Helen Watts

Biography

Born: December 7, 1927; Milford Haven, Wales   Died: October 7, 2009; Pembrokeshire  
Contralto Helen Watts was a leading member of that school of Welsh singers which came to prominence in the 1950s and 1960s. Nurtured in a British Isles atmosphere that had turned from insularity to international performance, Watts became the leading British contralto (or mezzo-contralto) in the post-Kathleen Ferrier age. Though never wanting in artistic temperament, she was a model colleague, always well-prepared and ready to sing a fully Read more invested performance. Her voice, of medium size though firmly focused, had a plushness that often made it seem larger than its actual size. She began by specializing in Handel and Bach, but grew artistically to become an exemplary singer of Mahler and Wagner. Watts did not neglect the works of Britten and Tippett either, performing and recording them as a part of her exceptionally extensive discography.

Watts studied at the Royal Academy of Music in London and made her debut as Didymus in Handel's Theodora in a production mounted by the Handel Opera Society. She followed those performances with both Juno and Ines in Semele. She also sang in Rinaldo, an opera which she repeated at Berlin's Komische Oper and at Halle in 1961. By the early 1960s, she had established a relationship with the English Opera Group and played an important part in performances of Britten's operas, assuming the title role in The Rape of Lucretia during the EOG's 1964 tour of Russia. She sang at Covent Garden from 1965 to 1971, offering her richly vocalized Erda and First Norn, portraying Mrs. Sedley in Britten's Peter Grimes, and offering a commanding Sosostris in a revival of Tippett's The Midsummer Marriage. At the Welsh National Opera, she also performed numerous roles suitable for a contralto, among them Sosostris, Mrs. Sedley, a delicious Dame Quickly, and Lanina. At Salzburg in 1971, she was well received as Farnace in Mozart's Mitridate, Re di Ponto and in 1978, she sang a moving Arnalta in Monteverdi's L'Incoronazione di Poppea with the Scottish Opera.

However busy she may have seemed in the opera world, Watts was busier still in recital and concert work. Her initial performances in Handel led to a recording of Handel cantatas and then a flood of discs of wide-ranging repertory. She made numerous recordings of Bach, paralleling her live performances throughout the United Kingdom, Europe, and America. Her years at Covent Garden coincided with the musical directorship of Georg Solti. Taken by her sumptuous voice and quality of musicianship, he employed her services for several recording projects and afforded her the international prominence she deserved. Aside from her First Norn in his Decca Götterdämmerung, he engaged her for his recordings of Mahler's Second, Third, and Eighth symphonies, all widely distributed and warmly praised. When Solti assumed the directorship of the Chicago Symphony Orchestra, he brought Watts to Chicago for a series of memorable performances, including Mahler's Second Symphony and Bach's St. Matthew Passion.

Watts' Sosostris was recorded following the Tippett revival, the electronic medium greatly clarifying the composer's extremely thick orchestration and allowing her glorious singing to be heard. Watts was virtually on call to recording companies during her prime years, valued for her amazing consistency and unfussy approach to studio work. Her Angel in Elgar's Dream of Gerontius ranked with the best, and her interpretation of the contralto part in the Colin Davis recording of Handel's Messiah (including "But Who May Abide") is regarded by many as unsurpassed. Her recordings of Lieder were likewise exemplary, especially Brahms and Wolf. Read less
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Biography

Born: December 7, 1927; Milford Haven, Wales   Died: October 7, 2009; Pembrokeshire  
Contralto Helen Watts was a leading member of that school of Welsh singers which came to prominence in the 1950s and 1960s. Nurtured in a British Isles atmosphere that had turned from insularity to international performance, Watts became the leading British contralto (or mezzo-contralto) in the post-Kathleen Ferrier age. Though never wanting in artistic temperament, she was a model colleague, always well-prepared and ready to sing a fully Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Kyrie Eleison
