Irmgard Seefried

Biography

Born: October 9, 1919; Köngetried   Died: November 24, 1988; Vienna, Austria  
In the 1940s and early 1950s, Irmgard Seefried was a paragon among German lyric sopranos, her voice fresh and crystalline, her stage presence vital and attractive. Although she was an intelligent and well-prepared artist, the impression she made was one of considerable spontaneity. Her Susanna in Le nozze di Figaro and Pamina in Die Zauberflöte were very different creations, the first piquant and cunning, the latter direct and innocent, though Read more never the pallid personality others have imposed upon her. Her Composer in Strauss' Ariadne auf Naxos was a defining interpretation, ardently sung and passionately acted. It was captured in live performance in 1944 and, again, in the studio a decade later when her voice was at its zenith. By the late 1950s, an early decline, which some have attributed to singing too late into pregnancy and returning to the stage too soon after childbirth, stole a good measure of freedom from her singing although she remained a strong artist dramatically.

Seefried began her training with her father who had urged a degree in music in the event she had to make her own living. She studied at Augsburg University, first with Albert Meyer and, later, with Paola Novikova (with whom she continued to work long after her career was established). Her stage debut took place at Aachen in 1940 when she sang the Priestess in a production of Aida. After Nuri in d'Albert's Tiefland, she was shocked to find that the theater's music director, Herbert von Karajan, had scheduled her for Donna Anna in Don Giovanni. As she acknowledged later, she "got away" with the role due to the theater's small size and a very lyric approach to the highly dramatic role.

After three years in Aachen, Seefried moved to Vienna where she joined that theater's ensemble of extraordinary Mozart singers. Her wartime performances were accomplished under circumstances of utter privation: little heat, little food, repeated trips to shelters during both rehearsals and performances. Seefried's Eva under Karl Böhm established her as an artist with an unlimited future and she quickly became a favorite with the Vienna public. She was honored by being chosen to appear as the Composer in Ariadne to celebrate Richard Strauss' 80th birthday and in 1946 made her first appearance at Salzburg where her Pamina became legendary. London heard her in 1947 when she performed Susanna and Fiordiligi with the visiting Vienna Opera. Susanna served for her debut role at La Scala in 1949.

Although her Susanna was well-received at the Metropolitan Opera in November 1953, Seefried did not return to that theater, but did make memorable appearances with Chicago's Lyric Opera beginning in 1961. Chicago heard her Zerlina and Marzelline in her debut year and her still-wonderful Composer in 1964.

In addition to opera, Seefried was a first-rank interpreter of Lieder and a concert singer much in demand. In her prime years, her singing of the soprano solo portions of Bach's St. Matthew Passion, Beethoven's Ninth Symphony, and, above all, Haydn's Creation was unsurpassed. She performed all three of these works with Wilhelm Furtwängler, an influential guide and mentor. Seefried's recitals at Salzburg and elsewhere came to be treasured events. Many of her earlier Lieder recordings support the reputation she enjoyed among connoisseurs of beautiful and communicative singing. Read less

Biography

Born: October 9, 1919; Köngetried   Died: November 24, 1988; Vienna, Austria  
