DACOCD 623-624

Lone Koppel - Biography

Lone Koppel was born in Copenhagen in 1938, the daughter of the pianist and composer Herman D. Koppel and his wife Vibeke. Following private lessons with Aksel Schiøtz, in 1955 Lone Koppel was admitted to the Royal Danish Academy of Music as the pupil of Professor Dora Sigurdsson, and later to the Opera Academy. She made her début in 1961, having already sung the soprano part in Verdis Requiem in Sweden. Her début at the Royal Theatre in Copenhagen in 1962 was as Musetta in La Bohème. She was attached to the opera in Kiel 1964-66, during the same period appearing as guest artist at the Royal Theatre. In 1987 she celebrated her 25th jubilee as Elektra and, in 2002, her 40th jubilee as the Countess in Queen of Spades. She has given guest performances in the Scandinavian opera houses: Stockholm, Gothenburg, Helsinki and Oslo, as well as in Germany, England, the Netherlands and New Zealand. From 1973-78 she was permanent member of the Australian Opera in Sydney, where she continued to give guest performances until 1999. Koppel has sung solo parts in the concert and oratorio repertoire, and has sung a great number of lied concerts with her father Herman D. Koppel. For many years she has taught at the Opera Academy, Copenhagen. As a director, in 1993 she staged Peter Heises opera Drot og Marsk (King and Marshal) at the Royal Theatre, and in 2003 she staged Verdis Nabucco at the Värmland opera in Karstad in Sweden. English translation: Paula Hostrup-Jessen

Lone Koppel - 40 years at the Royal Theatre

(From the programme article for Lone Koppel's 40th jubilee at the Royal Theatre)
She herself once rejected the idea of the Koppel clan: a clan that patronizes, cultivates, and helps its members through thick and thin. For when Lone studied at the Royal Danish Academy of Music (1955-1961), where her father Herman D. Koppel was professor of piano, "I didn't get the ghost of a grant until the day when they were to award a grant to a girl of Jewish extraction, and they couldn't very well overlook me." She was not fostered just because she came from a family network in a home with two grand pianos and one upright, plus flutes and violins, and whatever else that could make a sound. Lone didn't want to play but to sing. And she could. When she made her début as Musetta in Puccini's La Bohème the review in Ekstra Bladet the day after, 7 September 1962, stated the following: "Her stage presence is brilliant, and in Act II's Waltz-aria she unfolds her magnificent voice in such a way as to leave no doubt that we have here a new soprano already mature enough for bigger parts." Lone Koppel in Tosca

"Mature enough for bigger parts." Indeed, they came like a string of pearls: Elisabeth in Wagner's Tannhäuser, Leonora in Beethoven's Fidelio, Richard Strauss' Salome and Ariadne, Puccini's Manon Lescaut, Tatiana in Tchaikovsky's Eugene Onegin - and more besides. For the general public came the TV performance of Tosca in 1964 - a breakthrough for TV-opera here in Denmark; it was black-and-white in appearance, but sung in glowing colours by the trio who did their utmost in the same roles at the Royal Theatre: Willy Hartmann as Cavaradossi, Ib Hansen as Scarpia and Lone Koppel in the title part. No one who can still recall her singing "For him all Rome trembled" (sung at that time in Danish) at the end of Act II, after she has plunged her knife into Scarpia, can doubt that Maria Callas has been her chosen model throughout a long operatic career. Not as an icon for copying, but as inspiration and point of identification in the roles she felt attracted to and was lucky enough to be given - by the Royal Theatre, the opera houses in Kiel and Sydney, and wherever else she has performed. These character parts that have glued our eyes and ears to her performances on stage - where her temperament flashes, where sorrow, anger, and demonic power are allowed to come to the surface, and where the darkest chambers of the mind are laid bare. I am not only thinking of the row of murderous Lady Macbeths she has created with appalling intensity but also of the tragic woman in Herman D. Koppel's Macbeth in 1970, in Verdi's Macbeth in 1980, Shostakovich's Lady Macbeth in 1991 - and finally, in 2001, her touching comeback in Niels Marthinsen's Maestro at Den Anden Opera as the fading opera-diva Stara, which was reminiscent of her triumphs in Verdi's version of the story. "Fading" is not otherwise the word one would apply to a 40th jubilee, if one thinks of the characters she has presented on stage during the past ten years. For many of them may well have been female monsters like the worm-eaten, choleric Herodias in Richard Strauss's Salome, the vengeful and hypocritical Ortrud in Wagner's Lohengrin, or the macabre, ghostlike Countess in Tchaikovsky's The Queen of Spades. But she has also sung aging women with human warmth that has cut us to the quick, such as the dynamic, guilt-ridden stepmother Kostelnicka in Janacek's Jenufa or the anxious, doomed prioress in Poulenc's Dialogues des Carmélites. From where does a scenic artist like Lone Koppel derive her charismatic power to evoke such a broad spectrum of tormented opera characters? Inheritance? Milieu? An endless confrontation with scores, librettos, directors, and conductors? Or the clan, divided or gathered? All rhetorical questions. We simply see and listen from our seats.

