite the limited marketing and promotional vehicles available during Caruso's era. (He was, nonetheless, a client of Edward Bernays, during the latter's tenure as a press agent in the United States.) Publicity in Caruso's time relied on newspapers, particularly wire services, along with magazines, photography and relatively instantaneous communication via the telephone and the telegraph, to spread a message and raise a performer's profile.
  
  wn.com/Enrico_Caruso
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  Ernest Guiraud
  Ernest Guiraud (26 June 1837 – 6 May 1892) was a French composer and music teacher born in New Orleans, Louisiana. He is best known for writing the traditional orchestral recitatives used for Bizet's opera Carmen and for Offenbach's opera Les contes d'Hoffmann (The Tales of Hoffmann).
  Guiraud began his schooling in Louisiana under the tutelage of his father, Jean-Baptiste-Louis Guiraud, who had won the Prix de Rome in 1827. At age 15, he set a full-length libretto about King David to music that he and his father had found on a trip to Paris. The result was David, an opera in three-acts, which had a resounding success at the Théâtre d'Orléans in New Orleans in 1853, sealing his future.
  In December of the same year, Guiraud sailed back to France to continue his musical education. He studied piano under Marmontel and composition under Halévy at the Paris Conservatoire. Remarkably gifted as a student, he was awarded first prize for piano in 1858. He won the Prix de Rome the next year, notably, the only instance of both father and son obtaining this prize. He became close friends with Camille Saint-Saëns, Emile Paladilhe, Théodore Dubois, and especially Georges Bizet.
  
  wn.com/Ernest_Guiraud
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  Ernest Reyer
  Ernest Reyer, the adopted name of Louis Étienne Ernest Rey, was a French opera composer and music critic (December 1, 1823 – January 15, 1909).
  Ernest Reyer was born in Marseilles. His father, a notary, did not want his son to take up a career in music. However, he did not actively block his son's ambitions and allowed him to attend classes at the Conservatoire from age six to sixteen. In 1839, when he was 16 years old, Ernest traveled to north Africa to work under his brother-in-law, head of accounting for the Treasury Department in Algeria. The job was not a good fit with Reyer's nonchalant and undisciplined temperament. From administrative documents, it is apparent that Reyer wrote innumerable youthful essays and stories, and original dance pieces. Some of his early compositions achieved local notoriety and received favorable comments in the Algerian press, including a Mass performed at the cathedral that was performed for the arrival of the Duke of Aumale in 1847.
  Reyer returned to Paris during the events 1848. During this period, he was introduced to various eminent artists, including Gustave Flaubert and Théophile Gautier. Southern France and Provence held its allure, and Reyer returned there to socialize with local people with whom he loved to play dominoes while smoking a pipe. He said that his pipe was his best source of inspiration.
  
  wn.com/Ernest_Reyer
• Eugène Cormon
  Pierre-Etienne Piestre, known as Eugène Cormon (May 5, 1810 – March 1903), was a French dramatist and librettist. He used his mother’s name, Cormon, during his career.
  Cormon wrote dramas, comedies and, from the 1840s, libretti; around 150 of his works were published. He was stage manager at the Paris Opéra from 1859 to 1870, and administrator of the Théâtre du Vaudeville from 1874.
  His libretti include Les dragons de Villars (with Lockroy), Gastibelza (with d’Ennery) and Les pêcheurs de Catane (with Carré) for Maillart, Les pêcheurs de perles (with Carré) for Bizet, Robinson Crusoé (with Crémieux) for Offenbach, and Les Bleuets (with Trianon) for Cohen.
  The Fontainebleau act of Don Carlos by Verdi is based on part of Philip II, King of Spain (Philippe II, Roi d’Espagne), an 1846 play by Cormon.
  At the Moscow Art Theatre in 1927 the seminal Russian theatre practitioner Constantin Stanislavski staged Cormon's melodrama The Gérard Sisters (Les Soeurs Gérard), which he co-wrote with Adolphe d'Ennery.
  
  wn.com/Eugène_Cormon
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  Felix Mendelssohn
  Jakob Ludwig Felix Mendelssohn Bartholdy (German pronunciation: [ˈjaːkɔp ˈluːtvɪç ˈfeːlɪks ˈmɛndl̩szoːn baʁˈtɔldi]), born, and generally known in English-speaking countries, as Felix Mendelssohn (3 February 1809 – 4 November 1847) was a German composer, pianist, organist and conductor of the early Romantic period.
  The grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family, although initially he was raised without religion and was later baptised as a Lutheran Christian. Mendelssohn was recognised early as a musical prodigy, but his parents were cautious and did not seek to capitalise on his talent.
  Early success in Germany, where he also revived interest in the music of Johann Sebastian Bach, was followed by travel throughout Europe. Mendelssohn was particularly well received in Britain as a composer, conductor and soloist, and his ten visits there – during which many of his major works were premiered – form an important part of his adult career. His essentially conservative musical tastes, however, set him apart from many of his more adventurous musical contemporaries such as Franz Liszt, Richard Wagner and Hector Berlioz. The Leipzig Conservatoire (now the University of Music and Theatre Leipzig), which he founded, became a bastion of this anti-radical outlook.
  
  wn.com/Felix_Mendelssohn
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  Franz Liszt
  Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (October 22, 1811 – July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher.
  Liszt became renowned in Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age. In the 1840s he was considered by some to be perhaps the greatest pianist of all time. He was also a well-known composer, piano teacher, and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin.
  As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony. He also played an important role in popularizing a wide array of music by transcribing it for piano.
  
  wn.com/Franz_Liszt
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  François Delsarte
  François Alexandre Nicolas Chéri Delsarte (November 11, 1811 – July 20, 1871) was a French musician and teacher. Though he achieved some success as a composer, he is chiefly known as a teacher in singing and declamation. He went on to develop an acting style that attempted to connect the inner emotional experience of the actor with a systematized set of gestures and movements based upon his own observations of human interaction. This “Delsarte” method became so popular that it was taught throughout the world, but particularly in America, by many teachers who did not fully understand or communicate the emotional connections behind the gestures, and as a result the method devolved into melodramatic posing, the kind in response to which Constantin Stanislavski would later develop his inner psychological methods.
  Delsarte was born in Solesmes, Nord. He was a pupil of the Paris Conservatory, was for a time tenor singer in the Opéra Comique, and composed a few songs. Having studied singing at the Paris Conservatory, he became unsatisfied with the arbitrary and posed style of acting taught there. He began to study how humans actually moved, behaved and responded to various emotional and real life situations. He achieved this by observing people in real life and in public places of all kinds. Through his observations he discovered certain patterns of expression, eventually called the Science of Applied Aesthetics. This consisted of a thorough examination of voice, breath, movement dynamics, encompassing all of the expressive elements of the human body.
  
  wn.com/François_Delsarte
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  Friedrich Nietzsche
  Friedrich Wilhelm Nietzsche ( /ˈniːtʃə/;German pronunciation: [ˈfʁiːdʁɪç ˈvɪlhɛlm ˈniːtsʃə]; October 15, 1844 – August 25, 1900) was a German philosopher, poet, cultural critic and classical philologist. He wrote critical texts on religion, morality, contemporary culture, philosophy and science, displaying a fondness for metaphor, irony and aphorism.
  Nietzsche's influence remains substantial within and beyond philosophy, notably in existentialism, nihilism and postmodernism. His style and radical questioning of the value and objectivity of truth have resulted in much commentary and interpretation, mostly in the continental tradition. His key ideas include the death of God, the Übermensch, the eternal recurrence, the Apollonian and Dionysian dichotomy, perspectivism and the will to power. Central to his philosophy is the idea of "life-affirmation", which involves an honest questioning of all doctrines that drain life's expansive energies, however socially prevalent and radical those views might be.
  
  wn.com/Friedrich_Nietzsche
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  Fromental Halévy
  Jacques-François-Fromental-Élie Halévy, usually known as Fromental Halévy (pronounced [fʁɔmɑ̃tal alevi]) (27 May 1799 – 17 March 1862), was a French composer. He is known today largely for his opera La Juive.
  Halévy was born in Paris, the son of a cantor, Élie Halfon Halévy, who was the secretary of the Jewish community of Paris, a writer and a teacher of Hebrew, and a French Jewish mother. The name Fromental, by which he was generally known, reflects that he was born on the feast-day of that name in the French Revolutionary calendar, which was still operative at that time. He entered the Conservatoire de Paris at the age of nine or ten (accounts differ), in 1809, becoming a pupil and later protégé of Cherubini. After two second-place attempts, he won the Prix de Rome in 1819: his cantata subject was Herminie.
  As he had to delay his departure to Rome because of the death of his mother, he was able to accept the first commission that brought him to public attention - a Marche Funèbre et De Profundis en Hébreu for three part choir, tenor and orchestra, which was commissioned by the Consistoire Israélite du Département de la Seine, for a public service in memory of the assassinated duc de Berry, performed on 24 March 1820. Later, his brother Léon recalled that the De Profundis, "infused with religious fervor, created a sensation, and attracted interest to the young laureate of the institute."
  
  wn.com/Fromental_Halévy
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  Gaetano Donizetti
  Domenico Gaetano Maria Donizetti (Italian pronunciation: [doˈmeːniko ɡaeˈtaːno maˈɾia doniˈdzetti]; 29 November 1797 – 8 April 1848) was an Italian composer from Bergamo, Lombardy. His best-known works are the operas L'elisir d'amore (1832), Lucia di Lammermoor (1835), and Don Pasquale (1843), all in Italian, and the French operas La favorite and La fille du régiment (both from 1840). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto opera.
  The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter located just outside the city walls. His family was very poor with no tradition of music, his father being the caretaker of the town pawnshop. Nevertheless, Donizetti received some musical instruction from Simon Mayr, a German composer of internationally successful operas who had become maestro di cappella at Bergamo's principal church in 1802.
  
  wn.com/Gaetano_Donizetti
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  Geneviève Halévy
  Geneviève Halévy, later Geneviève Bizet and Geneviève Straus (Paris, 26 February 1849 – 1926), was a French salonnière. She inspired Marcel Proust as a model for the Duchesse de Guermantes and Odette de Crécy in À la recherche du temps perdu.
  Geneviève Halévy was the daughter of the composer Jacques-Fromental Halévy, and his spouse, née Léonie Rodrigues-Henriques, both Jewish. Geneviève Halévy's youth was sad: she lost her father when she was 13 years old, her elder sister when she was 15 years old, and her mother suffered from periods of mental instability. She married in 1869 Georges Bizet, pupil of her father, and gave birth in 1871 to their son Jacques, who became a school friend of Marcel Proust. Bizet died suddenly of a heart attack, in 1875. Geneviève moved to live with her uncle, Léon Halévy, and opened a salon for her cousin Ludovic Halévy, where she helped him in receiving the cream of the artistic society of the time. This was known as Ludovic's Thursdays (Les jeudis de Ludovic).
  
  wn.com/Geneviève_Halévy
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  Georges Bizet
  Georges Bizet (French pronunciation: [ʒɔʁʒ bizɛ]) formally Alexandre César Léopold Bizet, (25 October 1838 – 3 June 1875) was a French composer, mainly of operas. In a career cut short by his early death, he achieved few successes before his final work, Carmen, became one of the most popular and frequently performed works in the entire opera repertory.
  During a brilliant student career at the Conservatoire de Paris, Bizet won many prizes, including the prestigious Prix de Rome in 1857. He was recognised as an outstanding pianist, though he chose not to capitalise on this skill and rarely performed in public. Returning to Paris after almost three years in Italy, he found that the main Parisian opera theatres preferred the established classical repertoire to the works of newcomers. His keyboard and orchestral compositions were likewise largely ignored; as a result, his career stalled, and he earned his living mainly by arranging and transcribing the music of others. Restless for success, he began many theatrical projects during the 1860s, most of which were abandoned. Neither of the two operas that reached the stage—Les pêcheurs de perles and La jolie fille de Perth—was immediately successful.
  
  wn.com/Georges_Bizet
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  Geraldine Farrar
  Geraldine Farrar (February 28, 1882 – March 11, 1967) was an American soprano opera singer and film actress, noted for her beauty, acting ability, and "the intimate timbre of her voice." She had a large following among young women, who were nicknamed "Gerry-flappers".
  Farrar was born in Melrose, Massachusetts, the daughter of baseball player Sidney Farrar and his wife Henrietta Barnes. At 5 she began studying music in Boston and by 14 was giving recitals. Later she studied voice with the American soprano Emma Thursby in New York, in Paris, and finally with the Italian baritone Francesco Graziani in Berlin. Farrar created a sensation at the Berlin Hofoper with her debut as Marguerite in Charles Gounod's Faust in 1901 and remained with the company for three years, during which time she continued her studies with famed German soprano Lilli Lehmann. (She had been recommended to Lehmann by another famous soprano of the previous generation, Lillian Nordica.). She appeared in the title rôles of Ambroise Thomas' Mignon and Jules Massenet's Manon, as well as Juliette in Gounod's Roméo et Juliette. Her admirers in Berlin included Crown Prince Wilhelm of Germany, with whom she is believed to have had a relationship beginning in 1903.
  