In the 1940s and early 1950s, Irmgard Seefried was a paragon among German lyric sopranos, her voice fresh and crystalline, her stage presence vital and attractive. Although she was an intelligent and well-prepared artist, the impression she made was one of considerable spontaneity. Her Susanna in Le nozze di Figaro and Pamina in Die Zauberflöte were very different creations, the first piquant and cunning, the latter direct and innocent, though Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Wir sind am Ziele (Bluebeard, Judith)
Dies ist also Blaubarts Feste (Judith, Bluebeard)
Gross schweigende Turen (Judith, Bluebeard)
Erste Tur: Weh! - Was siehst du? (Bluebeard, Judith)
Zweite Tur: Was siehst du? - Tausend schaurig scharfe Waffen (Bluebeard, Judith)
Dritte Tur: Oh, welche Pracht! (Judith, Bluebeard)
Vierte Tur: Ein Blumenmeer, ein einziger Duft (Judith, Bluebeard)
Funfte Tur: Ah! Sieh, so weit die Blicke reichen (Judith, Bluebeard)
Sechste Tur: Weisses stilles Wasser sech ich (Judith, Bluebeard)
Herzog Blaubart, lass Dich fragen... (Judith, Bluebeard)
Siebente Tur: Schau, die fruher'n Frauen alle (Bluebeard, Judith)
Fruh am Morgen kam die erste (Bluebeard, Judith)
Part I: Chorus: Kommt, ihr Tochter, helft mir klagen (Chorus)
Part I: Recitative: Da Jesus diese Rede vollendet hatte (Evangelist, Jesus)
Part I: Chorus: Herzliebster Jesu, was hast du verbrochen (Chorus)
Part I: Recitative: Da versammleten sich die Hohenpriester (Evangelist, Chorus, Jesus)
Part I: Recitative: Du lieber Heiland du (Alto)
Part I: Aria: Buss und Reu (Alto)
Part I: Recitative: Da ging hin der Zwolfen einer (Evangelist, Judas)
Part I: Blute nur, du liebes Herz (Soprano)
Part I: Recitative and Chorus: Aber am ersten Tage der sussen Brot (Evangelist, Chorus, Jesus)
Part I: Chorus: Ich bin's, ich sollte bussen (Chorus)
Part I: Recitative: Er antwortete und sprach (Evangelist, Jesus, Judas)
Part I: Recitative: Wiewohl mein Herz in Tranen schwimmt (Soprano)
Part I: Aria: Ich will dir mein Herze schenken (Soprano)
Part I: Recitative: Und da sie den Lobgesang gesprochen hatten (Evangelist, Jesus)
Part I: Chorus: Erkenne mich, mein Huter (Chorus)
Part I: Recitative: Petrus aber antwortete (Evangelist, Jesus, Petrus)
Part I: Chorus: Ich will hier bei dir stehen (Chorus)
Part I: Recitative: Da kam Jesus mit ihnen zu einem Hofe (Evangelist, Jesus)
Part I: Recitative and Chorus: O Schmerz, hier zittert das gequalte Herz (Tenor, Chorus)
Part I: Aria and Chorus: Ich will bei meinem Jesu wachen (Tenor, Chorus)
Part I: Recitative: Und ging hin ein wenig (Evangelist, Jesus)
Part I: Recitative: Der Heiland fallt vor seinem Vater nieder (Bass)
Part I: Aria: Gerne will ich mich bequemen (Bass)
Part I: Recitative: Und er kam zu seinen Jungern (Evangelist, Jesus)
Part I: Chorus: Was mein Gott will, das g'scheh allzeit (Chorus)
Part I: Recitative: Und er kam und fand sie aber schlafend (Evangelist, Jesus, Judas)
Part I: Aria and Chorus: So ist mein Jesus nun gefangen (Alto, Soprano, Chorus)
Part I: Recitative: Und siehe, einer aus denen (Evangelist, Jesus)
Part I: Chorus: O Mensch, bewein dein Sunde gross (Chorus)
Part II: Aria and Chorus: Ach! Nun ist mein Jesus hin (Alto, Chorus)
Part II: Recitative: Die aber Jesum gegriffen hatten (Evangelist)
Part II: Chorus: Mir hat die Welt truglich gericht' (Chorus)
Part II: Recitative: Und wiewohl viel falsche Zeugen herzutraten (Evangelist, Testis, Pontifex)
Part II: Recitative: Mein Jesus schweigt zu falschen Lugen stille (Tenor)
Part II: Aria: Geduld! Geduld! (Tenor)
Part II: Recitative and Chorus: Und der Hohepriester antwortete (Evangelist, Jesus, Pontifex)
Part II: Chorus: Wer hat dich so geschlagen (Chorus)