Gregers Dirckinck-Holmfeld

Praise from the director

"Lone Koppel is the very epitome of operatic art at its most expressive. She is the type of singer who can create a character by raising an eyebrow or singing a single phrase, and for me - both personally and as a director - it has been an overwhelming experience to be able to work with one of Danish opera's great divas throughout the past forty years," said the opera director Kasper Bech Holten just before Lone Koppel's 40th jubilee.

LONE KOPPEL - Soprano

It is rare to find the qualities of musicianship, acting ability, and a secure vocal technique balanced in a single operatic artist. When these fundamentals exist in abundance and unite with a natural instinct for finding a truthful human response to any dramatic situation, one is in the presence of a truly great interpreter. Such a creature of the lyric stage is soprano Lone Koppel.

Blessed with a supportive and encouraging musical family background and a national environment that fostered the development of talent and potential, Lone Koppel's artistic journey has been a fortunate mix of being nurtured within the ensemble of Copenhagen's Royal Theatre, and taking chances (and the occasional risk) as a guest artist in other companies, in other lands. She came to Australia at a historic moment in the short cultural history of our young country in 1973, just before the opening of the Sydney Opera House on Bennelong Point designed by her countryman, Jörn Utzon. All Australia's singers longed for the opening season of the wondrous new building, that was hoped would bring with it the stability and opportunity of a permanent ensemble operatic activity in Australia. The artists who were to become her future friends and colleagues greeted Lone respectfully and politely, but, as the soprano wife of a new general manager of the Australian Opera Company, there was natural suspicion about an outsider coming to sing a role in the opening season that had previously been sung well by an Australian soprano. Lone's debut in Australia as Abigaille in Verdi's Nabucco was well received, and demonstrated the qualities and high standard that Danish audiences already knew and expected from a favourite artist. With each new role, her Australian reputation grew amongst audiences and colleagues. Venus in Tannhäuser and a riveting and credible Tosca were followed by a triumphant Jenufa in 1974, in the Australian premiere of Janacek's opera, conducted by Sir Edward Downes and directed by John Copley. Audiences who had never before heard a note of Janacek's music were enthralled and wildly enthusiastic about the work, and especially the performances of Lone Koppel in the title role and the young Elizabeth Connell as the Kostelnicka. Over the next few years, Australian audiences were fortunate to experience Lone's artistry in roles that gave her the opportunity to unite musical and dramatic intensity in strong and compelling performances of Salome, The Rise and Fall of the City of Mahagonny, Ariadne auf Naxos (as the Composer), Fidelio, Marie in Wozzeck, Octavian in Der Rosenkavalier, Kundry in Parsifal (in concert), and Senta in Der Fliegende Holländer. At the end of the year 1978, for personal and family reasons she returned to Denmark, and her final role as a member of the Australian opera ensemble was one of her greatest successes - as Donna Elvira in Mozart's Don Giovanni, a surprising contrast to her previous repertoire, under the musical direction of Richard Bonynge, with James Morris as Don Giovanni. At the end of the season the artists of the company organised a heartfelt farewell party for the soprano who was so genuinely admired and highly regarded as one of their own. 1978 was not the end of Lone Koppel's Australian adventure. For the next 20 years she returned regularly to sing some of the roles she had performed previously with the company and add new repertoire - including the Old Prioress in Poulenc's Dialogues des Carmélites conducted by Richard Bonynge, directed by Elijah Moshinsky with Dame Joan Sutherland in the role of the New Prioress; Ortrud in Lohengrin; Kostelnicka in Jenufa and Kabanicha in Katya Kabanova.