  wn.com/Geraldine_Farrar
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  Giacomo Puccini
  Giacomo Antonio Domenico Michele Secondo Maria Puccini (Italian pronunciation: [ˈdʒaːkomo putˈtʃiːni]; 22 December 1858 – 29 November 1924) was an Italian composer whose operas, including La bohème, Tosca, Madama Butterfly, and Turandot, are among the most frequently performed in the standard repertoire. Some of his arias, such as "O mio babbino caro" from Gianni Schicchi, "Che gelida manina" from La bohème, and "Nessun dorma" from Turandot, have become part of popular culture.
  Described by Encyclopædia Britannica Online as "one of the greatest exponents of operatic realism", he is regarded as one of the last major Italian opera composers. His repertoire is essentially rooted in verismo, or a post-Romantic operatic tradition and literary style. Whilst his work is essentially based on traditional late-19th century Italian opera, his music shows some influences from then-contemporary composers and movements such as Igor Stravinsky and Impressionism. Common themes within his operas include the important role, yet usually tragic end, of his heroines, as well as love; furthermore, there is a strong presence of exoticism in his operas, with several being set in faraway locations.
  
  wn.com/Giacomo_Puccini
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  Gioachino Rossini
  Gioachino Antonio Rossini (Italian pronunciation: [dʒoaˈkiːno anˈtɔːnjo rosˈsiːni] (Giovacchino Antonio Rossini in the baptismal certificate) (29 February 1792 – 13 November 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces. His best-known operas include the Italian comedies Il barbiere di Siviglia (The Barber of Seville) and La Cenerentola and the French-language epics Moïse et Pharaon and Guillaume Tell (William Tell). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart". Until his retirement in 1829, Rossini had been the most popular opera composer in history.
  Gioachino Antonio Rossini was born into a family of musicians in Pesaro, a town on the Adriatic coast of Italy which was then part of the Papal States. His father, Giuseppe, was a horn player and inspector of slaughterhouses. His mother, Anna, was a singer and a baker's daughter. Rossini's parents began his musical training early, and by the age of six he was playing the triangle in his father's musical group.
  
  wn.com/Gioachino_Rossini
• Harold Schonberg
  Harold Charles Schonberg (November 29, 1915 – July 26, 2003) was an American music critic and journalist, most notably for The New York Times. He was the first music critic to win the Pulitzer Prize for Criticism (1971). He also wrote a number of books on musical subjects, and one on chess.
  Born in New York City, Schonberg grew up there, graduated from Brooklyn College in 1937, and did graduate studies at New York University. In 1939 he became a record critic for American Music Lover magazine (later renamed the American Record Guide). The son of David and Mini Schonberg, he had a brother (Stanley) and sister (Edith).
  Schonberg joined The New York Times in 1950. He rose to the post of senior music critic for the Times a decade later. In this capacity he published daily reviews and longer features on operas and classical music on Sundays. He also worked effectively behind the scenes to increase music coverage in the Times and develop its first-rate music staff. Upon his retirement as senior music critic in 1980 he became cultural correspondent for the Times.
  
  wn.com/Harold_Schonberg
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  Hector Berlioz
  Hector Berlioz (pronounced: [ɛktɔʁ bɛʁˈljoːz]; 11 December 1803 – 8 March 1869) was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts (Requiem). Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a conductor, he performed several concerts with more than 1,000 musicians. He also composed around 50 songs. His influence was critical for the further development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss, Gustav Mahler and many others.
  Hector Berlioz was born in France at La Côte-Saint-André in the département of Isère, near Grenoble. His father, a respected provincial physician and scholar, was responsible for much of the young Berlioz's education. His father, Louis-Joseph Berlioz, was an atheist, with a liberal outlook; his mother, Marie-Antoinette, was an orthodox Roman Catholic. He had five siblings in all, three of whom did not survive to adulthood. The other two, Nanci and Adèle, remained close to Berlioz throughout his life.
  
  wn.com/Hector_Berlioz
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  Horace
  Quintus Horatius Flaccus (8 December 65 BC – 27 November 8 BC), known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. The rhetorician Quintillian regarded his Odes as almost the only Latin lyrics worth reading, justifying his estimate with the words: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words."
  Horace also crafted elegant hexameter verses (Sermones and Epistles) and scurrilous iambic poetry (Epodes). The hexameters are playful and yet serious works, leading the ancient satirist Persius to comment: "as his friend laughs, Horace slyly puts his finger on his every fault; once let in, he plays about the heartstrings". Some of his iambic poetry, however, can seem wantonly repulsive to modern audiences.
  His career coincided with Rome's momentous change from Republic to Empire. An officer in the republican army that was crushed at the Battle of Philippi in 42 BC, he was befriended by Octavian's right-hand man in civil affairs, Maecenas, and became something of a spokesman for the new regime. For some commentators, his association with the regime was a delicate balance in which he maintained a strong measure of independence (he was "a master of the graceful sidestep") but for others he was, in John Dryden's phrase, "a well-mannered court slave".
  
  wn.com/Horace
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  Ivan the Terrible
  Ivan IV Vasilyevich (Russian:  Ива́н Четвёртый, Васи́льевич​ (help·info), Ivan Chetvyorty, Vasilyevich; 25 August 1530 – 28 March [O.S. 18 March] 1584), known in English as Ivan the Terrible (Russian:  Ива́н Гро́зный​ (help·info), Ivan Grozny; lit. Fearsome), was Grand Prince of Moscow from 1533 until his death. His long reign saw the conquest of the Khanates of Kazan, Astrakhan, and Siberia, transforming Russia into a multiethnic and multiconfessional state spanning almost one billion acres, approximately 4,046,856 km² (1,562,500 sq mi). Ivan managed countless changes in the progression from a medieval state to an empire and emerging regional power, and became the first ruler to be crowned as Tsar of all Russia.
  Historic sources present disparate accounts of Ivan's complex personality: he was described as intelligent and devout, yet given to rages and prone to episodic outbreaks of mental illness. On one such outburst Tsar beat and unpremeditatedly killed his groomed and chosen heir Ivan Ivanovich. This led Tsardom to be passed to Tsar's younger son: the weak and intellectually disabledFeodor I of Russia. Ivan's legacy is complex: he was an able diplomat, a patron of arts and trade, founder of the Russia's first Print Yard, but he is also remembered for his paranoiac suspiciousness and cruel persecution of nobility.
  
  wn.com/Ivan_the_Terrible
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  Jacques Offenbach
  Jacques Offenbach (20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario of the romantic period. He is remembered for his nearly 100 operettas of the 1850s–1870s and his uncompleted opera The Tales of Hoffmann. He was a powerful influence on later composers of the operetta genre, particularly Johann Strauss, Jr. and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. The Tales of Hoffman remains part of the standard opera repertory.
  Born in Cologne, the son of a synagogue cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire but found academic study unfulfilling and left after a year. From 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose comic pieces for the musical theatre. Finding the management of Paris's Opéra-Comique company uninterested in staging his works, in 1855 he leased a small theatre in the Champs-Élysées. There he presented a series of his own small-scale pieces, many of which became popular.
  
  wn.com/Jacques_Offenbach
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  Jean-Baptiste Faure
  Jean-Baptiste Faure (15 January 1830 – 9 November 1914) was a celebrated French operatic baritone and an art collector of great significance. He also composed a number of classical songs.
  Faure was born in Moulins. A choirboy in his youth, he entered the Paris Conservatory in 1851 and made his operatic debut the following year at the Opéra-Comique, as Pygmalion in Victor Massé's Galathée. He remained at the Opéra-Comique for over seven years, creating the Marquis d'Erigny in Auber's Manon Lescaut (1856) and Hoël in Meyerbeer's Le pardon de Ploërmel (1859; later known as Dinorah), among seven premieres at that house.
  He debuted at the Royal Opera House, Covent Garden, London, in 1860 as Hoël, and at the Paris Opera in 1861. He would sing at the Opera every season until 1869 and then again in 1872-76 and 1878. In addition, he continued to perform off and on in London until 1877 at venues such as Her Majesty's Theatre and the Theatre Royal, Drury Lane.
  Among the many operas in which he appeared in Paris were Wolfgang Amadeus Mozart's Don Giovanni as well as L'étoile du nord, Les Huguenots and La favorite.
  
  wn.com/Jean-Baptiste_Faure
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  Jean-Victor Schnetz
  Jean-Victor Schnetz (April 14, 1787, Versailles - March 15, 1870, Paris) was a French academic painter well regarded for his historical and genre paintings.
  Schnez studied in Paris under Jacques-Louis David. His works can be found at the Louvre and the Petit Palais in Paris, the Château de Versailles in Versailles, the Hermitage in St. Petersburg, and the Museum of Fine Arts in San Francisco.
  In 1837 Schnetz was elected to the Académie des Beaux-Arts, and he was twice the Director of the French Academy in Rome, from 1841 to 1846 then again in 1853-1866.
  
  wn.com/Jean-Victor_Schnetz
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  Johannes Brahms
  Johannes Brahms (pronounced [joːˈhanəs ˈbʁaːms]; 7 May 1833  – 3 April 1897) was a German composer and pianist, and one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene. In his lifetime, Brahms's popularity and influence were considerable; following a comment by the nineteenth-century conductor Hans von Bülow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the Three Bs.
  Brahms composed for piano, chamber ensembles, symphony orchestra, and for voice and chorus. A virtuoso pianist, he premiered many of his own works; he also worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim. Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed many of his works and left some of them unpublished.
  Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. He was a master of counterpoint, the complex and highly disciplined art for which Johann Sebastian Bach is famous, and also of development, a compositional ethos pioneered by Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. Brahms aimed to honour the "purity" of these venerable "German" structures and advance them into a Romantic idiom, in the process creating bold new approaches to harmony and melody. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers.
  
  wn.com/Johannes_Brahms
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  Joseph Meifred
  Joseph Meifred (1791–1867) was a hornist, a pedagogue, and a horn designer. He studied at the Paris Conservatory with Louis-François Dauprat and won the first prize in horn performance in 1818. He later became a professor at the conservatory and taught until his retirement in 1864.
  One of his most enduring works is the Method for the chromatic horn, or horn with pistons (1840).
  
  wn.com/Joseph_Meifred
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  Jules Massenet
  Jules Émile Frédéric Massenet (French pronunciation: [ʒyl emil fʁedeʁik masnɛ]) (May 12, 1842 – August 13, 1912) was a French composer best known for his operas. His compositions were very popular in the late 19th and early 20th centuries, and he ranks as one of the greatest melodists of his era. Soon after his death, Massenet's style went out of fashion, and many of his operas fell into almost total oblivion. Apart from Manon and Werther, his works were rarely performed. However, since the mid-1970s, many operas of his such as Thaïs and Esclarmonde have undergone periodic revivals.
  Massenet was born in Montaud, then an outlying hamlet and now a part of the city of Saint-Étienne, in the Loire. When he was six, his family moved to Paris due to his father's ill-health. There his mother (Adélaïde Massenet, née Royer; her husband's second wife) started taking piano pupils. She also taught Jules so well that at the age of 11 he was able to enter the Paris Conservatoire. He was still a student when his family moved from Paris to Chambéry, but Jules returned to Paris after a few months, living with a married member of his father's family by his first wife. To support himself during his studies, he worked as timpanist for six years at the Théâtre Lyrique, playing also other percussion instruments in other theatres, and working as a pianist in the Café de Belleville.
  
  wn.com/Jules_Massenet
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  Jules Pasdeloup
  Jules Étienne Pasdeloup (15 September 1819 in Paris – 14 August 1887 in Fontainebleau) was a French conductor.
  His father was an assistant conductor at the Opéra Comique; he was educated in music at the conservatoire de Paris, leaving with a first prize in piano. He founded in 1851 a société des jeunes artistes du conservatoire that gave concerts in the Salle Hertz for a decade, and, as conductor of its concerts, did much to popularize the best new compositions of the time. His popular Concerts Pasdeloup at the Cirque d'hiver, Paris, from 1861 till 1884, had also a great effect in promoting French taste in music, introducing works by Wagner and Schumann, as well as reviving public interest in the symphonies of Mozart, Haydn, and Beethoven. In 1868 he founded the Société des Oratories to present oratorios, and joined the Théâtre Lyrique the same year, though he was disappointed there at his lack of popular success in reviving operas like Gluck's Iphigénie en Tauride. He was made a member of the Légion d'Honneur.
  
  wn.com/Jules_Pasdeloup
• 
  Jules-Élie Delaunay
  Jules-Élie Delaunay (June 13, 1828 – September 5, 1891) was a French academic painter.
  He was born at Nantes in the Loire-Atlantique département of France. Delaunay studied under Flandrin, and at the École des Beaux Arts in Paris under Lamothe. He worked in the classicist manner of Ingres until, after winning the Prix de Rome, he went to Italy; in 1856, and abandoned the ideal of Raphaelesque perfection for the sincerity and severity of the quattrocentists.
  After his return from Rome he was entrusted with many important commissions for decorative paintings, such as the frescoes in the church of St Nicholas at Nantes; the three panels of Apollo, Orpheus and Amphion at the Paris Opera house; and twelve paintings for the great hall of the council of state in the Palais Royal.
  His Scenes from the Life of St Genevieve, which he designed for the Panthéon, remained unfinished at his death. The Musée d'Orsay has his famous Plague in Rome (shown at the Salon of 1869) and a nude figure of Diana; and the Nantes Museum, the Lesson on the Flute. In the last decade of his life he achieved great popularity as a portrait painter.
  