Part II: Recitative and Chorus: Petrus aber sass draussen im Palast (Evangelist, Petrus, Ancilla, Chorus)
Part II: Aria: Erbarme dich (Alto)
Part II: Chorus: Bin ich gleich von dir gewichen (Chorus)
Part II: Recitative and Chorus: Des Morgens aber hielten alle Hohepriester (Evangelist, Judas, Chorus)
Part II: Aria: Gebt mir meinen Jesum wieder (Bass)
Part II: Recitative: Sie hielten aber einen Rat (Evangelist, Pilatus, Jesus)
Part II: Chorus: Befiehl du deine Wege (Chorus)
Part II: Recitative and Chorus: Auf das Fest aber hatte der Landpfleger (Evangelist, Pilatus, Uxor Pilati, Chorus)
Part II: Chorus: Wie wunderbarlich ist doch diese Strafe (Chorus)
Part II: Recitative: Der Landpfleger sagte (Evangelist, Pilatus)
Part II: Recitative: Er hat uns allen wohlgetan (Soprano)
Part II: Aria: Aus Liebe will mein Heiland sterben (Soprano)
Part II: Recitative and Chorus: Sie schrieen aber noch mehr (Evangelist, Chorus, Pilatus)
Part II: Recitative: Erbarm es Gott (Alto)
Part II: Aria: Konnen Tranen meiner Wangen (Alto)
Part III: Recitative and Chorus: Da nahmen die Kriegsknechte (Evangelist, Chorus)
Part III: Chorus: O Haupt voll Blut und Wunden (Chorus)
Part III: Recitative: Und da sie ihn verspottet hatten (Evangelist)
Part III: Recitative: Ja! freilich will in uns das Fleisch und Blut (Bass)
Part III: Aria: Komm, susses Kreuz (Bass)
Part III: Recitative and Chorus: Und da sie an die Statte kamen mit (Evangelist, Chorus)
Part III: Recitative: Ach Golgatha, unsel'ges Golgatha (Alto)
Part III: Aria and Chorus: Sehet, Jesus hat die Hand (Alto, Chorus)
Part III: Recitative and Chorus: Und von der sechsten Stunde an (Evangelist, Jesus, Chorus)
Part III: Chorus: Wenn ich einmal soll scheiden (Chorus)
Part III: Recitative and Chorus: Und siehe da, der Vorhang im Tempel zerriss (Evangelist, Chorus)
Part III: Recitative: Am Abend, da es kuhle war (Bass)
Part III: Aria: Mache dich, mein Herze, rein (Bass)
Part III: Recitative and Chorus: Und Joseph nahm den Leib (Evangelist, Chorus, Pilatus)
Part III: Recitative and Chorus: Nun ist der Herr zur Ruh gebracht (Chorus)
Part III: Chorus: Wir setzen uns mit Tranen nieder (Chorus)
Mozart: Le nozze di Figaro, K. 492 : Overture
Le Nozze di Figaro, '(The) Marriage of Figaro', Act I: Cinque...dieci...venti (Figaro/Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act I: Se a caso madama (Figaro/Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act I: Se vuol ballare (Figaro/Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act I: La vendetta, oh la vendetta (Bartolo)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act I: Via resti servita, madama brillante (Marcellina/Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act I: Non so più cosa son, cosa faccio (Cherubino)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act I: Cosa sento! (Conte/Basilio/Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act I: Giovani liete, fiori spargete (Coro)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act I: Non più andrai (Figaro)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act II: Porgi amor (Contessa)
Mozart: Le nozze di Figaro, K. 492, Act 2: "Voi, che sapete che cosa è amor"