In the Janacek repertoire she frequently collaborated with the distinguished Australian conductor, Sir Charles Mackerras, an acknowledged interpreter of these powerful works. There was also a memorable season in which Lone sang her last Australian Jenufa, opposite the legendary Leonie Rysanek, who was singing the Kostelnicka for the first time in her own distinguished career. These two formidable singing actors, under the baton of conductor Stuart Challender and director John Copley, reached heights of dramatic intensity that will never be forgotten by those fortunate enough to have been on stage or in the audience. As part of this long and fruitful artistic collaboration, Lone Koppel was also an enthusiastic and expert encourager of young Australian talent, working formally as a teacher with young performers, and as a wise and generous colleague in the rehearsal studio or backstage. Her joy at seeing and hearing another artist succeed and do well, or to encounter the work of a gifted new conductor or director, is endearing and inspirational. She was a setter of standards during a period of enormous growth in Australia's operatic history, and remains one of those artists whose talent and humanity is cherished in the memory of truly great performances. In my own forty year association with Australia's national opera company, especially as its Artistic Director between 1984 and 1999, I valued the quality of Lone Koppel's considerable contribution to our work, and recall so many moments in her performances that somehow define the very essence of the operatic art form, in which the forces of music and drama unite in a potent and heart-wrenching concentration of emotional truth and honesty. In Lone I found a professional colleague who quickly became a close friend and a kindred spirit. We have always been able to separate the professional and personal aspects of our long relationship, although both aspects have been strengthened by a common idealism and a shared optimism and wonder at our good fortune to be able to be involved in an endeavour in which we both believe and trust. These fine CDs give me the privilege of reminding me of the first time I heard her wonderful voice at the Royal Theatre in Katerina Izmailova in 1973 and of the versatility and artistry of one of the ladies of the lyric stage that I personally hold in the greatest respect, admiration, and deep affection.