  wn.com/Jules-Élie_Delaunay
• 
  Louis Gallet
  Louis Gallet (1835, Valence, Drôme – 1898) was an inexhaustible French writer of operatic libretti, plays, romances, memoirs, pamphlets, and innumerable articles, who is remembered above all for his adaptations of fiction—and Scripture— to provide librettos of cantatas and opera, notably by composers Georges Bizet, Camille Saint-Saëns and Jules Massenet.
  By day Gallet supported himself by a minor post in the Administration of Assistance to the Poor and positions, first as treasurer then as general administrator, at the Beaujon hospital, Paris, and other hospitals (ref. Saint-Saëns).
  In 1871 Camille du Locle, the manager of the Paris Opéra-Comique offered to produce a one-act work of Camille Saint-Saëns. He proposed as collaborator Louis Gallet, whom Saint-Saëns did not know, and the result was the slight piece La princesse jaune notable as the first japonerie on the operatic stage, Japan having only very recently been opened to Western trade and the first Japanese woodblock prints having been seen in Paris only two years previously. The two worked together harmoniously for years, and it was Saint-Saëns who recommended Gallet as music critic for the Nouvelle Revue, though he was not a musician.
  
  wn.com/Louis_Gallet
• 
  Louis Philippe I
  Louis Philippe I (6 October 1773 – 26 August 1850) was King of the French from 1830 to 1848 in what was known as the July Monarchy. His father was a duke who supported the French Revolution but was nevertheless guillotined. Louis Philippe fled France as a young man and spent 21 years in exile. He was proclaimed king in 1830 after King Charles X was forced to abdicate. Louis Philippe himself was forced to abdicate in 1848 and lived out his life in exile in England. He was the last king to rule France, although Emperor Napoleon III would serve as its last monarch.
  Louis Philippe d'Orléans was born on the Palais-Royal, the Orléans family residence in Paris, to Louis Philippe Joseph, Duke of Chartres, who became Louis Philippe II, Duke of Orléans (also known as "Philippe Égalité" during the French Revolution), and Louise Marie Adélaïde de Bourbon. As a member of the reigning House of Bourbon, he was a prince du sang.
  Louis Philippe was the eldest of three sons and a daughter, a family that was to have erratic fortunes from the beginning of the French Revolution to the Bourbon Restoration.
  
  wn.com/Louis_Philippe_I
• 
  Léon Carvalho
  Léon Carvalho (January 18, 1825 – December 29, 1897) was a French impresario and stage director.
  Born Léon Carvaille in Port-Louis, Mauritius, he came to France at an early age. He studied at the Paris Conservatory and sang as a baritone at the Opéra-Comique (1850-55), where he met the soprano Marie Caroline Miolan, whom he married in 1853.
  He then gave up singing and took on the direction of the Théâtre Lyrique in 1856, where he presented works by Beethoven, Mozart, Rossini, Weber, but most importantly opened his doors to new French composers turned down by the Opéra and the Opéra-Comique, such as Berlioz, Gounod, Bizet, Saint-Saëns and Delibes.
  In early 1868 Carvalho started another operatic venture at the Théâtre de la Renaissance. However he was declared bankrupt on 6 May 1868, forcing him out from both theatres.
  Carvalho then moved to manage the Théâtre du Vaudeville. Although the principal focus was straight plays, he revived the melodrama – a play with incidental music. He commissioned Bizet to write music for a production of Daudet’s L'Arlésienne on 1 October 1872.
  
  wn.com/Léon_Carvalho
• 
  Marcel Proust
  Valentin Louis Georges Eugène Marcel Proust (French pronunciation: [maʁsɛl pʁust]; 10 July 1871 – 18 November 1922) was a French novelist, critic, and essayist best known for his monumental À la recherche du temps perdu (In Search of Lost Time; earlier translated as Remembrance of Things Past). It was published in seven parts between 1913 and 1927.
  Proust was born in Auteuil (the southern sector of Paris' then-rustic 16th arrondissement) at the home of his great-uncle, two months after the Treaty of Frankfurt formally ended the Franco-Prussian War. His birth took place during the violence that surrounded the suppression of the Paris Commune, and his childhood corresponds with the consolidation of the French Third Republic. Much of In Search of Lost Time concerns the vast changes, most particularly the decline of the aristocracy and the rise of the middle classes that occurred in France during the Third Republic and the fin de siècle.
  Proust's father, Achille Adrien Proust, was a prominent pathologist and epidemiologist, responsible for studying and attempting to remedy the causes and movements of cholera through Europe and Asia; he was the author of many articles and books on medicine and hygiene. Proust's mother, Jeanne Clémence Weil, was the daughter of a rich and cultured Jewish family from Alsace. She was literate and well-read; her letters demonstrate a well-developed sense of humour, and her command of English was sufficient for her to provide the necessary assistance to her son's later attempts to translate John Ruskin. Proust was raised in his father's Catholic faith. He was baptized (on August 5, 1871, at the church of Saint-Louis d'Antin) and later confirmed as a Catholic, but he never formally practiced that faith.
  
  wn.com/Marcel_Proust
• 
  Maurice Ravel
  Joseph-Maurice Ravel (March 7, 1875 – December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and effects. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
  Ravel's piano compositions, such as Jeux d'eau, Miroirs, Le tombeau de Couperin and Gaspard de la nuit, demand considerable virtuosity from the performer, and his orchestral music, including Daphnis et Chloé and his arrangement of Modest Mussorgsky's Pictures at an Exhibition, uses a variety of sound and instrumentation.
  Ravel is perhaps known best for his orchestral work Boléro (1928), which he considered trivial and once described as "a piece for orchestra without music".
  According to SACEM, Ravel's estate earns more royalties than that of any other French composer. According to the law of most countries (including all members of the World Trade Organization), Ravel's works have been in the public domain since January 1, 2008, in most countries.
  
  wn.com/Maurice_Ravel
• 
  Napoleon III
  Louis-Napoléon Bonaparte (20 April 1808 – 9 January 1873) was the President of the French Second Republic and as Napoleon III, the emperor of the Second French Empire. He was the nephew and heir of Napoleon I, christened as Charles Louis Napoléon Bonaparte. Elected President by popular vote in 1848, he initiated a coup d'état in 1851, before ascending the throne as Napoleon III on 2 December 1852, the forty-eighth anniversary of Napoleon I's coronation. He ruled as Emperor of the French until 4 September 1870. He holds the unusual distinction of being both the first titular president and the last monarch of France.
  Napoleon III is primarily remembered for an energetic foreign policy which aimed to jettison the limitations imposed on France since 1815 by the Concert of Europe and reassert French influence in Europe and abroad. A brief war against Austria in 1859 largely brought an end to the process of Italian unification. In the Near East, Napoleon III spearheaded allied action against Russia in the Crimean War and restored French presence in the Levant, claiming for France the role of protector of the Maronite Christians. A French garrison in Rome likewise secured the Papal States against annexation by Italy, defeating the Italians at Mentana and winning the support of French Catholics for Napoleon's regime.
  
  wn.com/Napoleon_III
• 
  Richard Wagner
  Wilhelm Richard Wagner ( /ˈvɑːɡnər/; German pronunciation: [ˈʁiçaʁt ˈvaːɡnɐ]; 22 May 1813 – 13 February 1883) was a German composer, conductor, theatre director and polemicist primarily known for his operas (or "music dramas", as he later called them). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Perhaps the two best-known extracts from his works are the Ride of the Valkyries from the opera Die Walküre, and the Wedding March (Bridal Chorus) from the opera Lohengrin.
  Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhäuser which were broadly in the romantic vein of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts and was announced in a series of essays between 1849 and 1852. Wagner realized this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again, and he reintroduced some traditional operatic forms into his last few stage works, including Die Meistersinger von Nürnberg.
  
  wn.com/Richard_Wagner
• 
  Samuel Richardson
  Samuel Richardson (19 August 1689 – 4 July 1761) was an 18th-century English writer and printer. He is best known for his three epistolary novels: Pamela: Or, Virtue Rewarded (1740), Clarissa: Or the History of a Young Lady (1748) and The History of Sir Charles Grandison (1753). Richardson was an established printer and publisher for most of his life and printed almost 500 different works, with journals and magazines.
  Richardson lost his first wife along with their five sons, and eventually remarried. Although with his second wife he had four daughters who lived to become adults, they had no male heir to continue running the printing business. While his print shop slowly ran down, at the age of 51 he wrote his first novel and immediately became one of the most popular and admired writers of his time.
  He knew leading figures in 18th century England, including Samuel Johnson and Sarah Fielding. In the London literary world, he was a rival of Henry Fielding, and the two responded to each other's literary styles in their own novels.
  
  wn.com/Samuel_Richardson
• Sebastián Iradier
  Sebastián Iradier Salaverri (Salaberri) (20 January 1809 – 6 December 1865), a.k.a. Sebastián Yradier, was a Spanish Basque composer.
  Iradier was born in Lanciego, in the province of Álava. His publisher in Paris urged him to "universalize" his name, from Iradier to Yradier. He is known primarily for his habaneras, especially the one titled "La Paloma", written around 1860 after a visit to Cuba. "La Paloma" was extremely popular in both Spain and America (especially Mexico), where it was responsible for the great popularity achieved by the habanera.
  A collection of 25 of Iradier's most popular songs was published in Paris in 1864, with French words, as "Fleurs d'Espagne".
  Another of Iradier's compositions is "El Arreglito", an habanera used by Georges Bizet in his opera Carmen as a source of inspiration. Bizet, thinking it was a folk song, inspired by the melody of "El Arreglito" and recomposed what is known today as the "Habanera" from Carmen: the aria "L'amour est un oiseau rebelle" which is another aria from "El Arreglito". When he discovered his mistake, he added a note to the vocal score of the opera, acknowledging its source.
  
  wn.com/Sebastián_Iradier
• 
  Sir Thomas Beecham
  Sir Thomas Beecham, 2nd Baronet, CH (29 April 1879 – 8 March 1961) was an English conductor and impresario best known for his association with the London Philharmonic and the Royal Philharmonic orchestras. He was also closely associated with the Liverpool Philharmonic and Hallé orchestras. From the early 20th century until his death, Beecham was a major influence on the musical life of Britain and, according to the BBC, was Britain's first international conductor.
  Born to a rich industrial family, Beecham began his career as a conductor in 1899. He used his access to the family fortune to finance opera from the 1910s until the start of the Second World War, staging seasons at Covent Garden, Drury Lane and His Majesty's Theatre with international stars, his own orchestra and a wide repertoire. Among the works he introduced to England were Richard Strauss's Elektra, Salome and Der Rosenkavalier and three operas by Frederick Delius.
  Together with his younger colleague Malcolm Sargent, Beecham founded the London Philharmonic, and he conducted its first performance at the Queen's Hall in 1932. In the 1940s, he worked for three years in the United States, where he was music director of the Seattle Symphony and conducted at the Metropolitan Opera. After his return to Britain, he founded the Royal Philharmonic in 1946 and conducted it until his death in 1961.
  
  wn.com/Sir_Thomas_Beecham
• 
  Théodore de Banville
  Théodore Faullain de Banville (14 March 1823 – 13 March 1891) was a French poet and writer.
  Banville was born in Moulins in Allier, Auvergne, the son of a captain in the French navy. His boyhood, by his own account, was cheerlessly passed at a lycée in Paris; he was not harshly treated, but took no part in the amusements of his companions. On leaving school with but slender means of support, he devoted himself to letters, and in 1842 published his first volume of verse (Les Cariatides), which was followed by Les Stalactites in 1846. The poems encountered some adverse criticism, but secured for their author the approbation and friendship of Alfred de Vigny and Jules Janin.
  From then on, Banville's life was steadily devoted to literary production and criticism. He printed other volumes of verse, among which the Odes funambulesques (1857) received unstinted praise from Victor Hugo, to whom they were dedicated. Later, several comedies in verse were produced at the Théâtre Français and on other stages; and from 1853 onwards a stream of prose flowed from his industrious pen, including studies of Parisian manners, sketches of well-known persons, and a series of tales, most of which were republished in his collected works (1875–1878). He also wrote freely for reviews, and acted as dramatic critic for more than one newspaper. Throughout a life spent mainly in Paris, Banville's genial character and cultivated mind won him the friendship of the chief men of letters of his time.
  