Le Nozze di Figaro, '(The) Marriage of Figaro', Act II: Venite, inginocchiatevi (Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act II: Susanna, or via sortite (Conte/Contessa/Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act II: Aprite, presto, aprite (Susanna/Cherubino)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act II: Esci omai, garzon malnato (Conte/Contessa)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act II: Signore! Cos'è quel stupore? (Susanna/Conte/Contessa/Figaro)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act II: Conoscete, signor Figaro (Conte/Figaro/Susanna/Contessa/Antonio)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act II: Voi signor, che giusto siete (Marcellina/Bartolo/Basilio/Conte/Susanna/Contessa/Figaro)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act III: Crudel! Perchè finora farmi languir cosi? (Conte/Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act III: Hai già vinta la causa!...Vedro, mentr'io sospiro (Conte)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act III: Riconosci in quest'amplesso (Marcellina/Figaro/Bartolo/Don Curzio/Conte/Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act III: E Susanna non vien?...Dove sono (Contessa)
Mozart: Le nozze di Figaro, K. 492, Act 3: "Sull'aria..." (Susanna, Contessa)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act III: Ricevete, o padroncina (Coro)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act III: Ecco la marcia!....amanti! costanti! (Figaro/Susanna/Conte/Contessa/Due ragazze/Coro)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act IV: L'ho perduta, me meschina! (Barbarina)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act IV: Tutto è disosto...Aprite un po'quegl'occhi (Figaro)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act IV: Giunse alfin il momento...Deh, vieni, non tardar (Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act IV: Piano, pianin, le andrò piùpresso (Cherubino/Contessa/Conte/Susanna/Figaro)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act IV: Tutto è tranquillo e placido (Figaro/Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act IV: Pace, pace, mio dolce tesoro (Figaro/Conte/Susanna)
Le Nozze di Figaro, '(The) Marriage of Figaro', Act IV: Gente, gente, all'armi, all'armi (Tutti)
I. Allegro ma non troppo, un poco maestoso
II. Molto vivace
III. Adagio molto e cantabile - Andante moderato
IV. Finale: Presto - Allegro assai
1. Allegro ma non troppo, un poco maestoso
2. Molto vivace
3. Adagio molto e cantabile
4. Presto
4. Presto - Allegro assai
Overture
"La mia Dorabella"
"Fuor la spada"
E la fede delle femminine
Scioccerie di poeti
"Una bella serenata"
"Ah, guarda, sorella"
"Mi par che stamattina"
"Vorrei dir, e cor non ho"
Stelle! Per carità, signor Alfonso
"Sento, oh Dio, che questo piede"
"Non piangere, idol mio!"
"La commedia è graziosa"
Bella vita militar!
Non vè più tempo, amici
"Di scrivermi ogni giorno" - "Bella vita militar"
"Dove son?"
"Soave sia il vento"
"Non son cattivo comico"
"Che vita maledetta" - "Madame, ecco la vostra colazione"
"Smanie implacabili"
"Signora Dorabella"
"In uomini, in soldati"
"Che silenzio!"
"Alla bella Despinetta"
"Che sussurro! Che strepito!"
"Come scoglio"
"Ah, non partite"
"Non siate ritrosi"
"E voi ridete?"
Si può sapere un poco la cagion di quel riso?
"Un'aura amorosa"
"Oh, la saria da ridere!"
"Ah, che tutta in un momento" - "Eccovi il medico"
"Andate là, che siete due bizzarre ragazze"
"Una donna a quindici anni"
"Sorella, cosa dici?"
"Prenderò quel brunettino"
"Ah, correte al giardino"
"Secondate, aurette amiche"
"Il tutto deponete sopra quei tavolini"
"La mano a me date"
"Oh che bella giornata!"
"Il core vi dono"
"Barbara! Perché fuggi?"
"Ei parte... senti... ah no!"
"Per pietà, ben mio, perdona"
"Amico, abbiamo vinto!"
"Donne mie, la fate a tanti"
"In qual fiero contrasto"
"Tradito, schernito"
"Bravo, questa è costanza"
"Ora vedo che siete"
"E amore un ladroncello"
"Come tutto congiura" - "L'abito di Ferrando"
"Fra gli amplessi in pochi istanti"
"Ah, poveretto me"
"Tutti accusan le donne"
"Vittoria, padroncini!"