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Christe Eleison
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Kyrie Eleison
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Gloria in Excelsis Deo
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Laudamus Te
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Gratias
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Domine Deus
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Qui Tollis
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Quoniam
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Cum Sancto Spiriti
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Credo in unum Deum
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Et incarnatus est
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Crucifixus
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Et resurrexit
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Sanctus
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Benedictus
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Agnus Dei
Haydn: Missa Sancta Caeciliae (Missa cellensis), Hob. XXV:5 - Dona nobis pacem
Haydn: Mass in B Flat - 'Schöpfungsmesse' - Hob. XXII: 13 - Kyrie
Haydn: Mass in B Flat - 'Schöpfungsmesse' - Hob. XXII: 13 - Gloria
Haydn: Mass in B Flat - 'Schöpfungsmesse' - Hob. XXII: 13 - Credo
Haydn: Mass in B Flat - 'Schöpfungsmesse' - Hob. XXII: 13 - Sanctus
Haydn: Mass in B Flat - 'Schöpfungsmesse' - Hob. XXII: 13 - Benedictus
Haydn: Mass in B Flat - 'Schöpfungsmesse' - Hob. XXII: 13 - Agnus Dei
Haydn: Mass in B Flat, - "Harmoniemesse", Hob.XXII:14 - Kyrie
Haydn: Mass in B Flat, - "Harmoniemesse", Hob.XXII:14 - Gloria
Haydn: Mass in B Flat, - "Harmoniemesse", Hob.XXII:14 - Credo
Haydn: Mass in B Flat, - "Harmoniemesse", Hob.XXII:14 - Sanctus
Haydn: Mass in B Flat, - "Harmoniemesse", Hob.XXII:14 - Benedictus
Haydn: Mass in B Flat, - "Harmoniemesse", Hob.XXII:14 - Agnus Dei
"Wo bleibt Elektra?"
"Allein! Weh, ganz allein."
"Elektra!"
"Ich kann nicht sitzen und ins Dunkel starren"
"Es geht ein Lärm los."
"Was willst du? Seht doch dort!"
"Die Götter! bist doch selber eine Göttin."
"Ich will nichts hören!"
"Ich habe keine guten Nächte."
"Wenn das rechte Blutopfer unterm Beile fällt"
"Was bluten muß? Dein eigenes Genick"
"Was sagen Sie ihr denn?"
"Orest! Orest ist tot!"
"Platz da! Wer lungert so vor einer Tür?"
"Nun muß es hier von uns geschehn."
"Du! Du! Denn du bist stark! Wie stark du bist"
"Nun denn, allein!"
"Was willst du, fremder Mensch?"
"Elektra! Elektra!"
"Orest!"
"Du wirst es tun? Allein? Du armes Kind?"
"Seid ihr von Sinnen"
"Ich habe ihm das Beil nicht geben können!"
"Es muss etwas geschehen sein"
"He! Lichter!"
"Elektra! Schwester!"
"Ob ich nicht höre?"
"Hörst du denn nicht"
"Schweig, und tanze."
J.S. Bach: Süßer Trost, mein Jesus kommt Cantata, BWV 151 - 1. "Süßer Trost, mein Jesu kommt"
J.S. Bach: Süßer Trost, mein Jesus kommt Cantata, BWV 151 - 2. "Erfreue dich, mein Herz"
J.S. Bach: Süßer Trost, mein Jesus kommt Cantata, BWV 151 - 3. "In Jesu Demut kann ich Trost"
J.S. Bach: Süßer Trost, mein Jesus kommt Cantata, BWV 151 - 4."Du teurer Gottessohn, nun hast du mir den Himmel aufgemacht"
J.S. Bach: Süßer Trost, mein Jesus kommt Cantata, BWV 151 - 5. "Heut' schleusst er wieder auf die Tür"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part One: Hymnus "Veni creator spiritus" - "Veni creator spiritus"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part One: Hymnus "Veni creator spiritus" - "Imple superna gratia"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part One: Hymnus "Veni creator spiritus" - "Infirma nostri corporis"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part One: Hymnus "Veni creator spiritus" - "Accende lumen sensibus"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part One: Hymnus "Veni creator spiritus" - "Veni, Creator...Da gaudiorum praemia"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part One: Hymnus "Veni creator spiritus" - "Gloria sit Patri Domino"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - Poco adagio: Waldung, sie schwankt heran