  wn.com/Théodore_de_Banville
• Tony Aubin
  Tony Louis Alexandre Aubin (8 December 1907 in Paris – 21 September 1981 in Paris) was a French composer.
  From 1925 to 1930 Aubin studied at the Paris Conservatory under Samuel Rousseau (music theory), Noel Gallon (counterpoint), Philippe Gaubert (orchestration and composition), and Paul Dukas (composition). He was awarded the Prix de Rome for the cantata Actaeon in 1930. He was artistic director at Paris Mondial from 1937-1944, and professor at the Paris Conservatory from 1944 to 1977. He also conducted works for French radio between 1945 and 1960. His works, heavily indebted to the impressionism of Ravel and Dukas, include a large number of film scores.
  His pupils included Olivier Alain, Garbis Aprikian, Raynald Arseneault, Jocelyne Binet, Jacques Castérède, Pierre Cochereau, Marius Constant, Ginette Keller, Talivaldis Kenins, Ron Nelson and Makoto Shinohara.
  
  wn.com/Tony_Aubin
• 
  Victorien Sardou
  Victorien Sardou (7 September 1831 – 8 November 1908) was a French dramatist. He is best remembered today for his development, along with Eugène Scribe, of the well-made play. He also wrote several plays that were made into popular 19th-century operas such as La Tosca (1887) on which Giacomo Puccini's opera Tosca (1900) is based, and Fedora by Umberto Giordano, a work that popularized the fedora hat as well.
  Victorien was born in Paris on 7 September 1831. The Sardous were settled at Le Cannet, a village near Cannes, where they owned an estate, planted with olive trees. A night's frost killed all the trees and the family was ruined. Victorien's father, Antoine Léandre Sardou, came to Paris in search of employment. He was in succession a book-keeper at a commercial establishment, a professor of book-keeping, the head of a provincial school, then a private tutor and a schoolmaster in Paris, besides editing grammars, dictionaries and treatises on various subjects. With all these occupations, he hardly succeeded in making a livelihood, and when he retired to his native country, Victorien was left on his own resources. He had begun studying medicine, but had to desist for want of funds. He taught French to foreign pupils: he also gave lessons in Latin, history and mathematics to students, and wrote articles for cheap encyclopaedias.
  
  wn.com/Victorien_Sardou
• 
  Walter Scott
  Sir Walter Scott, 1st Baronet (15 August 1771 – 21 September 1832) was a Scottish historical novelist, playwright, and poet, popular throughout much of the world during his time.
  Scott was the first English-language author to have a truly international career in his lifetime, with many contemporary readers in Europe, Australia, and North America. His novels and poetry are still read, and many of his works remain classics of both English-language literature and of Scottish literature. Famous titles include Ivanhoe, Rob Roy, The Lady of the Lake, Waverley, The Heart of Midlothian and The Bride of Lammermoor.
  Born in College Wynd in the Old Town of Edinburgh in 1771, the son of a solicitor, Scott survived a childhood bout of polio in 1773 that left him lame. To cure his lameness he was sent in 1773 to live in the rural Borders region at his paternal grandparents' farm at Sandyknowe, adjacent to the ruin of Smailholm Tower, the earlier family home. Here he was taught to read by his aunt Jenny, and learned from her the speech patterns and many of the tales and legends that characterised much of his work. In January 1775 he returned to Edinburgh, and that summer went with his aunt Jenny to take spa treatment at Bath in England, where they lived at 6 South Parade. In the winter of 1776 he went back to Sandyknowe, with another attempt at a water cure at Prestonpans during the following summer.
  
  wn.com/Walter_Scott
• Winton Dean
  Winton Dean (born 18 March 1916) is an English musicologist of the 20th century, most famous for his research concerning the life and works—in particular the operas and oratorios—of Handel, as detailed in his book Handel’s Dramatic Oratorios and Masques (1959).
  Dean was born in Birkenhead. After an education at Harrow and Cambridge, Dean became notable was a writer on music, particularly after World War II, when he published several works concerning the compositions of Bizet. Handel, however, remained his main focus; and apart from the book already mentioned, he also published Handel and the Opera Seria (Berkeley, 1969), and a more general Essays on Opera (Oxford, 1990, 2/1993). His definitive two-volume work on Handel operas was published in 1987 and 2006.
  Dean contributed heavily to a number of musicological publications, including Musical Times and Opera. His writings include studies of French Opera, and also Italian Opera before the dominance of Verdi. Nevertheless his reputation rests principally upon his analyses of Handel's output, and Handel’s Dramatic Oratorios and Masques is widely acknowledged as a seminal work not only in Handel scholarship but also in musicology as a whole, thanks to its detailed discussion of original documents and thorough approach to the topic.
  
  wn.com/Winton_Dean
• Édouard Blau
  Édouard Blau, born Blois 30 May 1836, died Paris, 7 January 1906) was a French dramatist and opera librettist. He was a cousin of Alfred Blau, another librettist of the same period.
  Going to Paris at the age of 20 he worked at the Assistance Publique but from 1870 concentrated on theatrical writing. For his libretti he collaborated with Louis Gallet, Alfred Blau, Camille du Locle and Louis de Gramont.
  La coupe du roi de Thulé (1868-9), Don Rodrigue (1873)
  La Marocaine (1879), Belle Lurette (1880)
  Le Cid (1885), Werther (1892)
  Le roi d'Ys (1888)
  
  wn.com/Édouard_Blau
• 
  Émile Perrin
  Émile-César-Victor Perrin was a French painter, mainly known as a theatre director and impresario, born in Rouen on 9 January 1814, died 8 October 1885. His son-in-law was Camille du Locle.
  Perrin studied under Gros and Delaroche, and pursued a career as a history painter, exhibiting at the Salon. In between his appointments at the Opéra-Comique he briefly returned to painting.
  He was director of the Opéra-Comique from May 1848 to November 1857, then briefly in 1862, when he 'discovered' Galli-Marié singing in Rouen. From July 1854 to September 1855 he was concurrently director of the Théâtre Lyrique, and during his short tenure the artistic and social standing of the theatre rose, although he resigned, disappointed with the results at the theatre. Wagner described him around this time as "a well-to-do bel esprit and painter".
  He became director of the Opéra de Paris in December 1862. During this time he employed Bizet to play through scores submitted to the Opéra, although Perrin did not assist the composer in getting his work performed there. Victorien Sardou in a letter described Perrin as "the most volatile, the most capricious, the most changeable of men". He was dismissed from the Opéra after being accused of insufficient patriotism in May 1870.
  
  wn.com/Émile_Perrin

• Carmen: Prélude
• Carmen: Act I. “Sur la place chacun passe” (Soldats, Moralès)
• Carmen: Act I. “Regardez donc cette petite qui semble vouloir nous parler” (Moralès, Micaëla, Soldats)
• Carmen: Act I. “Avec la garde montante nous arrivons, nous voilà” (Chœur de gamins)
• Carmen: Act I. “La cloche a sonné… Dans l’air, nous suivons des yeux la fumée” (Jeunes gens, Soldats, Cigarières)
• Carmen: Act I. “Mais nous ne voyons pas la Carmencita!” (Soldats, Jeunes gens, Cigarières)
• Carmen: Act I. “Quand je vous aimerai?… L’amour est un oiseau rebelle” (Havanaise) (Carmen, Chœur)
• Carmen: Act I. “Carmen! Sur tes pas nous nous pressons tous!” (Jeunes gens, Carmen, Don José, Cigarières)
• Carmen: Act I. “Monsieur le brigadier?” (Micaëla)
• Carmen: Act I. “Parle-moi de ma mère!… Ma mère, je la vois, oui, je revois mon village!” (Don José, Micaëla)
• Carmen: Act I. “Que son fils l’aime et la vénère et qu’il se répent aujourd’hui” (Don José, Micaëla)
• Carmen: Act I. “Que se passe-t-il… Au secours!” (Zuniga, Cigarières)
• Carmen: Act I. “Voyons, brigadier… Avez-vous quelque chose à répondre? — Tra la la la” (Zuniga, Don José, Carmen, Cigarières)
• Carmen: Act I. “Laisse-moi m’échapper” (Carmen, Don José)
• Carmen: Act I. “Près des remparts de Séville (Séguedille)… Tais-toi” (Carmen, Don José)
• Carmen: Act I. “Voici l’ordre; partez et faites bonne garde” (Zuniga, Carmen)
• Carmen: Entracte
• Carmen: Act II. “Les tringles des sistres tintaient” (Carmen, Frasquita, Mercédès)
• Carmen: Act II. “Messieurs, le patron me dit qu’il doit fermer l’auberge” (Frasquita, Moralès, Mercédès, Zuniga, Carmen, Amis d’Escamillo)
• Carmen: Act II. “Vivat! vivat le torero!” (Amis d’Escamillo, Zuniga, Officiers, Carmen, Frasquita, Mercédès)
• Carmen: Act II. “Votre toast, je peux vous le rendre, señors” (Escamillo, Carmen, Frasquita, Mercédès, Zuniga, Officiers, Amis d’Escamillo)
• Carmen: Act II. “La belle, dis-moi ton nom — Carmen, la Carmencita” (Escamillo, Carmen, Zuniga)
• Carmen: Act II. “Eh bien, les nouvelles?… Nous avons en tête une affaire!” (Frasquita, Le Dancaïre, Carmen, Mercédès, Le Remendado)

• Carmen Suite No. 1: I. Prelude
• Carmen Suite No. 1: II. Aragonaise
• Carmen Suite No. 1: III. Intermezzo
• Carmen Suite No. 1: IV. Seguidilla
• Carmen Suite No. 1: V. Les dragons de Alcala
• Carmen Suite No. 1: VI. Les Toreadors
• Carmen Suite No. 2: I. Marche des contrabandiers
• Carmen Suite No. 2: II. Habanera
• Carmen Suite No. 2: III. Nocturne
• Carmen Suite No. 2: IV. Chanson du Toréador
• Carmen Suite No. 2: V. La garde montante
• Carmen Suite No. 2: VI. Danse bohème

• Carmen: Prélude
• Carmen: La cloche a sonnée
• Carmen: L'amour est un oiseau rebelle (Habanera)
• Carmen: Près des remparts de Séville (Seguidilla e dueto)
• Carmen: Votre toast, je peux vous le rendre
• Carmen: La fleur que tu m'avais jetée
• Carmen: Entr'acte
• Carmen: Écoute, écoute, compagnon
• Carmen: Je dis que rien ne m'épouvante
• Carmen: Les voici! Les voici!
• Suíte l'Arlésienne: I. Prélude (Allegro deciso. Tempo di marcia)
• Suíte l'Arlésienne: II. Menuet (Allegro giocoso)
• Suíte l'Arlésienne: III. Adagietto
• Suíte l'Arlésienne: IV. Carillon (Allegretto moderato)

• Carmen : Prélude
• Carmen : Entracte 1
• Carmen : Entracte 2
• Carmen : Entracte 3
• L'Arlesienne, Suite d'orchestre no.1 : I. Ouverture. Allegro deciso
• L'Arlesienne, Suite d'orchestre no.1 : II. Minuetto. Allegro giocoso
• L'Arlesienne, Suite d'orchestre no.1 : III. Adagietto
• L'Arlesienne, Suite d'orchestre no.1 : IV. Carillon. Allegro moderato
• L'Arlesienne, Musique de scène : Pastorale, entracte et chœur I acte II, tableau 2
• L'Arlesienne, Musique de scène : Mélodrame I acte II, tableau 2
• L'Arlesienne, Musique de scène : Chœur I acte II, tableau 2
• L'Arlesienne, Musique de scène : Mélodrame I acte II, tableau 2
• L'Arlesienne, Musique de scène : Mélodrame I acte III, tableau 4
• L'Arlesienne, Musique de scène : Farandole I acte III, tableau 4
• L'Arlesienne, Musique de scène : Entracte I acte III, tableau 5
• L'Arlesienne, Musique de scène : Chœur I acte III, tableau 5
• L'Arlesienne, Suite d'orchestre no.2 : I. Pastorale
• L'Arlesienne, Suite d'orchestre no.2 : II. Intermezzo
• L'Arlesienne, Suite d'orchestre no.2 : III. Menuet
• L'Arlesienne, Suite d'orchestre no.2 : IV. Farandole