"Fate presto, o cari amici" - "Sani e salvi"
1. Mit der Njanja
2. Im Winkel
3. Der Käfer
4. Mit der Puppe
5. Abendgebet
6. Steckenpferdreiter
1. Seit ich ihn gesehen
2. Er, der Herrlichste von allen
3. Ich kann's nicht fassen, nicht glauben
4. Du Ring an meinem Finger
5. Helft mir, ihr Schwestern
6. Süsser Freund, du blickest mich verwundert an
7. An meinem Herzen, an meiner Brust
8. Nun hast du mir den ersten Schmerz getan
1. Introitus: Requiem
2. Kyrie
3. Sequentia: Dies irae
3. Sequentia: Tuba mirum
3. Sequentia: Rex tremendae
3. Sequentia: Recordare
3. Sequentia: Confutatis
3. Sequentia: Lacrimosa
4. Offertorium: Domine Jesu
4. Offertorium: Hostias
5. Sanctus
6. Benedictus
7. Agnus Dei
8.Communio: Lux aeterna
1. Seit ich ihn gesehen
2. Er, der Herrlichste von allen
3. Ich kann's nicht fassen, nicht glauben
4. Du Ring an meinem Finger
5. Helft mir, ihr Schwestern
6. Süsser Freund, du blickest mich verwundert an
7. An meinem Herzen, an meiner Brust
8. Nun hast du mir den ersten Schmerz getan
1. Mit der Njanja
2. Im Winkel
3. Der Käfer
4. Mit der Puppe
5. Abendgebet
6. Steckenpferdreiter
Introduction
"Wie du warst!"
Der Feldmarschall sitzt im krowatischen Wald
"Selbstverständlich empfängt mich Ihro Gnaden"
Macht das einen lahmen Esel aus mir?
"I komm' glei"
"Di rigori armato il seno"
"Mein lieber Hippolyte"
"Da geht er hin"
"Ach! Du bist wieder da!"
"Die Zeit, die ist ein sonderbar Ding"
Introduction
Ein ernster Tag, ein großer Tag!
"In dieser feierlichen Stunde"
"Mir ist die Ehre widerfahren"
"Ich kenn' Ihn schon recht wohl"
"Jetzt aber kommt mein Herr Zukünftiger"
Hab' nichts dawider
Mit Ihren Augen voll Tränen
"Herr Baron von Lerchenau!"
"Da lieg' ich!"
"Ohne mich, ohne mich, jeder Tag dir so bang"
Introduction and Pantomime
"Hab'n Euer Gnaden noch weitre Befehle?"
"Nein, nein, nein, nein! I trink' kein Wein"
Wie die Stund' hingeht
"Halt! Keiner rührt sich!"
"Ihre hochfürstliche Gnaden, die Frau Fürstin Feldmarschall"
Ist halt vorbei
"Mein Gott, es war nicht mehr als eine Farce"
Heut oder morgen oder den übernächsten Tag
"Marie Theres'!" - "Hab mir's gelobt, Ihn lieb zu haben"
"Ist ein Traum, kann nicht wirklich sein"
Overture
"Notte e giorno faticar"
"Leporello, ove sei?"
Ah! del padre in periglio (Donna Anna, Don Ottavio)
Ma qual mai s'offre, oh Dei (Donna Anna, Don Ottavio)
"Fuggi, crudele, fuggi!"
"Orsù, spicciati presto"
"Ah! chi mi dice mai" - "Udisti? qualche bella"
"Chi è là?"
"Madamina, il catalogo è questo"
"Giovinette, che fate all'amore"
"Manco male, è partita"
"Ho capito, signor sì!"
"Alfin siam liberati"
"Là ci darem la mano"
"Fermati, scellerato!"
"Ah, fuggi il traditor"
"Mi par ch'oggi il demonio si diverta"
"Non ti fidar, o misera"
"Povera sventurata!"
"Don Ottavio... son morta!"
"Or sai chi l'onore"
"Come mai creder deggio"
"Dalla sua pace"
"Io deggio ad ogni patto"
"Fin ch'han dal vino"
"Masetto... senti un po'..."
"Batti, batti, o bel Masetto"
"Guarda un po' come seppe questa strega"
"Presto, presto... pria ch'ei venga"
"Tra quest'arbori celata"
"Bisogna aver corragio"
"Riposate, vezzose ragazze"
"Eh via, buffone, non mi seccar"
"Leporello!"
"Ah! taci, ingiusto core"
"Amico, che ti par?"
"Deh! vieni alla finestra"
"V'è gente alla finestra"
"Metà di voi qua vadano"
"Zitto... Lascia ch'io senta... Ottimamente"
Ahi, ahi! La testa mia!
"Vedrai, carino"
"Di molte faci il lume"
"Sola, sola in buio loco"
"Dunque quello sei tu"
"Ah! pietà, signori miei!"