Moffatt Oxenbould, Sydney, 2004

Roles 1962 - 2003

Aida (Amneris), Royal Theatre 1991
Ariadne auf Naxos (Ariadne, Composer), Kiel 1964, Royal Theatre 1965, Sydney 1975
Un Ballo in Maschera (Amelia), Royal Theatre 1978
Bluebeard's Castle (Judith), Royal Theatre 1989
La Bohème (Musetta), Royal Theatre 1962
Carmen (Micaëla), Sydney 1977
Cavalleria Rusticana (Santuzza), Royal Theatre 1964
The Consul (Mother), Helsinki 1999
Les Contes d'Hoffmann (Giulietta), Royal Theatre 1990
Dialogues des Carmélites (Madame Croissy), Sydney 1984, Video/DVD from Sydney 1990,
Royal Theatre 1997
Don Carlos (Elisabeth, Eboli), DR 1968, Royal Theatre 1981
Don Giovanni (Donna Anna, Donna Elvira) Kiel 1965, DR 1971, Sydney 1978
Drot og marsk (King and Marshal, Peter Heise) (Ingeborg), DR 1968
Elektra (Chrysothemis, Elektra), DR 1965, Royal Theatre 1986
Eugene Onegin (Tatiana), Royal Theatre 1970
Fidelio (Leonora), Hälsingborg 1964, Royal Theatre 1965, Aarhus 1972, Melbourne 1977
Der Fliegende Holländer (Senta), Kiel 1965, Royal Theatre 1966, Sydney 1977, New Zealand 1977
Jenufa (Jenufa, Kostelnicka), Danish TV 1972, New Zealand 1976, Royal Theatre 1982 + 1998, Sydney 1974 + 1992, Göteborg 1995, Royal Theatre 1998
Katerina Izmailova (Katerina), Royal Theatre 1973
Katya Kabanova (Katya, Kabanicha), Danish TV 1971, Sydney 1995
Khovanshchina (Susanna), DR 1988
Lady Macbeth of Mtsensk (Katerina), Royal Theatre 1991
Leonore (Beethoven, 1805) (Leonore) Royal Theatre 1970
Lohengrin (Ortrud), Royal Theatre 1983, Sydney 1990
The Love for Three Oranges (Fata Morgana), Royal Theatre 1994
Macbeth (Herman D. Koppel) (Lady Macbeth), Royal Theatre 1970
Macbeth (Verdi) (Lady Macbeth), Royal Theatre 1980, Stockholm 1980
Maestro (Niels Marthinsen) (Stara), Den Anden Opera 2001
Mahagonny (Jenny), Sydney 1975
Manon Lescaut (Manon), Royal Theatre 1968
Medea (Medea), DR 1983
Nabucco (Abigaille), Sydney 1973, Stockholm 1990
Parsifal (Kundry), Sydney 1977, Royal Theatre 1988
Le Pauvre Matelot (Darius Milhaud) (Wife), Danish TV 1963
Peter Grimes (Mrs Sedley), Royal Theatre 1993
The Queen of Spades (Lisa, Countess), DR 1972, Royal Theatre 2000
Rigoletto (Page), Royal Theatre 1962
The Return of Ulysses (Athene), Royal Theatre 1969
Der Rosenkavalier (Octavian), Sydney 1976
Salome (Salome, Herodias), Royal Theatre 1966, Bonn 1973, Sydney 1976, Aarhus 1999, Royal Theatre 2003
Saul and David (Michal), Royal Theatre 1962
Simon Boccanegra (Amelia), Royal Theatre 1968
The Story of a Mother (Thomas Koppel) (Mother), Royal Theatre 1965
Tannhäuser (Elisabeth, Venus), Royal Theatre 1964, Sydney 1973
Il Tabarro (Giorgetta), Royal Theatre 1979
Tosca (Tosca), TV 1964, Royal Theatre 1967, Sydney 1974, Stockholm 1991
Il Trovatore (Leonora), Royal Theatre 1971, Aarhus 1981
Wozzeck (Marie), Kiel 1966, Royal Theatre 1971, Adelaide Festival 1975

Brief guest performances not mentioned.