• Carmen: Prelude
• Carmen: Acte I. "Mais nous ne voyons pas la Carmencita !... Quand je vous aimerai ?" (Carmen, Chœur)
• Carmen: Acte I. "L'amour est un oiseau rebelle" (Carmen, Chœur)
• Carmen: Acte I. "L'amour est enfant de bohème" (Carmen, Chœur)
• Carmen: Acte I. "Carmen ! Sur tes pas, nous nous presson tous !" (Chœur)
• Carmen: Acte I. "Que se passe -t-il donc là-bas ?... Au secours ! Au secours !" (Zuniga, Chœur)
• Carmen: Acte I. "Mon officier, c'était une querelle... Tralalala, coupe-moi" (José, Zuniga, Carmen, Chœur)
• Carmen: Acte I. "Où me conduisez-vous ?" (Carmen, José)
• Carmen: Acte I. "Près des remparts de Séville" (Carmen, José)
• Carmen: Acte I. "Voici l'ordre ; partez" (Zuniga, Carmen)
• Carmen: Acte I. Entracte
• Carmen: Acte II. "Les tringles des sistres tintaient (Carmen, Frasquita, Mercédès)
• Carmen: Acte II. "Votre toast, je peux vous le rendre... Toréador, en garde !" (Escamillo, Carmen, Frasquita, Mercédès, Moralès, Zuniga, Chœur)
• Carmen: Acte II. "Au quartier ! Pour l'appèl !" (Carmen, José)
• Carmen: Acte II. "La fleur que tu m'avais jetée" (José)
• Carmen: Acte II. "Non, tu ne m'aimes pas" (Carmen, José)
• Carmen: Acte II. Entracte
• Carmen: Acte III. "Voyons que j'essaye à mon tour" (Carmen)
• Carmen: Acte III. "En vain pour éviter" (Carmen)
• Carmen: Acte III. "...la mort... Parlez encore, parlez mes belles" (Carmen, Frasquita, Mercédès)
• Carmen: Acte III. "Je dis, que rien ne m' épouvante" (Micaëla)
• Carmen: Acte III. Entracte
• Carmen: Acte IV. "Les voici ! Voici la quadrille !" (Chœur d'enfants, Chœur)
• Carmen: Acte IV. "Si tu m'aimes, Carmen" (Escamillo, Carmen, Chœur)
• Carmen: Acte IV. "Carmen, un bon conseil" (Frasquita, Carmen, Mercédès)
• Carmen: Acte IV. "C'est toi !... C'est moi !" (Carmen, José)
• Carmen: Acte IV. "Tu ne m'aimes donc plus ?" (José, Carmen, Chœur)

• L'Arlésienne, Suite No. 1: I. Prélude, allegro deciso
• L'Arlésienne, Suite No. 1: II. Minuet, allegro giocoso
• L'Arlésienne, Suite No. 1: III. Adagietto
• L'Arlésienne, Suite No. 1: IV. Carillon, allegro moderato
• L'Arlésienne, Suite No. 2: I. Pastorale
• L'Arlésienne, Suite No. 2: II. Intermezzo
• L'Arlésienne, Suite No. 2: III. Minuet
• L'Arlésienne, Suite No. 2: IV. Farandole
• La jolie fille de Perth: I. Prelude
• La jolie fille de Perth: II. Serenade
• La jolie fille de Perth: III. Marche
• La jolie fille de Perth: IV. Danse Bohémienne
• Jeux d'enfants, Op. 22: VI. Trompette et tambour
• Jeux d'enfants, Op. 22: III. La poupée
• Jeux d'enfants, Op. 22: II. La toupie
• Jeux d'enfants, Op. 22: XI. Petit mari, petite femme
• Jeux d'enfants, Op. 22: XII. Le bal

• Les Pêcheurs de Perles: Prelude
• Les Pêcheurs de Perles, Act I: Sur la grève en feu
• Les Pêcheurs de Perles, Act I: Amis, interrompez vos danses
• Les Pêcheurs de Perles, Act I: Mais qui vient là?
• Les Pêcheurs de Perles, Act I: Demeure parmi nous, Nadir
• Les Pêcheurs de Perles, Act I: C'est toi, toi qu'enfin je revois
• Les Pêcheurs de Perles, Act I: Au fond du temple saint
• Les Pêcheurs de Perles, Act I: Amitié sainte
• Les Pêcheurs de Perles, Act I: Que vois-je?
• Les Pêcheurs de Perles, Act I: Sois la bienvenue
• Les Pêcheurs de Perles, Act I: Seule au milieu de nous
• Les Pêcheurs de Perles, Act I: Qu'as-tu donc?
• Les Pêcheurs de Perles, Act I: A cette voix
• Les Pêcheurs de Perles, Act I: Je crois entendre encore
• Les Pêcheurs de Perles, Act I: Le ciel est bleu!
• Les Pêcheurs de Perles, Act I: O Dieu Brahma
• Les Pêcheurs de Perles, Act II: La, la, la... L'ombre descend des cieux
• Les Pêcheurs de Perles, Act II: Les barques ont gagné la grève
• Les Pêcheurs de Perles, Act II: J'étais encore enfant

• Suite d'orchestre No. 1 "L'Arlésienne": I. Prélude (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Suite d'orchestre No. 1 "L'Arlésienne": II. Menuet (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Suite d'orchestre No. 1 "L'Arlésienne": III. Adagietto (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Suite d'orchestre No. 1 "L'Arlésienne": IV. Carillon (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Suite d'orchestre No. 2 "L'Arlésienne": I. Pastorale (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Suite d'orchestre No. 2 "L'Arlésienne": II. Intermezzo (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Suite d'orchestre No. 2 "L'Arlésienne": III. Menuet (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Suite d'orchestre No. 2 "L'Arlésienne": IV. Farandole (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Petite suite d'orchestre "Jeux d'enfants": I. Marche : trompette et tambour (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
• Petite suite d'orchestre "Jeux d'enfants": II. Berceuse : la poupée (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
• Petite suite d'orchestre "Jeux d'enfants": III. Impromptu : la toupie (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
• Petite suite d'orchestre "Jeux d'enfants": IV. Duo : petit mari, petite femme (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
• Petite suite d'orchestre "Jeux d'enfants": V. Galop : le bal (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
• Symphonie en Ut majeur: I. Allegro vivo (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
• Symphonie en Ut majeur: II. Adagio (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
• Symphonie en Ut majeur: III. Scherzo (Orchestre national de l'ORTF feat. conductor: Jean Martinon)
• Symphonie en Ut majeur: IV. Finale (Orchestre national de l'ORTF feat. conductor: Jean Martinon)

• Symphony in C: i. Allegro vivo
• Symphony in C: ii. Adagio
• Symphony in C: iii. Allegro vivace
• Symphony in C: iv. Allegro vivace
• Jeux d'Enfants: i. Trompet et Tambour - Marche
• Jeux d'Enfants: ii. La Poepée - Berceuse
• Jeux d'Enfants: iii. La Toupie - Impromptu
• Jeux d'Enfants: iv. Petit Mari, Petite Fille - Duo
• Jeux d'Enfants: v. Le Bal - Galop
• L'Arlésienne, Suite No.1: i. Prélude
• L'Arlésienne, Suite No.1: ii. Menuet
• L'Arlésienne, Suite No.1: iii. Adagietto
• L'Arlésienne, Suite No.1: iv. Carillon
• L'Arlésienne, Suite No.2: i. Pastorale
• L'Arlésienne, Suite No.2: ii. Intermezzo
• L'Arlésienne, Suite No.2: iii. Menuet
• L'Arlésienne, Suite No.2: iv. Farandole

• 1er nocturne en fa majeur
• Variations chromatiques
• 1er caprice en ut dièse mineur
• 2e caprice en ut majeur
• La chasse fantastique
• Romance sans paroles
• Thème
• Valse en ut majeur
• Trois esquisses Musicales : Ronde turque, sérénade, caprice

• Carmen: Prélude
• Carmen: Acte I. No. 1 Introduction "Sur la place chacun passe" (les Soldats, Moralès)
• Carmen: Acte I. "Regardez donc cette petite" (Moralès, les Soldats, Micaëla)
• Carmen: Acte I. No. 2 Marche et Chœur des gamins "Avec la garde montante" (les gamins)
• Carmen: Acte I. "Repos!" (Zuniga, Moralès, Don José)
• Carmen: Acte I. "Allons! allons!" (Zuniga, les gamins)
• Carmen: Acte I. "Dites-moi, brigadier?" (Zuniga, Don José)
• Carmen: Acte I. No. 3 Chœur et Scène "La cloche a sonné" (les Jeunes Gens, les Soldats, les Cigarières)
• Carmen: Acte I. "Mais nous ne voyons pas la Carmencita" (les Soldats, les Jeunes Gens)
• Carmen: Acte I. "Quand je vous aimerai?" (Carmen) – No. 4 Havanaise "L'amour est un oiseau rebelle" (Carmen, chœur)
• Carmen: Acte I. No. 5 Scène "Carmen, sur tes pas nous nous pressons tous" (les Jeunes Gens, le Cigarières, Don José)
• Carmen: Acte I. "Monsieur le brigadier?" (Micaëla, Don José) – No. 6 Duo "Parle-moi de ma mère" (Don José, Micaëla)
• Carmen: Acte I. "Votre mère avec moi sortait de la chapelle" (Micaëla, Don José)
• Carmen: Acte I. "Ma mère, je la vois..." (Don José, Micaëla)
• Carmen: Acte I. "Que son fils l'aime et la vénère" (Don José, Micaëla) – "Eh bien, eh bien!" (Zuniga)
• Carmen: Acte I. No. 7 Chœur "Au secours!" (les Cigarières, Zuniga, les Soldats)
• Carmen: Acte I. "Voyons, brigadier..." (Zuniga, Don José) – No. 8 Chanson et Mélodrame "Tra la la la..." (Carmen, Zuniga, les Cigarières, un Soldat, Don José)
• Carmen: Acte I. No. 9 Chanson (Séguedille) et Duo "Près des remparts de Séville" (Carmen, Don José)
• Carmen: Acte I. No. 10 Finale "Le lieutenant!... Prenez garde!" (Don José, Zuniga, Carmen)
• Carmen: Entr'acte
• Carmen: Acte II. No. 11 Chanson "Les tringles des sistres tintaient" (Carmen, Mercédès, Frasquita)
• Carmen: Acte II. "Vous avez quelque chose à nous dire" (Zuniga, Pastia, Frasquita, Mercédès, Andrès, Carmen)
• Carmen: Acte II. "Tout est bien alors" (Carmen, Zuniga) – No. 12 Chœur et Ensemble "Vivat! vivat le toréro!" (chœur, Zuniga, Mercédes, Andrès, Frasquita, Pastia)
• Carmen: Acte II. No. 13 Couplet (Air du Toréador) "Votre toast... je peux vous le rendre" (Escamillo, chœur, Frasquita, Mercédès, Carmen, Pastia, Zuniga) – No. 13 bis Chœur "Toréador, en garde" (chœur, Frasquita, Pastia, Dancaïre, Remendado)
• Carmen: Acte II. No. 14 Quintette "Nous avons en tête une affaire" (Dancaïre, Frasquita, Mercédès, Remendado, Carmen)
• Carmen: Acte II. "Amoureuse... ce n'est pas une raison, cela" (Dancaïre, Remendado, Frasquita, Mercédès, Carmen) – No. 15 Chanson "Halte-là! Qui va là?" (Don José, Mercédès, Frasquita, Dancaïre, Carmen)

• Carmen: Prelude
• Carmen: Act I. “In the plaza” (Soldiers, Moralès)
• Carmen: Act I. “Just look at that delicious morsel” (Moralès, Soldiers, Micaëla)
• Carmen: Act I. “Here come our new soldier boys” (Children)
• Carmen: Act I. “José! There was a girl looking for you just now” (Moralès, Don José)
• Carmen: Act I. “Off with you old soldier boys” (Children)
• Carmen: Act I. “Corporal! — Sir!” (Zuniga, Don José)
• Carmen: Act I. “We have heard the bell summon us to meet here” (Young Men)
• Carmen: Act I. “Ah, just look!” (Soldiers, Cigarette Girls, Young Men)
• Carmen: Act I. “But why hasn’t she come, our Carmencita?” (Soldiers, Young Men, Cigarette Girls, Carmen)
• Carmen: Act I. “Love’s a bird wild as any rebel” (Carmen, Cigarette Girls, Young Men, Soldiers)
• Carmen: Act I. “Carmen! We will follow you high and low!” (Young Men, Carmen, Don José, Cigarette Girls)
• Carmen: Act I. “The cheek of it!” (Don José, Micaëla)
• Carmen: Act I. “Give me news of my mother!” (Don José, Micaëla)
• Carmen: Act I. “Your dear mother and I were leaving church this morning” (Micaëla, Don José)
• Carmen: Act I. “I see my mother’s face!” (Don José, Micaëla)
• Carmen: Act I. “Wait a moment—I’m going to read the letter” (Don José, Micaëla)
• Carmen: Act I. “Come and help!” (Cigarette Girls, Zuniga, Soldiers)
• Carmen: Act I. “So corporal: tell me what happened” (Zuniga, Don José)
• Carmen: Act I. “Well, Carmencita: what do you have to say for yourself?” (Zuniga, Carmen)
• Carmen: Act I. “Where are you taking me?” (Carmen, Don José)
• Carmen: Act I. “There’s an old bar in the city” (Carmen, Don José)
• Carmen: Act I. “Careful—it’s the lieutenant” (Don José, Zuniga, Carmen)
• Carmen: Entr’acte
• Carmen: Act II. “From far away mysterious sounds” (Carmen, Frasquita, Mercédès)
• Carmen: Act II. “Bravo! bravo! More! Keep dancing!” (Zuniga, Frasquita, Mercédès, Carmen)
• Carmen: Act II. “Hurrah! Hurrah! The Torero!” (Friends of Escamillo)
• Carmen: Act II. “Who’s that? — It’s Escamillo, the bullfighter from Granada” (Zuniga, Frasquita, Friends of Escamillo)
• Carmen: Act II. “Hurrah! Hurrah! The Torero!” (Zuniga, Officers, Friends of Escamillo, Mercédès, Frasquita, Carmen, Moralès, Escamillo)
• Carmen: Act II. “You’re most kind” (Escamillo, Frasquita, Mercédès, Carmen, Moralès, Zuniga, Officers, Friends of Escamillo)
• Carmen: Act II. “We’ll come with you, Señor Torero” (Zuniga, Escamillo, Friends of Escamillo, Carmen, Frasquita, Mercédès)
• Carmen: Act II. “Toreador, be ready!” (Friends of Escamillo)
• Carmen: Act II. “At last! – We got rid of them as quickly as we could” (Remendado, Frasquita, Dancaïre, Mercédès)
• Carmen: Act II. “There’s a little job that we're starting!” (Dancaïre, Mercédès, Frasquita, Remendado, Carmen)
• Carmen: Act II. “Being in love is not a reason” (Dancaïre, Carmen, Frasquita, Mercédès, Don José)