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Ewiger Wonnebrand"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Wie Felsenabgrund mir zu Füßen"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Gerettet ist das edle Glied"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Uns bleibt ein Erdenrest"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Höchste Herrscherin der Welt"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Bei der Liebe, die den Fussen"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Neige, neige, du Ohnegleiche"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Blicket auf zum Retterblick"
Mahler: Symphony No.8 in E flat - "Symphony of a Thousand" / Part Two: Final scene from Goethe's "Faust" - "Alles Vergängliche"
1. Allegro: Dixit Dominus
2. Largo: Donec ponam
3. Allegro: Virgam virtutis tuae
4. Andante: Tecum principium
5. Adagio - Allegro: Juravit
6. Allegro: Dominus a dextris tuis
7. Largo - Allegro molto: Judicabit
8. Andante: De torrente
9. Allegro: Gloria Patri
10. Allegro: Sicut erat
1. Allegro: Beatus vir
2. Allegro non molto: Potens in terra/ Allegro (antifonia): Beatus vir
3. Allegro: Gloria et divitiae
4. Andante molto: Exortum est
5. Allegro: Jucundus homo/ Allegro (Antifonia): Beatus vir
6. Andante molto: In memoria aeterna/ Allegro (Antifonia): Beatus vir
7. Allegro: Paratum cor
8. Largo - Presto: Peccator videbit/ Allegro (Antifonia): Beatus vir
9. Allegro: Gloria Patri
Messiah : Part 1 Symphony
Messiah : Part 1 "Comfort ye my people"
Messiah : Part 1 "Ev'ry valley shall be exalted"
Messiah : Part 1 "And the glory of the Lord shall be revealed"
Messiah : Part 1 "Thus saith the Lord"
Messiah : Part 1 "But who may abide the day of his coming?"
Messiah : Part 1 "And he shall purify the sons of Levi"
Messiah : Part 1 "Behold, a virgin shall concieve, and bear a son"
Messiah : Part 1 "O thou that tellest good tidings to Zion"
Messiah : Part 1 "O thou that tellest good tidings to Zion"
Messiah : Part 1 "For behold, darkness shall cover the earth"
Messiah : Part 1 "The people that walked in darkness have seen a great light"
Messiah : Part 1 "For unto us a child is born"
Messiah : Part 1 Pastoral Symphony
Messiah : Part 1 "There were shepherds abiding in the field" "And lo, the angel of the Lord came upon them" "And the angel said unto them - Fear not" "And suddenly there was with the angel a multitude of the heav'nly host"
Messiah : Part 1 "Glory to God in the highest"
Messiah : Part 1 "Rejoice greatly, o daughter of Zion"
Messiah : Part 1 "Then shall the eyes of the blind be opened"
Messiah : Part 1 "He shall feed his flock like a shepherd"
Messiah : Part 1 "His yoke is easy"
Messiah : Part 2 "Behold the Lamb of God, that taketh away the sin of the world"
Messiah : Part 2 "He was despised and rejected of men"
Messiah : Part 2 "Surely he hath borne our griefs and carried our sorrows"
Messiah : Part 2 "And with his stripes we are healed"
Messiah : Part 2 "All we like sheep have gone astray"
Messiah : Part 2 "All they that see him laugh him to scorn"
Messiah : Part 2 "He trusted in God that he would deliver him"
Messiah : Part 2 "Thy rebuke hath broken his heart"
Messiah : Part 2 "Behold, and see if there be any sorrow like unto his sorrow"
Messiah : Part 2 "He was cut off out of the land of the living"
Messiah : Part 2 "But thou didst not leave his soul in hell"
Messiah : Part 2 "Lift up your heads, o ye gates"
Messiah : Part 2 "Unto which of the angels said he at any time"
Messiah : Part 2 "Let all the angels of God worship him"
Messiah : Part 2 "Thou art gone up on high, thou hast led captivity captive"
Messiah : Part 2 "The Lord gave the word - great was the company of the preachers"
Messiah : Part 2 "How beautiful are the feet of them that preach the gospel of peace"
Messiah : Part 2 "Their sound is gone out into all lands"
Messiah : Part 2 "Why do the nations so furiously rage together"
Messiah : Part 2 "Let us break their bonds asunder"
Messiah : Part 2 "He that dwelleth in heaven shall laugh them to scorn"
Messiah : Part 2 "Thou shalt break them with a rod of iron"
Messiah, HWV 56, Part 2: "Hallelujah" (Chorus)
Messiah HWV 56 : Part 3 "I know that my Redeemer liveth"
Messiah : Part 3 "Since by man came death"
Messiah : Part 3 "Behold, I tell you a mystery"
Messiah : Part 3 "The trumpet shall sound"
Messiah : Part 3 "Then shall be brought to pass the saying that is written"
Messiah : Part 3 "O death, where is thy sting?"