"Ferma, perfido; ferma"
"Il mio tesoro intanto"
"In quali eccessi, o numi"
"Mi tradì quell'alma ingrata"
"Ah! ah! ah! questa è buona!"
"O statua gentilissima"
"Calmatevi, idol mio"
"Crudele? Ah no! mio bene!"
"Non mi dir, bell'idol mio"
"Già la mensa è preparata"
"L'ultima prova"
"Don Giovanni, a cenar teco m'invitasti"
"Ah! dov'è il perfido?"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.1 Chorus I/II: "Kommt, ihr Töchter, helft mir klagen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.2 Evangelist, Jesus: "Da Jesus diese Rede vollendet hatte"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.3 Choral: "Herzliebster Jesu, was hast du verbrochen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.4a Evangelist: "Da versammelten sich die Hohenpriester"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.4b Chorus I/II: "Ja nicht auf das Fest"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.6 Evangelist: "Da nun Jesus war zu Bethanien"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.4d Chorus I: "Wozu dienet dieser Unrat"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.4e Evangelist, Jesus: "Da das Jesus merkete"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.5 Recitative (Alto): "Du lieber Heiland du"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.6 Aria (Alto): "Buss und Reu"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.7 Evangelist, Judas: "Da ging hin der Zwölfen einer"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.8 Aria (Soprano): "Blute nur, du liebes Herz"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.9a Evangelist:"Aber am ersten Tage der süssen Brot"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.9b Chorus I: "Wo willst du, dass wir dir bereiten"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.9c Evangelist, Jesus: "Er sprach: Gehet hin in die Stadt"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.10 Choral: "Ich bin's, ich sollte büssen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.11 Evangelist, Jesus, Judas: "Er antwortete und sprach"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.12 Recitative (Soprano): "Wiewohl mein Herz in Tränen schwimmt"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.13 Aria (Soprano): "Ich will dir mein Herz schenken"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.14 Evangelist, Jesus: "Und da sie den Lobgesang gesprochen hatten"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.15 Choral: "Erkenne mich, mein Hüter"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.16 Evangelist, Jesus, Petrus: "Petrus aber antwortete"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.17 Choral: "Ich will hier bei dir stehen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.18 Evangelist, Jesus: "Da kam Jesus mit ihnen zu einem Hofe"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.19 Recitative (Tenor, Chorus II): "O Schmerz! hier zittert das gequälte Herz"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.20 Aria (Tenor): "Ich will bei meinem Jesu wachen" with Chorus: "So schlafen unsre Sünden ein"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.21 Evangelist, Jesus: "Und ging hin ein wenig"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.22 Recitative (Bass): "Der Heiland fällt vor seinem Vater nieder"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.23 Aria (Bass): "Gerne will ich mich bequemen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.24 Evangelist, Jesus: "Und er kam zu seinen Jüngern"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.25 Choral: "Was mein Gott will, das g'scheh allzeit"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.26 Evangelist, Jesus, Judas: "Und er kam und fand sie aber schlafend"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.27 Aria (Soprano, Alto, Chorus II): "So ist mein Jesus nun gefangen" - Chorus I/II: "Sind Blitze, sind Donner"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.28 Evangelist, Jesus: "Und siehe, einer aus denen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part One - No.29 Choral: "O Mensch, bewein dein Sünde groß"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.30 Aria (Alto, Chorus II): "Ach nun ist mein Jesu hin"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.31 Evangelist: "Die aber Jesum gegriffen hatten"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.32 Choral: "Mir hat die Welt trüglich gericht"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.33 Evangelist, Pontifex, Testis I/II: "Und wiewohl viel falsche Zeugen herzutraten"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.34 Recitative (Tenor): "Mein Jesus schweigt zu falschen Lügen stille"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.35 Aria (Tenor): "Geduld"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.36 Evangelist, Pontifex, Jesus, Chorus I/II: "Und der Hohepriester antwortete"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.36c Evangelist: "Da speieten sie aus in sein Angesicht"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.37 Choral: "Wer hat dich so geschlagen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.38a Evangelist, Ancilla I/II, Petrus: "Petrus aber sass draussen im Palast"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.46 Chorus II: "Wahrlich, du bist auch einer von denen" - No.46 Evangelist, Petrus: "Da hub er an, sich zu verflugen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.39 Aria (Alto): "Erbarme dich"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.40 Choral: "Bin ich gleich von dir gewichen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.41a Evangelist, Judas: "Des Morgens aber hielten alle Hohepriester"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.41c Evangelist, Pontifex I/II: "Und er warf die Silberlinge in den Tempel"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.42 Aria (Bass): "Gebt mir meinen Jesum wieder"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.43 Evangelist, Pilatus, Jesus: "Sie hielten aber einen Rat"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.44 Choral: "Befiehl du deine Wege"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.45 Evangelist, Pilatus, Uxor Pilati, Chorus I/II: "Auf das Fest aber hatte der Landpfleger Gewohnheit"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.46 Choral: "Wie wunderbarlich ist doch diese Strafe"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.47 Evangelist, Pilatus: "Der Landpfleger sagte"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.48 Recitative (Soprano): "Er hat uns allen wohlgetan"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.49 Aria (Soprano): "Aus Liebe will mein Heiland sterben"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.50 Evangelist, Chorus I/II, Pilatus: "Sie schrieen aber noch mehr"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.51 Recitative (Alto): "Erbarm es Gott"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.52 Aria (Alto): "Können Tränen meiner Wangen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.53 Evangelist, Chorus I/II: "Da nahmen die Kriegsknechte"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.54 Choral: "O Haupt voll Blut und Wunden"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.55 Evangelist: "Und da sie ihn verspottet hatten"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.56 Recitative (Bass): "Ja freilich will in uns das Fleisch und Blut"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.57 Aria (Bass): "Komm, süsses Kreuz"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.58 Evangelist, Chorus I/II: "Und da sie an die Stätte kamen"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.58e Evangelist: "Desgleichen schmäheten ihn auch die Mörder"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.59 Recitative (Alto): "Ach Golgatha"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.60 Aria (Alto, Chorus II): "Sehet, Jesus hat die Hand"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.61 Evangelist, Jesus, Chorus I/II: "Und von der sechsten Stunde an"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.62 Choral: "Wenn ich einmal soll scheiden"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.63 Evangelist, Chorus I/II: "Und siehe da, der Vorhang im Tempel zerriss"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.63c Evangelist: "Und es waren viel Weiber da"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.64 Recitative (Bass): "Am Abend, da es kühle war"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.65 Aria (Bass): "Mache dich, mein Herze, rein"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.66 Evangelist, Chorus I/II, Pilatus: "Und Joseph nahm den Leib"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.67 Recitative (Soprano, Alto, Tenor, Bass, Chorus II): "Nun ist der Herr zur Ruh gebracht"