• Prelude
• Act 1 - Sur La Place, Chacun Passe
• Act 1 - Avec La Garde Montante
• Act 1 - C'Est Bien Là, n'Est-Ce Pas... La Cloche a Sonné
• Act 1 - Quand Je Vous Aimeria?... L'Amour Est Un Oiseau Rebelle (Hab)
• Act 1 - Carmen! Sur Tes Pas
• Act 1 - Monsieur Le Brigadier?... Ma Mere, Je La Vois
• Act 1 - Attends Un Peu Meintenant... Au Secours!
• Act 1 - Eh Bien!... Vous Avez Entendu?... Tra La La La...
• Act 1 - A La Prison
• Act 1 - C'Est Tres Bien... Près Des Remparts De Séville (Seguedille)
• Act 1 - Voici L'Ordre (Finale)
• Act 1 - Entr'acte
• Act 2 - Les Tringles Des Sistres Tintaient
• Act 2 - Vous Avez Quelque Chose À Nous Dire
• Act 2 - Vivat! Vivat Le Toréro!
• Act 2 - Votre Toast, Je Peux Vous Le Rendre (Chant Du Toreador)
• Act 2 - Messieurs Les Officiers
• Act 2 - Eh Bien! Vite, Quelles Nouvelles?
• Act 2 - Nous Avons En Tête Une Affaire (Quintet)
• Act 2 - En voilà assez...Halte là!...Enfin, te voilà

• Prelude
• Lift 'em Up and Put 'em Down
• Dat's Love
• You Talk Just Like My Maw
• Dere's a Café on de Corner
• Beat Out Dat Rhythm on a Drum
• Stan' Up and Fight
• Whizzin' Away Along de Track
• Dis Flower
• De Cards Don't Lie
• My Joe
• Dat's Our Man
• Finale
• Beat Out Dat Rhythm on a Drum

• Symphony in C: I. Allegro Vivo
• Symphony in C: II. Adagio
• Symphony in C: III. Scherzo. Allegro Vivace
• Symphony in C: IV. Finale. Allegro Vivace
• L'Arlésienne Suite No. 1: I. Prélude
• L'Arlésienne Suite No. 1: II. Minuetto
• L'Arlésienne Suite No. 1: III. Adagietto
• L'Arlésienne Suite No. 1: IV. Carillon
• L'Arlésienne Suite No. 2: I. Pastorale
• L'Arlésienne Suite No. 2: II. Intermezzo
• L'Arlésienne Suite No. 2: III. Menuet
• L'Arlésienne Suite No. 2: IV. Farandole

• Prélude
• Act I: Avec la garde montante (Chœur, Moralès, José, Zuniga)
• Act I: Quand je vous aimerais? L'amour est un oiseau rebelle (Habanera) (Carmen, Chœur)
• Act I: Monsieur le brigadier?... Ma mère, je la vois! (Micaëla, José)
• Act I: C'est très bien... Près des remparts de Séville (Séguedille) (José, Carmen)
• Act I: Entr'acte (Orchestra)
• Act II: Les tringles des sistres tintaient (Carmen)
• Act II: Votre toast, je peux vous le rendre (Chant du Toréador) (Escamillio, Chœur, Frasquita, Mercédès, Carmen)
• Act II: La fleur que tu m'avais jetée (Chant du fleur) (José)
• Act II: Entr'acte (Orchestra)
• Act III: A la bonne heure... Mêlons! Coupons! (Trio des Cartes) (Carmen, José, Frasquita, Mercédès)
• Act III: Oui je reste!.. Je dis que rien ne m'épouvante (Air de Micaëla) (La Guide, Micaëla)
• Act III: Entr'acte (Orchestra)
• Act IV: A deux cuartos! (Cœur, Zuniga, Frasquita, Mercédès, Escamillio, Carmen)
• Act IV: C'est toi! C'est moi! (Carmen, José)
• Act IV: Où va-tu? (Finale) (Carmen, José, Chœur)

• Carmen: Suite: Los Toréadors
• Carmen: Suite: Prélude
• Carmen: Suite: Aragonaise
• Carmen: Suite: La Garde montante
• Carmen: Suite: Intermezzo
• Carmen: Suite: Séguedille
• Carmen: Suite: Les Dragons d'Alcalá
• Carmen: Suite: Danse bohème
• Jeux d'enfants (Petite Suite d'orchestre): Marche (Trompette et tambour)
• Jeux d'enfants (Petite Suite d'orchestre): Berceuse (La Poupée)
• Jeux d'enfants (Petite Suite d'orchestre): Impromptu (La Toupie)
• Jeux d'enfants (Petite Suite d'orchestre): Duo (Petit Mari, Petite Femme)
• Jeux d'enfants (Petite Suite d'orchestre): Galop (Le Bal)
• L'Arlésienne: Suite No. 1: Prélude
• L'Arlésienne: Suite No. 1: Minuetto
• L'Arlésienne: Suite No. 1: Adagietto
• L'Arlésienne: Suite No. 1: Carillon
• L'Arlésienne: Suite No. 2: Pastorale
• L'Arlésienne: Suite No. 2: Intermezzo
• L'Arlésienne: Suite No. 2: Menuet
• L'Arlésienne: Suite No. 2: Farandole

• Carmen Suite No.1 - Prélude
• Carmen Suite No.1 - Aragonaise
• Carmen Suite No.1 - Intermezzo
• Carmen Suite No.1 - Seguidilla
• Carmen Suite No.1 - Les Dragons d'Alcala
• Carmen Suite No.1 - Les Toreadors
• Carmen-Suite No.2 - Marche de contre banderos
• Carmen Suite No.2 - Habanera
• Carmen Suite No.2 - Nocturne
• Carmen-Suite No.2 - Chant de Toreadors
• Carmen Suite No.2 - La garde montante
• Carmen Suite No.2 - Danse bohème
• L'Arlésienne - Suite No.1 - Prélude
• L' Arlésienne-Suite No.1 - Menuett
• L'Arlésienne, Suite No.1 - Adagietto
• L'Arlésienne - Suite No.1 - Carillon
• L'Arlésienne - Suite No.2 - Pastorale
• L'Arlésienne - Suite No.2 - Intermezzo
• L' Arlésienne-Suite No.2 - Menuett
• L'Arlésienne - Suite No.2 - Farandole

• Prélude
• Acte I: Sur la place, chacun passe
• Acte I: Avec la garde montante
• Acte I: La cloche a sonné
• Acte I: Mais nous ne voyons pas
• Acte I: L'amour est un oisseau rebelle
• Acte I: Carmen! sur tes pas
• Acte I: Quels regards! Quelle effronterie!
• Acte I: Que se passe-t-il donc là bas?
• Acte I: Mon officier, c'était une querelle
• Acte I: Près des remparts de Séville
• Acte I: Voici l'ordre; partez
• Entr'acte
• Acte II: Les tringles des sistres tintaient
• Acte II: Vivat, vivat le torero
• Acte II: Votre toast
• Acte II: Eh bien, vite, quelles nouvelles?
• Acte II: Halte-là! Qui va là? Dragon d'Alcala!
• Acte II: Je vais danser en votre honneur

• Carmen Suite: Prelude
• Carmen Suite: Aragonaise
• Carmen Suite: Intermezzo/Interlude
• Carmen Suite: Segudille
• Carmen Suite: The Soldiers of Alcala
• Carmen Suite: The Toreadors
• L' Arlesienne Suite: Overture
• L' Arlesienne Suite: Minuet
• L' Arlesienne Suite: Adagietto
• L' Arlesienne Suite: Carillon
• A Midsummer Night's Dream: Overture
• A Midsummer Night's Dream: Scherzo
• A Midsummer Night's Dream: Nocturne
• A Midsummer Night's Dream: Wedding Music
• A Midsummer Night's Dream: Puck's Music

• Agnus Dei (Orchester und Chor der Stuttgarter Oper feat. conductor: Alexander von Pitamic)
• Carmen: Habañera (London Festival Orchestra feat. conductor: Alfred Scholz)
• Carmen: Danse bohème (London Festival Orchestra feat. conductor: Alfred Scholz)
• Carmen: La fleur que tu m'avais jetée (Nürnberger Symphoniker feat. conductor: Hanspeter Gmür)
• Carmen: Les voici la quadrille (Chor und Symphoniorchester des Slowenischen Rundfunks feat. conductor: Marco Munih)
• Kleine Suite für Orchester: Marsch (Nürnberger Symphoniker feat. conductor: Othmar M. S. Mága)
• Kleine Suite für Orchester: Berceuse (Nürnberger Symphoniker feat. conductor: Othmar M. S. Mága)
• Kleine Suite für Orchester: Impromptu (Nürnberger Symphoniker feat. conductor: Othmar M. S. Mága)
• Kleine Suite für Orchester: Duo (Nürnberger Symphoniker feat. conductor: Othmar M. S. Mága)
• Kleine Suite für Orchester: Galopp (Nürnberger Symphoniker feat. conductor: Othmar M. S. Mága)
• Symphonie in C-Dur: Allegro vivo (London Festival Orchester feat. conductor: Alfred Scholz)
• Symphonie in C-Dur: Adagio (London Festival Orchester feat. conductor: Alfred Scholz)
• Symphonie in C-Dur: Allegro vivace (London Festival Orchester feat. conductor: Alfred Scholz)
• Symphonie in C-Dur: Allegro vivace (London Festival Orchester feat. conductor: Alfred Scholz)

• "Carmen" Suite No. 1: Les toréadors
• "Carmen" Suite No. 1: Prélude
• "Carmen" Suite No. 1: Les dragons d'Alcala
• "Carmen" Suite No. 1: Intermezzo
• "Carmen" Suite No. 1: Aragonaise
• "Carmen" Suite No. 1: Séguidille
• "Carmen" Suite No. 2: Marche des contrebandiers
• "Carmen" Suite No. 2: Habanera
• "Carmen" Suite No. 2: Chanson du toréador
• "Carmen" Suite No. 2: La garde montante
• "Carmen" Suite No. 2: Danse bohéme
• "L'Arlésienne" Suite No. 1: Prélude
• "L'Arlésienne" Suite No. 1: Minuetto
• "L'Arlésienne" Suite No. 1: Adagietto
• "L'Arlésienne" Suite No. 1: Carillon
• "L'Arlésienne" Suite No. 2: Pastorale
• "L'Arlésienne" Suite No. 2: Intermezzo
• "L'Arlésienne" Suite No. 2: Menuet
• "L'Arlésienne" Suite No. 2: Farandole
• Jeux d'enfants, Op. 22: 1. Marche: Trompette et tambour
• Jeux d'enfants, Op. 22: 2. Berceuse: La poupée
• Jeux d'enfants, Op. 22: 3. Impromptu: La toupie
• Jeux d'enfants, Op. 22: 4. Duo: Petit mari, petite femme
• Jeux d'enfants, Op. 22: 5. Galop: Le bal

• Carmen: Prelude
• Carmen: Act I. "Sur la place chacun passe"
• Carmen: Act I. "Avec la garde montante"
• Carmen: Act I. "Il y a une jolie fille qui est venue te demander"
• Carmen: Act I. "Dites-moi brigadier"
• Carmen: Act I. "La cloche a sonné"
• Carmen: Act I. "L'amour est un oiseau rebelle"
• Carmen: Act I. "Carmen, sur tes pas nous nous pressons tous"
• Carmen: Act I. "Micaela! quest-ce que tu fais ici"
• Carmen: Act I. "Parle-moi de ma mère"
• Carmen: Act I. "Attends un peu, je vais lire sa lettre"
• Carmen: Act I. "Au secours, n'entendez-vous pas?"
• Carmen: Act I. "Voyons brigadier"
• Carmen: Act I. "Tra la la"
• Carmen: Act I. "Où me conduirez-vous"
• Carmen: Act I. "Près des remparts"
• Carmen: Act I. "Voici lordre, partez!"
• Carmen: Entr'acte
• Carmen: Act II. Chanson bohème
• Carmen: Act II. "Il commence à se faire tard"
• Carmen: Act II. "Vivat! vivat! le toréro"
• Carmen: Act II. "Votre toast, je peux vous le rendre"
• Carmen: Act II. "Messieurs les officiers, je vous en prie"
• Carmen: Act II. "Toreador, en garde!"
• Carmen: Act II. "Pourquoi étais-tu si presse"
• Carmen: Act II. "Nous avons en tête une affaire"
• Carmen: Act II. "En voila assez, je tai dit"
• Carmen: Act II. "Halte-là, qui va là"
• Carmen: Act II. "Halte-là..."
• Carmen: Act II. "Enfin, te voila"