Messiah : Part 3 "But thanks be to God, who giveth us the victory"
Messiah : Part 3 "If God be for us, who can be against us?"
Messiah : Part 3 "Worthy is the Lamb that was slain"
Messiah : Part 3 "Amen"
Samson : Act 1 Sinfonia
Samson : Act 1 "This day, a solemn feast to Dagon held" [Samson]
Samson : Act 1 "Awake the trumpet's lofty sound!" [Chorus]
Samson : Act 1 "Ye men of Gaza, hither bring the merry pipe and pleasing string" [Dalila]
Samson : Act 1 "Awake the trumpet's lofty sound" [Chorus]
Samson : Act 1 "Loud as the thunder's awful voice" [Philistine]
Samson : Act 1 "Then free from sorrow, free from the thrall" [Philistine Woman]
Samson : Act 1 "Awake the trumpet's lofty sound!" [Chorus]
Samson : Act 1 "Why by an angel was my birth foretold" [Samson]
Samson : Act 1 "Torments, alas! are not confin'd to heart, or head, or breast!" [Samson]
Samson : Act 1 "Oh change beyond report, thought or belief!" [Micah]
Samson : Act 1 "Oh mirror of our fickle state!" [Micah]
Samson : Act 1 "Whom have I to compain of but myself" [Samson] ... "Oh loss of sight! of thee I most complain!" [Samson]
Samson : Act 1 "Total eclipse! no sun, no moon, all dark amidst the blaze of noon!" [Samson]
Samson : Act 1 "Since light so necessary is to life" [Micah]
Samson : Act 1 "Oh first created beam!" [Chorus]
Samson : Act 1 "Ye see, my friends, how woes enclose me round" [Samson], "Here comes thy rev'rend sire, old Manoah" [Micah, Samson]
Samson : Act 1 "Brethren and men of Dan, say, where is my son" [Manoah, Micah] "O miserable change!" [Manoah] "Oh ever failing trust in mortal strength!" [Israelitish Man]
Samson : Act 1 "God of our fathers, what is man?" [Israelitish Man]
Samson : Act 1 "The good we wish for, often proves our bane" [Manoah]
Samson : Act 1 "Thy glorious deeds inspir'd my tongue" [Manoah]
Samson : Act 1 "Justly these evils have befall'n thy son" [Samson] "Worse yet remains" [Manoah] "This have I done" [Samson]
Samson : Act 1 "My griefs for this forbid mine eyes to close" [Samson]
Samson : Act 1 "Why does the God of Israel sleep?" [Samson]
Samson : Act 1 "There lies our hope!" [Micah]
Samson : Act 1 "Then shall they know" [Chorus]
Samson : Act 1 "For thee, my dearest son" [Manoah] "It should be so - to expiate my crime" [Samson] "Be for thy fate contrite" [Manoah] "Why should I live?" [Samson]
Samson : Act 1 "Then long eternity shall greet your bliss" [Micah]
Samson : Act 1 "Joys that are pure" [Micah]
Samson : Act 1 "Then round about the starry throne" [Chorus]
Samson : Act 2 "Despair not thus" [Manoah] "Wher'er the liquid brook or fountain flow'd" [Samson] "Trust yet in God!" [Manoah]
Samson : Act 2 "Just are the way of God to man" [Manoah]
Samson : Act 2 "My evils hopeless are!" [Samson] "Relieve thy champion" [Micah]
Samson : Act 2 "Return, oh God of hosts!" [Micah]
Samson : Act 2 "To dust his glory they would tread" [Chorus]
Samson : Act 2 "But who is this?" [Micah] ... "How cunningly the sorceress displays her own transgressions" [Samson]
Samson : Act 2 "With plaintive notes and am'rous moan" [Dalila, Samson]
Samson : Act 2 "Did Love constrain thee?" [Samson]