J.S. Bach: St. Matthew Passion, BWV 244 / Part Two - No.68 Chorus I/II: "Wir setzen uns mit Tränen nieder"
Die Zauberflöte (1999 - Remaster), Act I: Overture
Die Zauberflöte (1999 - Remaster), Act I: Zu Hilfe! Zu Hilfe! (Tamino/Damen)
Die Zauberflöte (1999 - Remaster), Act I: Der Vogelfänger bin ich ja (Papageno)
Die Zauberflöte (1999 - Remaster), Act I: Dies Bildnis ist bezaubernd schön (Tamino)
Die Zauberflöte (1999 - Remaster), Act I: O Zittre nicht, mein lieber Sohn! (Königin)
Die Zauberflöte (1999 - Remaster), Act I: Hm! hm! hm! hm! (Papageno/Tamino/Damen)
Die Zauberflöte (1999 - Remaster), Act I: Du feines Täubchen nur herein! (Monostatos/Pamina/Papageno)
Die Zauberflöte (1999 - Remaster), Act I: Bei Männern, welche Liebe fühlen (Pamina/Papageno)
Die Zauberflöte (1999 - Remaster), Act I: Zum Ziele führt dich diese Bahn (Knaben/Tamino)
Die Zauberflöte (1999 - Remaster), Act I: Zurück!...Zurück? (Stimme/Tamino/Sprecher)
Die Zauberflöte (1999 - Remaster), Act I: O ew'ge Nacht (Tamino/Chor)
Die Zauberflöte (1999 - Remaster), Act I: Wie stark ist nicht dein Zauberton! (Tamino)
Die Zauberflöte (1999 - Remaster), Act I: Schnelle Füße, rascher Mut (Pamina/Papageno/Monostatos)
Die Zauberflöte (1999 - Remaster), Act I: Wer viel wagt, gewinnt oft viel!...Das klinget so herrlich...(Pagageno/Monostatos/Die Sklaven)
Die Zauberflöte (1999 - Remaster), Act I: Könnte jeder brave Mann (Pamina/Papageno)
Die Zauberflöte (1999 - Remaster), Act I: Es lebe Sarasto (Chor/Papageno/Pamina)
Die Zauberflöte (1999 - Remaster), Act I: Herr! Ich bin zwar Verbrecherin! (Pamina/Sarastro)
Die Zauberflöte (1999 - Remaster), Act I: Nun, stolzer Jüngling, nur hierher! (Monostatos/Pamina/Tamino/Chor/Sarastro)
Die Zauberflöte (1999 - Remaster), Act I: Führt diese beiden Fremdlinge (Sarastro/Chor)
Die Zauberflöte (1999 - Remaster), Act II: March of the Priests
Die Zauberflöte (1999 - Remaster), Act II: O Isis und Osiris (Sarastro/Chor)
Die Zauberflöte (1999 - Remaster), Act II: Bewahret euch vor Weibertücken (Zwei Priester)
Die Zauberflöte (1999 - Remaster), Act II: Wie? wie? wie? (Damen/Papageno/Tamino/Chor)
Die Zauberflöte (1999 - Remaster), Act II: Alles Fühlt der Liebe Freuden (Monostatos)
Die Zauberflöte (1999 - Remaster), Act II: Der Hölle Rache kocht in meinem Herzen (Königin)
Die Zauberflöte (1999 - Remaster), Act II: In diesen heil'gen Hallen (Sarastro)
Die Zauberflöte (1999 - Remaster), Act II: Seid uns zum zweiten mal willkommen (Knaben)
Die Zauberflöte (1999 - Remaster), Act II: Ach, ich fühl's (Pamina)
Die Zauberflöte (1999 - Remaster), Act II: O Isis und Osiris! (Chor)
Die Zauberflöte (1999 - Remaster), Act II: Soll ich dich, Teurer! (Pamina/Sarastro/Tamino)
Die Zauberflöte (1999 - Remaster), Act II: Ein Mädchen oder Weibchen (Papageno)
Die Zauberflöte (1999 - Remaster), Act II: Bald prangt, den Morgen zu verkünden (Knaben/Pamina)
Die Zauberflöte (1999 - Remaster), Act II: Der, welcher wandelt diese Straße voll Beschwerden (Zwei Geharnischten/Tamino/Pamina)
Die Zauberflöte (1999 - Remaster), Act II: Tamino mein! O welch ein Glück! (Zwei Geharnischten/Tamino/Pamina)
Die Zauberflöte (1999 - Remaster), Act II: Triumph! Triumph! du edles Paar! (Chor)
Die Zauberflöte (1999 - Remaster), Act II: Papagena! (Papageno/Knaben)
Die Zauberflöte (1999 - Remaster), Act II: Pa-pa-gena! Pa-pa-geno! (Papageno/Papagena)
Die Zauberflöte (1999 - Remaster), Act II: Nur stille... (Chor/Monostatos/Königin/Damen)
Die Zauberflöte (1999 - Remaster), Act II: Die Strahlen der Sonne (Sarastro/Chor)
I. Selig sind, die da Leid tragen ( Poco andante, e con espressione)
II. Denn alles Fleisch es ist wie Gras (Moderato, in modo di marcia - Un poco sostenuto - Allegro non troppo)
III. Herr, lehre doch mich (Andante moderato)
IV. Wie lieblich sind deine Wohnungen (Con moto moderato)
V. Ihr habt nun Traurigkeit (Andante)
VI. Denn wir haben hie keine bleibende Statt ( Andante - Vivace - Allegro)
VII. Selig sind die Toten, die in dem Herren sterben (Maestoso)


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