• Wstęp
• Chór chłopców
• Habanera
• Seguidilla i duet
• Pieśń cygańska
• Aria Toreadora
• Duet i aria z kwiatkiem
• Duet i aria z kwiatkiem
• Aria z kartami
• Aria Micaeli
• Wstęp do IV Aktu, Tańce cygańskie i chór
• Wstęp do IV Aktu, Tańce cygańskie i chór
• Duet finałowy

• Carmen-Suite Nr. 1: Prélude
• Carmen-Suite Nr. 1: Aragonaise
• Carmen-Suite Nr. 1: Intermezzo
• Carmen-Suite Nr. 1: Seguidilla
• Carmen-Suite Nr. 1: Les Dragons d'Alcala
• Carmen-Suite Nr. 1: Les Toreadors
• Carmen-Suite Nr. 2: Marche de contre baderos
• Carmen-Suite Nr. 2: Habanera
• Carmen-Suite Nr. 2: Nocturne
• Carmen-Suite Nr. 2: Chant de Toreadors
• Carmen-Suite Nr. 2: La garde montante
• Carmen-Suite Nr. 2: Danse bohème
• L'Arlesienne-Suite Nr. 1: Prélude
• L'Arlesienne-Suite Nr. 1: Menuett
• L'Arlesienne-Suite Nr. 1: Adagietto
• L'Arlesienne-Suite Nr. 1: Carillon
• L'Arlesienne-Suite Nr. 2: Patorale
• L'Arlesienne-Suite Nr. 2: Intermezzo
• L'Arlesienne-Suite Nr. 2: Menuett
• L'Arlesienne-Suite Nr. 2: Farandole

• Symphonie en ut Allegro vivo
• Symphonie en ut Adagio
• Symphonie en ut Allegro vivace
• Symphonie en ut Allegro vivace
• Jeux d'enfants Marche (Trompette et tambour)
• Jeux d'enfants Berceuse (La poupee)
• Jeux d'enfants Impromptu (La toupie)
• Jeux d'enfants Duo (Petit mari, petite femme)
• Jeux d'enfants Galop (Le bal)
• La Jolie Fille de Perth --- suite Prelude
• La Jolie Fille de Perth --- suite Serenade
• La Jolie Fille de Perth --- suite Marche
• La Jolie Fille de Perth --- suite Danse bohemienne
• Le Tombeau de Couperin Prelude
• Le Tombeau de Couperin Forlane
• Le Tombeau de Couperin Menuet
• Le Tombeau de Couperin Rigaudon

• Acto I: Obertura
• Acto I: Sur la place
• Acto I: Avec la garde montante...
• Acto I: C'est bien là, n'est-ce pas...
• Acto I: La cloche a sonné... / Dans l'air, nous suivons des yeux la fumée
• Acto I: Quand je vous aimerai ? / L'amour est un oiseau rebelle
• Acto I: Carmen ! sur tes pas, nous nous pressons tous !
• Acto I: Quels regards ! Quelle effronterie !
• Acto I: Parle-moi de ma mère
• Acto I: Reste là, maintenant, pendant que je lirai
• Acto I: Que se passe-t-il donc là-bas ? / Au secours ! Au Secours !
• Acto I: Mon officier, c'était une querelle...
• Acto I: Près des remparts de Séville
• Acto I: Final: Voici l'ordre, partez

• Carmen Suite for orchestra No. 1 : Act 4. Entr'acte
• Carmen Suite for orchestra No. 1 : Act 3. Entr'acte
• Carmen Suite for orchestra No. 1 : Act 2. Entr'acte
• Carmen Suite for orchestra No. 1 : Act 1. Prélude
• L' Arlésienne, suite for orchestra No. 1, from the incidental music: Prélude
• L' Arlésienne, suite for orchestra No. 1, from the incidental music: Minuetto
• L' Arlésienne, suite for orchestra No. 1, from the incidental music: Adagietto
• L' Arlésienne, suite for orchestra No. 1, from the incidental music: Carillon
• L' Arlésienne, suite for orchestra No. 2, from the incidental music: Pastorale
• L' Arlésienne, suite for orchestra No. 2, from the incidental music: Intermezzo
• L' Arlésienne, suite for orchestra No. 2, from the incidental music: Menuet
• L' Arlésienne, suite for orchestra No. 2, from the incidental music: Farandole
• Pagliacci, opera: Intermezzo
• Notre Dame, opera: Intermezzo
• Khovanshchina, opera in 5 acts: Dance of the Persian Slaves

• Les Pêcheurs de perles: Prélude
• Les Pêcheurs de perles: Acte I. Chœur "Sur la grève en feu" (Chœur)
• Les Pêcheurs de perles: Acte I. Scène et chœur "Amis, interrompez vos danses" (Zurga, Nadir, Chœur)
• Les Pêcheurs de perles: Acte I. Récit et reprise du chœur dansé "Demeure parmi nous, Nadir" (Zurga, Nadir, Chœur)
• Les Pêcheurs de perles: Acte I. Récit "C'est toi ! toi qu'enfin je revois" (Zurga, Nadir)
• Les Pêcheurs de perles: Acte I. Duo "Au fond du temple saint" (Zurga, Nadir)
• Les Pêcheurs de perles: Acte I. Récit "Que vois-je ?" (Zurga, Nadir)
• Les Pêcheurs de perles: Acte I. Chœur "Elle vient ... Sois le bienvenue" (Chœur)
• Les Pêcheurs de perles: Acte I. Scène et chœur "Seule au milieu de nous" (Zurga, Leïla, Chœur)
• Les Pêcheurs de perles: Acte I. Récit "A cette voix" (Nadir)
• Les Pêcheurs de perles: Acte I. Romance "Je crois encore entendre" (Nadir)
• Les Pêcheurs de perles: Acte I. Scène et chœur "Le ciel est bleu" (Nadir, Nourabad, Chœur)
• Les Pêcheurs de perles: Acte I. Air et chœur "Ô Dieu Brahma !" (Leïla, Nadir, Chœur)
• Les Pêcheurs de perles: Acte II. Entracte, scène et chœur "L'ombre descend des cieux" (Leïla, Nourabad, Chœur)
• Les Pêcheurs de perles: Acte II. Récit et cavatine "Me voilà seule dans la nuit" (Leïla)
• Les Pêcheurs de perles: Acte II. Chanson "De mon amie" (Nadir, Leïla)
• Les Pêcheurs de perles: Acte II. Duo "Leïla ! Dieu puissant" (Nadir, Leïla)
• Les Pêcheurs de perles: Acte II. Final (debut) "Ah ! Revenez à la raison" (Leïla, Nadir, Nourabad, Chœur)

• L'Arlésienne Suite No. 1: Prélude. Allegro deciso (Tempo di marcia) - Andantino - Andante molto
• L`Arlésienne Suite No. 1: Minuetto. Allegro giocoso
• L'Arlésienne Suite No. 1: Adagietto - adagio
• L'Arlésienne Suite No. 1: Carillon. Allegro molto - Andantino - Tempo I
• L'Arlésienne Suite No. 2: Pastorale. Andante sostenuto assai - Andantino - Tempo I
• L'Arlésienne Suite No. 2: Intermezzo. Andante moderato ma con moto - Allegro moderato
• L'Arlésienne Suite No. 2: Menuet. Andantino quasi allegretto
• L'Arlésienne Suite No. 2: Farandole. Allegro deciso (Tempo di marcia) - Allegro vivo e deciso
• Carmen Suite No. 1: Prélude. Allegro giocoso
• Carmen Suite No. 1: Entr'acte II. Allegro moderato
• Carmen Suite No. 1: Entr'acte III. Andantino quasi allegretto
• Carmen Suite No. 1: Entr'acte IV. Allegro vivo

• L'Arlesienne Suite No.1: Prelude
• L'Arlesienne Suite No.1: Minuetto
• L'Arlesienne Suite No.1: Adagietto
• L'Arlesienne Suite No.1: Carillion
• L'Arlesienne Suite No.2: Pastorale
• L'Arlesienne Suite No.2: Intermezzo
• L'Arlesienne Suite No.2: Menuet
• L'Arlesienne Suite No.2: Farandole
• Carmen Suite No.1: Aragonaise
• Carmen Suite No.1: Intermezzo
• Carmen Suite No.1: Segeudille
• Carmen Suite No.1 - Les Dragons d'Alcala
• Carmen Suite No.1: Les Toreadores
• Carmen Suite No.2: Marche des contrebandiers
• Carmen Suite No.2: Habanera
• Carmen Suite No.2: Nocturne
• Carmen Suite No.2: Chanson de Toreador
• Carmen Suite No.2: La garde montante
• Carmen Suite No.2: Danse Boheme

• Prélude
• Sur la grève en feu
• Amis, interrompez vos danses
• Demeure parmi nous, Nadir
• C'est toi, toi qu'enfin je revois !
• Au fond du temple saint
• Que vois-je ?
• C'est elle ! Elle vient !...Sois la bienvenue
• Seule au milieu de nous
• À cette voix
• Je crois entendre encore
• Le ciel est bleu
• Ô Dieu Brahma !
• La, la, la...L'ombre descend des cieux
• Me voilà seule dans la nuit
• De mon amie
• Léïla !...Dieu puissant
• Ah ! revenez à la raison !
• Arrêtez ! Arrêtez ! C'est à moi d'ordonner

• Prelude-Aragonaise
• Intermezzo
• Seguedille
• Les drangons d'Alcala
• Les toreadors
• Patrie (Overture)
• Les pecheurs de perles: Prelude
• Marche des contrebandiers
• Habanera
• Nocturne
• Chanson du toreador
• La Garde montante
• Dance boheme

• Carmen: Entr'acte
• Carmen: Acte 2. "Les tringles des sistres tintaient..." (Carmen)
• Carmen: Acte 2. "Messieurs, Pastia me dit..." (Frasquita, Zuniga, Carmen, Mercédès)
• Carmen: Acte 2. "Vivat, vivat le Toréro !" (Chœur, Zuniga)
• Carmen: Acte 2. "Votre toast, je peux vous le rendre" (Escamillo, Chœur) "Toreador's Song"
• Carmen: Acte 2. "La belle, un mot..." (Escamillo, Carmen, Zuniga)
• Carmen: Acte 2. "Eh bien ! Vite, quelles nouvelles ?" - "Nous avons en tête une affaire" (Frasquita, Le Dancaïre, Mercédès, Le Remendado, Carmen)
• Carmen: Acte 2. "Mais qui donc attends-tu ?" (Le Dancaïre, Carmen, Le Remendado)
• Carmen: Acte 2. "Halte là !" (José, Carmen, Frasquita, Mercédès, Le Dancaïre, Le Remendado)
• Carmen: Acte 2. "Enfin c'est toi !" - "Tout doux, Monsieur, tout doux" (Carmen, José)
• Carmen: Acte 2. "La fleur que tu m'avais jetée" (José) "Flower Song" - "Non, tu ne m'aimes pas" (Carmen, José)
• Carmen: Acte 2. "Holà Carmen ! Holà ! Holà !" (Zuniga, José, Carmen, Le Dancaïre, Le Remendado)

• L'Arlesienne-Suite No. 1: 1. Prélude. Allegro deciso (Tempo di Marcia) - Andantino - Andante molto
• L'Arlesienne-Suite No. 1: 2. Minuetto. Allegro giocoso
• L'Arlesienne-Suite No. 1: 3. Adagietto (Adagio)
• L'Arlesienne-Suite No. 1: 4. Carillon. Allegro moderato - Andantino - Tempo I
• L'Arlesienne-Suite No. 2: 1. Pastorale. Andante sostenuto assai - Andantino - Tempo I
• L'Arlesienne-Suite No. 2: 2. Intermezzo. Andante moderato ma con moto - Allegro moderato
• L'Arlesienne-Suite No. 2: 3. Menuet. Andantino quasi Allegretto
• L'Arlesienne-Suite No. 2: 4. Farandole. Allegro deciso (Tempo di Marcia) - Allegro vivo e deciso
• Carmen-Suite: 1. Prélude I. Allegro giocoso
• Carmen-Suite: 2. Entr'acte II. Allegro moderato
• Carmen-Suite: 3. Entr'acte III. Allegretto quasi Andantino
• Carmen-Suite: 4. Entr'acte IV. Allegro vivo

• L'Arlesienne Suite No. 1: I. Prélude
• L'Arlesienne Suite No. 1: II. Minuetto
• L'Arlesienne Suite No. 1: III. Adagietto
• L'Arlesienne Suite No. 1: IV. Carillon
• L'Arlesienne Suite No. 2: I. Pastorale
• L'Arlesienne Suite No. 2: II. Intermezzo
• L'Arlesienne Suite No. 2: III. Menuet
• L'Arlesienne Suite No. 2: IV. Farandole
• Carmen Suite No. 1: I. Prelude. Allegro giocoso
• Carmen Suite No. 1: II. Entr'acte II. Allegro moderato
• Carmen Suite No. 1: III. Entr'acte III. Andantino quasi allegretto
• Carmen Suite No. 1: IV. Entr'acte IV. Allegro vivo