Samson : Act 2 "Your charms to ruin led the way" [Samson]
Samson : Act 2 "Forgive what's done" [Dalila]
Samson : Act 2 "My - Her faith and truth, oh Samson, prove Dalila" [Dalila, Virgin]
Samson : Act 2 "Her faith and truth, oh Samson, prove" [Chorus]
Samson : Act 2 "To fleeting pleasures make your court" [Dalila]
Samson : Act 2 "Her faith and truth, oh Samson, prove" [Chorus]
Samson : Act 2 "How charming is domestic ease!" [Dalila]
Samson : Act 2 "Her faith and truth, oh Samson, prove" [Chorus]
Samson : Act 2 "Ne'er think of that! I know thy warbling charms" [Samson] "Let me approach, at least" [Dalila] "Not for thy life" [Samson] "Thou art more deaf to pray'rs than winds or seas" [Dalila]
Samson : Act 2 "Traitor to love! I'll sue no more" [Dalila] "Traitress to love! I'll hear no more" [Samson] "She's gone! a serpent manifest" [Micah, Samson]
Samson : Act 2 "It is not virtue, valour, wit" [Israelitish Man]
Samson : Act 2 "Favour'd of heaven is he, who finds one true" [Samson]
Samson : Act 2 "To man God's universal law gave pow'r to keep the wife in awe" [Chorus]
Samson : Act 2 "No words of peace, no voice enchanting fear" [Micah] ... "The honour certain to have won from thee I lose" [Harapha]
Samson : Act 2 "Honour and arms scorn such a foe" [Harapha]
Samson : Act 2 "Put on your arms" "My strength is from the living God" [Samson]
Samson : Act 2 "With thee!" [Harapha] "Cam'st thou for this, vain boaster?" [Samson, Harapha]
Samson : Act 2 "Go, baffled coward, go" [Samson] "Presume not on thy God" [Harapha]
Samson : Act 2 "Here lies the proof" [Micah]
Samson : Act 2 "Hear, Jacob's God, Jehovah, hear!" [Chorus]
Samson : Act 2 "Dagon, arise! attend thy sacred feast!" [Harapha]
Samson : Act 2 "To song and dance we give the day" [Philistine]
Samson : Act 2 "To song and dance we give the day" [Chorus]
Samson : Act 2 "Fix'd in his everlasting seat" [Chorus]
Samson : Act 3 "More trouble is behind" [Micah] ... "My message, given with speed, brooks no delay" [Harapha]
Samson : Act 3 "Presuming slave, to move their wrath!" [Harapha]
Samson : Act 3 "Reflect then, Samson, matters now are strain'd" [Micah] "Shall I abuse this consecrated gift of strength" [Samson]
Samson : Act 3 "With thunder arm'd, great God, arise!" [Chorus]
Samson : Act 3 "Be of good courage" [Samson, Micah, Harapha]
Samson : Act 3 "Thus when the sun from's wat'ry bed" [Samson]
Samson : Act 3 "With might endued, above the sons of men" [Micah]
Samson : Act 3 "The Holy One of Israel be thy guide" [Micah] "To fame immortal go" [Chorus]
Samson : Act 3 "Old Manoah, with youthful steps, makes haste to find his son" [Micah] "I come, my brethren, not to seek my son" [Manoah]
Samson : Act 3 "Great Dagon has subdued our foe" [Philistine] "Great Dagon has subdued our foe" [Chorus]
Samson : Act 3 "What noise of joy was that?" [Manoah, Micah]
Samson : Act 3 "How willing my paternal love the weight to share of filial care" [Manoah]
Samson : Act 3 "Your hopes of his deliv'ry seem not vain" [Micah] "I know your friendly minds, and - Heav'n! what noise!" [Manoah] "Hear us, our God!" [Chorus]