Biographies

Gerd Albrecht was chief conductor of the Danish National Symphony Orchestra / DR during the period 2000-2004. Since 1963, when at the age of 27 he became Germany's youngest General Music Director in Lübeck, he has been the chief conductor in opera houses in Kassel, Berlin, and Hamburg as well as the Tonhalle Opera in Zürich, and also chief conductor of the Czech Philharmonic Orchestra in Prague. During the 1960s he recorded a number of radio operas for the Danish Broadcasting Corporation, including Don Carlos, Don Giovanni, and The Queen of Spades, in which Lone Koppel had leading roles. He also conducted Götz Friedrich's production of Eugene Onegin at the Royal Theatre in 1970, in which Lone Koppel sang Tatiana. Bruno Bartoletti was educated in Florence, where he has been chief conductor of the opera and the artistic director of Maggio Musicale Fiorentino. From 1965-73 he conducted at the opera in Rome, and since 1964 he has been the artistic director of the Chicago Lyric Opera. He has conducted in all the leading opera houses and recorded countless gramophone records with a.o. Renata Tebaldi, Luciano Pavarotti, and Mirella Freni. Apart from the traditional operatic repertoire he has also conducted modern works by Dallapiccola, Henze, Penderecki, Berio, and Nino Rota. From 1957-60 he was permanent guest conductor at the Royal Theatre in Copenhagen, where he conducted a.o. La Cenerentola (Cinderella), Falstaff, Il Trovatore, Gianni Schicchi, Don Carlos, and Dallapiccolo's Il Prigioniero (The Prisoner). In 1971 he returned in order to conduct Götz Freidrich's production of Il Trovatore. John Frandsen conducted at the Royal Theatre in Copenhagen from 1946-80. After his successful début with the first Danish performance of Peter Grimes he developed a special preference for operas by Mozart, Wagner, and Britten. From 1980-84 he was attached to the Danish Broadcasting Corporation as conductor and musical advisor, and from 1985 he became once again guest conductor at the Royal Theatre. As teacher and director of the Opera Academy from 1950-80, he had a great influence on generations of Danish singers. He was a leading interpreter of the works of Carl Nielsen, for which he was awarded the Carl Nielsen Prize in 1981. He also performed as guest conductor in Scandinavia and the USA, and recorded a number of gramophone records, especially with Danish music. Johan Hye-Knudsen began as a cellist in the Royal Danish Orchestra and in 1925 he was appointed conductor at the Royal Theatre. Until he left in 1966, he conducted an astonishingly large repertoire of more than 200 operas, ballets and theatrical music. As conductor of Copenhagen Municipality's open-air concerts in Fælledparken from 1934-52, he became widely popular. He also composed chamber music as well as theatrical music, ballet music, and an opera. Kazimierz Kord started his career as a conductor at the Warsaw Opera in 1960. Apart from his work as chief conductor for the Polish Radio Symphony Orchestra from 1969-73 and Warsaw's Philharmonic Orchestra from 1977-2001, he has been a guest conductor of the world's leading symphony orchestras and opera houses. In 1972 he made his début at the Metropolitan in New York with the first performance sung there in Russian of Tchaikovsky's The Queen of Spades. He has also conducted premières at the opera houses in London, Munich, San Francisco, and Amsterdam. He has recorded especially many modern works including those of Lutoslawski and Gorecki. In 1973 he conducted Shostakovich's Katerina Izmailova at the Royal Theatre, where the composer himself was present on the occasion of the presentation of the Sonning Music Prize. Guiseppe Patané studied in his native city of Naples, and already made his début at the age of nineteen at the San Carlo Opera with La Traviata. He worked there as conductor until 1956. Via an appointment as chief conductor of the opera in Linz, in 1962 he moved to the Deutsche Oper in Berlin, where he remained until 1968. Thereafter followed engagements at a.o. La Scala, Milan, Covent Garden, the Metropolitan, and the opera in Munich. He became musical director at the Arena in Verona in 1983, and at the time of his death in 1989 he had just been appointed artistic director of the opera in Rome. He left behind him a number of very fine recordings of complete operas. He also conducted numerous concerts and was from 1988 the chief conductor of the Munich Radio Symphony Orchestra. In 1964 he recorded Holger Boland's production of Tosca for Danish TV with Lone Koppel, Willy Hartmann, and Ib Hansen. At the Royal Theatre, from 1967-69 he conducted a.o. new productions of Tosca, Simon Boccanegra and Don Giovanni as well as a number of standard works like Bohème, Madame Butterfly, Manon Lescaut, and Rigoletto. Michael Schønwandt was