• Prélude
• Acte I: Sur la place (Micaela)
• Acte I: Avec la garde montante
• Acte I: L'amour est un oiseau rebelle (Carmen)
• Acte I: Monsieur le Brigadier / Parle-moi de ma mère (Don José, Micaela)
• Acte I: Près des remparts de séville (Carmen, Don José)
• Acte II: Les tringles des sistres tintaient (Carmen)
• Acte II: Vous avez quelque chose à nous dire
• Acte II: Vivat! Vivat le toréro (Carmen)
• Acte II: Votre toast, je peux vous le rendre (Escamillo, Carmen)
• Acte II: La fleur que tu m'avais jetée (Don José)
• Acte III: En vain, pour éviter les réponses Amères / Parlez encore, parlez, mes belles (Carmen)
• Acte III: A deux cuartos!
• Acte III: Musique de transition
• Acte III: C'est Toi - c'est moi (Carmen, Don José)

• The Search for Carmen
• Stop Crying
• Bulerias
• Adagio
• The Women's Knife Fight in "La tabacalera de Sevilla" / The Soldiers Arrest Carmen
• Intermezzo
• Habanera
• Fiesta Popular
• Guitar Strumming
• The Company Rehearses
• Love Theme and Premonition
• Fight With Sticks
• Carmens' Infidelity
• El Gato Montés
• Show-Down Between Escamillo and Don Jose
• Finale

• Ouverture
• Habanera
• Duo
• Séguedille et duo
• Chanson Bohème
• Couplets
• Don José
• Air
• Marche et choeur
• Duo et choeur final

• Carmen Suite No. 1: Prélude. Allegro giocoso (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Carmen Suite No. 1: Entr'acte II. Allegro moderato (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Carmen Suite No. 1: Entr'acte III. Andantino quasi Allegretto (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Carmen Suite No. 1: Entr'acte IV. Allegro vivo (London Symphony Orchestra feat. conductor: Claudio Abbado)
• Aufforderung zum Tanz, Op. 65 (Berlin Philharmonic orchestra feat. conductor: Herbert von Karajan)
• Capriccio italien, Op. 45 (Berlin Philharmonic orchestra feat. conductor: Herbert von Karajan)
• Bilder einer Ausstellung: Promenade (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: I. Gnomes (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: Promenade 2 (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: II. Il vecchio castello (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: Promenade 3 (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: III. Tuileries (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: IV. Bydlo (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: Promenade 4 (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: V. Ballet des petits poussins dans leur coque (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: VI. Samuel Goldenberg und Schmuyle (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: Limoges: le marché (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: VIII. Catacombae: Sepulchrum Romanum (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: Cum mortuis in lingua mortua (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: IX. La Cabane de Baba-Yaga sur des pattes de poule (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)
• Bilder einer Ausstellung: X. La Grande Porte de Kiev (Chicago Symphony Orchestra feat. conductor: Carlo Maria Giulini)

• Carmen - Prelude
• Carmen - Avec la garde montante
• Carmen - La cloche a sonne
• Carmen - L'amour est un oiseau rebelle
• Carmen - Pres des ramparts de Seville
• Carmen - Les tringles des sistres tintaient
• Carmen - Toreador's Song, Votre toast je peux vous le vendre
• Carmen - Le fleur que tu m'avais jetee
• Carmen - Entr'acte
• Carmen - Quant au douanier, c'est notre affaire
• Carmen - Les voici, voici le quadrille
• Carmen - Tu ne m'aimes donc plus
• L'Arlesienne - Suite No. 1, Prelude
• L'Arlesienne - Suite No. 1, Adagietto
• L'Arlesienne - Suite No. 1, Carillon
• L'Arlesienne - Suite No. 2, Pastorale
• L'Arlesienne - Suite No. 2, Farandole

• L'Arlésienne: Ouverture
• L'Arlésienne: Acte I. Mélodrame
• L'Arlésienne: Acte I. Mélodrame
• L'Arlésienne: Acte I. Mélodrame
• L'Arlésienne: Acte I. Choeur et Mélodrame
• L'Arlésienne: Acte I. Mélodrame et Choeur final
• L'Arlésienne: Acte II. Pastorale et Choeur
• L'Arlésienne: Acte II. Mélodrame
• L'Arlésienne: Acte II. Mélodrame
• L'Arlésienne: Acte II. Mélodrame
• L'Arlésienne: Acte II. Choeur
• L'Arlésienne: Acte II. Mélodrame
• L'Arlésienne: Acte II. Mélodrame
• L'Arlésienne: Acte II. Finale
• L'Arlésienne: Acte III. Entr'acte
• L'Arlésienne: Acte III. Finale
• L'Arlésienne: Acte IV. Intermezzo
• L'Arlésienne: Acte IV. Entr'acte: Carillon
• L'Arlésienne: Acte IV. Mélodrame
• L'Arlésienne: Acte IV. Mélodrame
• L'Arlésienne: Acte IV. Farandole
• L'Arlésienne: Acte V. Entr'acte
• L'Arlésienne: Acte V. Choeur
• L'Arlésienne: Acte V. Choeur
• L'Arlésienne: Acte V. Mélodrame
• L'Arlésienne: Acte V. Mélodrame
• L'Arlésienne: Acte V. Finale
• Jeux d'enfants (Petit suite d'orchestre): Marche
• Jeux d'enfants (Petit suite d'orchestre): Berceuse
• Jeux d'enfants (Petit suite d'orchestre): Impromptu
• Jeux d'enfants (Petit suite d'orchestre): Duo
• Jeux d'enfants (Petit suite d'orchestre): Galop

• Prelude
• Sur la place, chacun passe
• Avec la garde montante
• La cloche a sonne
• L'amour est un oiseau rebelle
• Carmen, sur tes pas nous
• Parle-moi de ma mere
• Au secours! Au secours!
• Tralalala lalalala
• Pres des remparts de Seville
• Voici l'odre
• Entr'acte
• Les tringles des sistres tintaient
• Vivat! Vivat le Torero!
• Votre toast, je peux vous le rendre
• Toreador, en garde!
• Nous avons en tete
• Halte-la! Qui va la?

• Carmen Suite No. 1: I. Prélude
• Carmen Suite No. 1: II. Aragonaise
• Carmen Suite No. 1: III. Intermezzo
• Carmen Suite No. 1: IV. Séguedille
• Carmen Suite No. 1: V. Les dragons d'Alcala
• Carmen Suite No. 1: VI. Les Toréadors
• Carmen Suite No. 2: I. Marche des contrebandiers
• Carmen Suite No. 2: II. Habanera
• Carmen Suite No. 2: III. Nocturne
• Carmen Suite No. 2: IV. Chanson du toréador
• Carmen Suite No. 2: V. La garde mountante
• Carmen Suite No. 2: VI. Danse Bohéme
• L'Arlésienne, Suite No. 1: I. Prélude
• L'Arlésienne, Suite No. 1: II. Minuetto
• L'Arlésienne, Suite No. 1: III. Adagietto
• L'Arlésienne, Suite No. 1: IV. Carillon
• L'Arlésienne, Suite No. 2: I. Pastorale
• L'Arlésienne, Suite No. 2: II. Intermezzo
• L'Arlésienne, Suite No. 2: III. Menuet
• L'Arlésienne, Suite No. 2: IV. Farandole

• Avec la garde montante
• L'amour est un oiseau rebelle
• Parle-moi de ma mère
• Pres des remparts de Séville
• Les tringles des sistres tintaient
• Votre toast
• La fleur que tu m'avais jetée
• Mêlons! Coupons!
• Je dis, que rien ne m'épouvent
• Les voici!
• C'est toi...c'est moi!

• L'Arlesienne - Suite No.1 - Ouverture
• L'Arlesienne - Suite No.1 - Minuetto
• L'Arlesienne Suite No.1 - Adagietto
• L'Arlesienne Suite No.1 - Carillon
• Carmen Suite No.1 - Prelude
• Carmen Suite No.1 - Aragonaise
• Carmen Suite No.1 - Intermezzo
• Carmen - Suite No.1 - Seguedille
• Carmen Suite No.1 - Les Dragons d'Alcala
• Carmen Suite No.1 - Les Toreadors
• Carmen - Suite No.2 - Marche des Contrebandi
• Carmen Suite No.2 - Habanera
• Carmen Suite No.2 - Nocturne
• Carmen - Suite No.2 - Chanson Du Toreador
• Carmen Suite No.2 - La garde montante
• Carmen - Suite No.2 - Danse Boheme
• L'Arlesienne Suite No.2 - Pastorale
• L'Arlesienne Suite No.2 - Intermezzo
• L'Arlesienne - Suite No.2 - Menuetto
• L'Arlesienne Suite No.2 - Farandole

• Carmen Suite No. 1: Les Toréadors
• Carmen Suite No. 1: Les Dragons d'Alcala
• Carmen Suite No. 1: Intermezzo
• Carmen Suite No. 1: Prelude - Aragonaise
• Carmen Suite No. 2: Marche des Contrebandiers
• Carmen Suite No. 2: Habanera
• Carmen Suite No. 2: Nocturne
• Carmen Suite No. 2: Chanson du Toréador
• Carmen Suite No. 2: La Garde Montante
• Carmen Suite No. 2: Danse Bohémienne
• L'Arlésienne Suite No. 1: Prélude
• L'Arlésienne Suite No. 1: Minuetto
• L'Arlésienne Suite No. 1: Adagietto
• L'Arlésienne Suite No. 1: Carrillon
• L'Arlésienne Suite No. 2: Pastorale
• L'Arlésienne Suite No. 2: Intermezzo
• L'Arlésienne Suite No. 2: Menuet
• L'Arlésienne Suite No. 2: Farandole

• Carmen Suite No. 1: I. Prelude to Act I
• Carmen Suite No. 1: II. Aragonaise (Prelude to Act IV)
• Carmen Suite No. 1: III. Intermezzo
• Carmen Suite No. 1: IV. Seguidilla
• Carmen Suite No. 1: V. Les dragons d'Alcala
• Carmen Suite No. 1: VI. Les Toréadors (Introduction to Act I)
• Carmen Suite No. 2: I. La Garde Montante
• Carmen Suite No. 2: II. Danse Bohème
• Peer Gynt Suite No. 2, Op. 55: I. Ingrid's Lament
• Peer Gynt Suite No. 2, Op. 55: II. Arabian Dance
• Peer Gynt Suite No. 1, Op. 46: I. Morning Mood
• Peer Gynt Suite No. 1, Op. 46: II. Ase's Death
• Peer Gynt Suite No. 1, Op. 46: III. Anitra's Dance
• Peer Gynt Suite No. 1, Op. 46: IV. In the Hall of the Mountain King
• Russian Easter Overture, Op. 36
• Gymnopédie No. 1
• Gymnopédie No. 3
• In the Steppes of Central Asia
• Nocturne for String Orchestra (from Quartet No. 2)

• Avec la garde montante
• C'est Toi?...C'est Moi I
• Ecoute, compagnon
• Eh Bien! Vita, Quelles Nouvelles?
• La fleur que tu m'avais jetee
• La fleur que tu m'avais jetee
• Mon officier, c'etait une querelle
• Ne crains rien, ma mere
• Non! tu n'aimes pas!
• Parie-Moi De Ma Mere!

• Prélude
• Acte 1 - Sur la place chacun passe
• Acte 1 - Avec et garde montante
• Acte 1 - Dites-moi, Brigadier?
• Acte 1 - La Cloche a sonné
• Acte 1 - Quand je yous aimerai? - L'Amour est un oiseau rebelle
• Acte 1 - Carmen sur tes pas
• Acte 1 - Eh! Compère, qu'est ce que tu fais là?
• Acte 1 - Parle-moi de ma mère!
• Acte 1 - Maintenant, je vais lire sa lettre
• Acte 1 - Au secours! Au secours!
• Acte 1 - Voyons, Brigadier
• Acte 1 - Près des remparts de Séville
• Acte 1 - Voici l'ordre, partez
• Acte 1 - Entr'acte
• Acte 2 - Les Tringles des sistres tintaient
• Acte 2 - Vous avez quelque chose à nous dire
• Acte 2 - Vivat! Vivat le torero!
• Acte 2 - Votre toast, je peux vous le rendre
• Acte 2 - Messieurs les officiers
• Acte 2 - Nous avons en tête une affaire!
• Acte 2 - En voilà assez!
• Acte 2 - Halte, là!
• Acte 2 - Enfin, te voilà!
• Acte 2 - Je vais danser en votre honneur
• Acte 2 - La Fleur que tu m'aimes jetée
• Acte 2 - Non! Tu ne m'aimes pas!
• Acte 2 - Holà! Carmen! Holà! Holà!

Born: 1838-10-25

Died: 1875-06-03