Samson : Act 3 "Noise call you this? an universal groan" [Micah] ... "Unwounded of his enemies he fell" [Messenger, Manoah]
Samson : Act 3 "Ye sons of Israel, now lament" [Micah] "Weep, Israel, weep" [Chorus]
Samson : Act 3 "Proceed we hence to find his body" [Manoah]
Samson : Act 3 Dead March
Samson : Act 3 "The body comes" [Micah, Manoah]
Samson : Act 3 "Glorious hero, may thy grave peace and honour ever have" [Chorus]
Samson : Act 3 "Come, come! no time for lamentation" [Manoah]
Samson : Act 3 "Let the bright Seraphim" [Israelitish Woman]
Samson : Act 3 "Let their celestial concerts all unite" [Chorus]
1. Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck
2. Andante moderato. Sehr gemächlich
3. Scherzo: In ruhig fliessender Bewegung
4. "O Röschen rot! Der Mensch liegt in grösster Not!" (Sehr feierlich aber schlicht) Text from Des Knaben Wunderhorn: "Urlicht"
5a. Im Tempo des Scherzos. Wild herausfahrend -
5d. "Aufersteh'n, ja aufersteh'n wirst du" (Langsam. Misterioso) - Text after F.G. Klopstock: "Auferstehung"
"Wo bleibt Elektra?"
"Allein! Weh, ganz allein."
"Elektra!"
"Ich kann nicht sitzen und ins Dunkel starren"
"Es geht ein Lärm los."
"Was willst du? Seht doch dort!"
"Die Götter! bist doch selber eine Göttin."
"Ich will nichts hören!"
"Ich habe keine guten Nächte."
"Wenn das rechte Blutopfer unterm Beile fällt"
"Was bluten muß? Dein eigenes Genick"
"Was sagen Sie ihr denn?"
"Orest! Orest ist tot!"
"Platz da! Wer lungert so vor einer Tür?"
"Nun muß es hier von uns geschehn."
"Du! Du! Denn du bist stark! Wie stark du bist"
"Nun denn, allein!"
"Was willst du, fremder Mensch?"
"Elektra! Elektra!"
"Orest!"
"Du wirst es tun? Allein? Du armes Kind?"
"Seid ihr von Sinnen"
"Ich habe ihm das Beil nicht geben können!"
"Es muss etwas geschehen sein"
"He! Lichter!"
"Elektra! Schwester!"
"Ob ich nicht höre?"
"Hörst du denn nicht"
"Schweig, und tanze."
"Veni creator spiritus"
"Imple superna gratia"
"Infirma nostri corporis"
"Accende lumen sensibus"
"Veni, Creator...Da gaudiorum praemia"
"Gloria sit Patri Domino"
Poco adagio: Waldung, sie schwankt heran
"Ewiger Wonnebrand"
"Wie Felsenabgrund mir zu Füßen"
"Gerettet ist das edle Glied"
"Uns bleibt ein Erdenrest"
"Höchste Herrscherin der Welt"
"Bei der Liebe, die den Fussen"
"Neige, neige, du Ohnegleiche"
"Blicket auf zum Retterblick"
"Alles Vergängliche"
Britten: Cantata Academica, Op.62 - I. Bonorum summun omnium II: Quae bene beateque
Britten: Cantata Academica, Op.62 - III. At huius caelestis...V: Tum vero Aeneas Sylvius virtus
Britten: Cantata Academica, Op.62 - VI: Et Gubernacula. VII: Ut Ad Longaeva Tempora
Britten: Cantata Academica, Op.62 - VIII: Docendi ac discendi
Britten: Cantata Academica, Op.62 - IX: Rhenana erga omnes. X: Ut instissime XI: O cives..
Britten: Cantata Academica, Op.62 - XII. Nos autem cuncti. XIII. Vigeatque academia libera
Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147 (1995 Digital Remaster), PART 1: Chorus: Herz und Mund
Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147 (1995 Digital Remaster), PART 1: Recitative: Gebene deiter Mund!
Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147 (1995 Digital Remaster), PART 1: Aria: Schäme dich
Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147 (1995 Digital Remaster), PART 1: Recitative: Verstokkung kann
Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147 (1995 Digital Remaster), PART 1: Aria: Bereite dir
Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147 (1995 Digital Remaster), PART 1: Chorale: Wohl mir
Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147 (1995 Digital Remaster), PART 2: Aria: Hilf, jesu, hilf
Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147 (1995 Digital Remaster), PART 2: Recitative: Der höchsten
Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147 (1995 Digital Remaster), PART 2: Aria: Ich will von Jesu
Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV147 (1995 Digital Remaster), PART 2: Chorale: Jesu bleibet meine Freude (Jesu, joy of man's desiring)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Kyrie: Kyrie eleison (chorus)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Kyrie: Christe eleison (tenor & chorus)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Kyrie: Kyrie eleison (chorus)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Gloria: Gloria in excelsis Deo (chorus)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Gloria: Laudamus te (soprano)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Gloria: Gratias agimus (chorus)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Gloria: Domine Deus (contralto, tenor, bass)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Gloria: Qui tollis (contralto & chorus)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Gloria: Quoniam (soprano)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Gloria: Cum Sancto Spiritu
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Credo: Credo in unum Deun (soprano & chorus)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Credo: Et incarnatus est (tenor)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Credo: Crucifixus (contralto, bass)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Credo: Et resurrexit (soprano, tenor & chorus)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster): Sanctus
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster): Benedictus
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Agnus Dei: Agnus Dei (bass)
Missa Sanctae Caeciliae, C Major (Cäcilienmesse) (1990 Digital Remaster), Agnus Dei: Dona nobis pacem (chorus)
Beethoven: Symphony No.9 in D minor, Op.125 - "Choral" - 1. Allegro ma non troppo, un poco maestoso
Beethoven: Symphony No.9 in D minor, Op.125 - "Choral" - 2. Molto vivace
Beethoven: Symphony No.9 in D minor, Op.125 - "Choral" - 3. Adagio molto e cantabile
Beethoven: Symphony No.9 in D minor, Op.125 - "Choral" - 4. Presto - Allegro assai
No. 1. Pied Beauty
No. 2. Peace
No. 3. Spring and Fall
No. 4. No worst, there is none ...
No. 5. Hurrahing the Harvest
No. 6. The Windhover
"Wo bleibt Elektra?"
"Allein! Weh, ganz allein."
"Elektra!"
"Ich kann nicht sitzen und ins Dunkel starren"
"Es geht ein Lärm los."
"Was willst du? Seht doch dort!"
"Die Götter! bist doch selber eine Göttin."
"Ich will nichts hören!"
"Ich habe keine guten Nächte."
"Wenn das rechte Blutopfer unterm Beile fällt"
"Was bluten muß? Dein eigenes Genick"
"Was sagen Sie ihr denn?"
"Orest! Orest ist tot!"
"Platz da! Wer lungert so vor einer Tür?"
"Nun muß es hier von uns geschehn."
"Du! Du! Denn du bist stark! Wie stark du bist"
"Nun denn, allein!"
"Was willst du, fremder Mensch?"
"Elektra! Elektra!"
"Orest!"
"Du wirst es tun? Allein? Du armes Kind?"
"Seid ihr von Sinnen"
"Ich habe ihm das Beil nicht geben können!"
"Es muss etwas geschehen sein"
"He! Lichter!"
"Elektra! Schwester!"
"Ob ich nicht höre?"
"Hörst du denn nicht"
"Schweig, und tanze."
O ewiges Feuer, o Ursprung der Liebe (Chorus)
Recitative: Herr, unsre Herzen halten dir (Tenor)
Aria: Wohl euch, ihr auserwahlten Seelen (Alto)
Recitative: Erwahlt sich Gott die heilgen Hutten (Bass)
Friede uber Israel (Chorus)
Chorale: Aus tiefer Not schrei ich zu dir (Chorus)
Recitative: In Jesu Gnade wird allein (Alto)
Aria: Ich hore mitten in den Leiden (Tenor)
Recitative: Ach! Dass mein Glaube (Soprano)
Aria: Wenn meine Trubsal als mit Ketten (Soprano, Alto, Bass)
Chorale: Ob bei uns ist der Sunden viel (Chorus)