appointed musical director of the Royal Theatre in 2000. Here he had already conducted a large repertoire since 1979, often with Lone Koppel in the leading roles, as in Lohengrin, Salome and Elektra. He has conducted at the Bayreuth Festival, at the Vienna Opera, Covent Garden, and in Brussels and Nice. He has conducted many of Europe's foremost symphony orchestras, such as the Berlin Philharmonic, the Vienna Philharmonic, the Philharmonia Orchestra in London and the French National Orchestra. From 1992-98 he was the chief conductor of the Berliner Sinfonie Orchester and from 1998-2000, the chief guest conductor of the Danish National Symphony Orchestra / DR. He has made a great many recordings, especially with Danish music, including a complete recording of Carl Nielsen's symphonies. Jerzy Semkow was from 1958-62 the chief conductor of the National Opera in Warsaw. In 1966 he became attached to the Royal Theatre in Copenhagen, where he conducted Boris Godunov, Salome, Manon Lescaut, and Tristan and Isolde. He has also conducted a number of concerts with the Royal Danish Orchestra, in Copenhagen as well as on tour a.o. to England, and has recorded music by Carl Nielsen, Vagn Holmboe, and Niels Viggo Bentzon. He has conducted at La Scala, the opera in Rome, Teatro Communale in Florence, Covent Garden, the Bolshoi in Moscow as well as symphony orchestras in Europe and the USA. He has made recordings of a.o. Boris Godunov and Prince Igor and won a disque d'or for his recording of Mozart symphonies. Támas Vetö was born in Budapest and studied conducting and the piano at the Franz Liszt Academy of Music and at the Conservatoire de Paris. He has been resident in Denmark from 1957 and, from 1958-98, engaged by the Royal Theatre, where he conducted a large repertoire. At the Jutland Opera he has conducted especially Wagner's Parsifal, Tristan and Isolde and The Ring of the Nibelung. From 1982-84 he was chief conductor of the National Theatre in Mannheim and, from 1984-87, chief conductor of Odense Symphony Orchestra. He is also a highly regarded choir conductor and has done a lot to promote Danish music. Tadeusz Wojciechowski studied at the Polish Academy of Music in Warsaw and was engaged by the Polish National Opera in Warsaw both as conductor and musical director. In Denmark he has conducted the Danish Radio Sinfonietta until, in 1994, he was engaged by the Royal Theatre, where he has conducted a large number of operas and ballets. Willy Hartmann studied at the Royal Danish Academy of Music in Copenhagen and made his début in 1962 as Rodolfo in La Bohème together with Lone Koppel. He was a member of the Royal Theatre's opera company until 1966, when he was engaged by the State Opera in Hamburg, but continued to sing a number of guest roles in Copenhagen. He sang a.o. at the Bayreuth Festivals, at the Vienna Opera, and the Metropolitan in New York. He was obliged through illness to interrupt his career in 1972. Among his most important roles were Cavaradossi in Tosca, Turiddo in Cavalleria Rusticana, Florestan in Fidelio, Leander in Maskarade, and Jonathan in Saul and David. Leif Roar studied at the Royal Danish Academy of Music and made his début in 1964 at the Royal Theatre, transferring the following year to Kiel. From 1967-76 he was engaged by the opera in Düsseldorf, where in 1972 he made his breakthrough as the Flying Dutchman and soon became known as one of our time's leading Wagnerian singers with roles like Wotan in The Ring of the Nibelung, Hans Sachs in Die Meistersinger von Nürnberg and Telramund in Lohengrin - a role he sang more than 200 times, also retained in the form of a recording from the Bayreuth Festivals. He sang at all the leading opera houses including La Scala, the Metropolitan, the Munich Opera and the Vienna Opera. From 1984 he was back in Copenhagen again, where he sang in countless performances with Lone Koppel - as Scarpia in Tosca, Telramund in Lohengrin, Klingsor in Parsifal, Jochanaan in Salome, and Orestes in Elektra. Herman D. Koppel was reckoned as one of the greatest Danish pianists and composers of his generation. He studied at the Royal Danish Academy of Music in Copenhagen and made his début in 1930. His concert repertoire included all the classical piano music, though with chief emphasis on 20th century music. He gave concerts all over Scandinavia and the remainder of Europe, including the former Soviet Union and Australia. He was also a formidable chamber-music player and accompanist, accompanying a.o. Aksel Schiøtz. He was influenced as a composer by Carl Nielsen, Bartok and Stravinsky. His works include 7 symphonies, 5 piano concertos, the opera Macbeth, the oratorio Moses, chamber music as well as songs, many of which are dedicated to Lone Koppel. Both as a composer and pianist he is richly represented on CDs.

DACOCD 623 (CD 1)
Tracks 1-4 with the Danish National Symphony Orchestra / DR

Giacomo Puccini (1858-1924)
[ 1 ]	Tosca, Duet Tosca - Cavaradossi act 1: Mario..Mario (sung in danish) Recorded 1964 as soundtrack for a TV-production of Tosca by Danish TV Cavaradossi: Willy Hartmann tenor - Conductor: Giuseppe Patané	12:53
[ 2 ]	Tosca, Tosca aria act 2: Vissi d´arte (sung in danish) Same as track 1	3:13

Giuseppe Verdi (1813-1901)
[ 3 ]	Don Carlo, Elisabetta aria act 4 : Tu che le vanitá (sung in danish) Recorded 30.11 1968 in the Concert Hall of the Danish Radio as part of a complete concert performance of Don Carlo - Conductor: Gerd Albrecht	11:44

Ludwig van Beethoven (1770-1827)
[ 4 ]	Fidelio, Leonore Recitative and aria act 1 Abscheulicher! Wo eilst du hin? Studio-recording 19.05 1972 - Conductor Támas Vetö	7:32

Tracks 5-8: From an opera recital in the Tivoli Concert Hall Copenhagen with the Danish Radio Sinfonietta

Giacomo Puccini
[ 5 ]	Manon Lescaut, Manon aria act 4 Sola, perduta, abbandonata Conductor Tadeus Wojechiechowski) - Recorded 9.5 1982	4:31

Vincenzo Bellini (1801-1835)
[ 6 ]	I Puritani, Elvira aria act 2 Qui la voce sua soave Same as Track 5	4:31

Umberto Giordano (1867-1948)
[ 7 ]	Andrea Chenier, Maddalena aria act 3 La mamma morta Same as Track 5	6:00

Giacomo Puccini
[ 8 ]	Tosca, Tosca aria act 2 Vissi d´arte(MP3 sample ) Same as Track 5	3:46

Track 9: Transmission from the Royal Theatre Copenhagen with The Royal Orchestra

Richard Strauss (1864-1949)
[ 9 ]	Elektra, Scene Elektra Orest Was willst du fremder Mensch?(MP3 sample ) Conductor Michael Schønwandt - Recorded 2.5 1986	20:20

DACOCD 624 (CD 2)
Tracks 1-7: Live-recordings with the Royal Orchestra and the Royal Opera Chorus from The Royal Theatre by Knud Hegermann-Lindencrone from The Hegermann-Lindencrone Collection

Giacomo Puccini (1801-1835)
[ 1 ]	La Boheme, Musetta aria act 2 Quando men vo (sung in Danish) Recorded 17.5 1963 Marcello: Alf Andersen, Mimi: Bonna Søndberg Alcindoro: Poul Wiedemann Conductor: Johan Hye-Knudsen	2:30

Richard Strauss
[ 2 ]	Ariadne auf Naxos, Ariadne scene Es gibt ein Reich (sung in danish) Conductor John Frandsen - Recorded 11.4 1965	5:43
[ 3 ]	Salome, Salome scene "Ah! Du wolltest mich nicht deinen Mund küssen lassen" (sung in danish) Conductor Jerzy Semkow - Recorded 19.02 1967	12:05

Giacomo Puccini
[ 4 ]	Manon Lescaut, Manon aria act 2 In quelle trine morbide (sung in Danish) Conductor Jerzy Semkow - Recorded 24.1 1968	2:33

Giuseppe Verdi
[ 5 ]	Il Trovatore, Leonora aria act 4 D´amor sull´ali rosee (sung in Danish) Conductor Bruno Bartoletti - Recorded 31.05 1971	5:01

Dimitri Shostakovich (1906-1975)
[ 6 ]	Katerina Izmailova, Katerina scene 4 act Jeg ved en sø i skoven langt, langt herfra (sung in Danish) Conductor: Kazimierz Kord - Recorded 26.5 1973	3:31

Tracks 7-23: Studio-recordings with Herman D. Koppel by Danish Radio 16.10 1963

Franz Schubert (1797-1828)
[ 7 ]	Romanze, Op. 26 no. 3b (from Rosamunde)	3:09
[ 8 ]	Nacht und Träume, Op. 43 no. 2(MP3 sample )	3:25
[ 9 ]	Im Frühling, Op. 101 no. 1	3:25
[10]	Lied der Mignon, Op. 62 no. 4	3:16
[11]	Lachen und Weinen, D.777	1:46
[12]	Die Sterne, Op. 96 no. 1	3:16

Johannes Brahms (1833-1897)
[13]	Nachtwandler, Op. 86 no. 3	3:50
[14]	Es träumte mir, Op. 57 no. 3	2:46
[15]	Ständchen, Op. 106 no. 1	1:33
[16]	Mädchenlied, Op. 85 no. 3	1:54
[17]	Mädchenlied II, op107 no. 5	1:37

Hugo Wolf (1860-1903)
[18]	Erstes Liebeslied eines Mädchens, Op. 19	1:15
[19]	An eine Äolsharfe, aus Mörike-Lieder no. 11	5:19
[20]	Er ist's!, aus Mörike-Lieder	no. 6

Richard Strauss
[21]	Ständchen, Op. 17 no. 2	2:15
[22]	Die Nacht, Op. 10 no. 3	2:18
[23]	Schlechtes Wetter, Op. 69 no. 5	2:19

DACOCD 623 (CD 1)

DACOCD 624 (CD 2)