Figaro-Susanna duet, in Wolfgang Amadeus Mozart, Act 1, scene 1 “Five, Ten, Twenty,” The Marriage of Figaro (Vienna, 1786).
Count & Countess interact with Susanna’s Minuet, in Wolfgang Amadeus Mozart, Act 2 finale excerpt, “Five, Ten, Twenty,” The Marriage of Figaro (Vienna, 1786)
Count vs. Everyone, in Wolfgang Amadeus Mozart, Act 4 finale (end)
Ludwig van Beethoven, Symphony No. 5 in C Minor, all movements
Ludwig van Beethoven, Piano Sonata in E Major, Op. 109 (1820), first movement
Hector Berlioz, “Dream of a Witches’ Sabbath,” Fantastic Symphony: Episodes in the Life of an Artist (1830)
Richard Wagner, The Valkyrie, Act I, scene i. (1870), p. 266.
Richard Wagner, “Orchestral Prelude” or “Love-Death,” Tristan and Isolde (1865)
Isolde’s “Transfiguration” (end of Tristan and Isolde), as sung by Jessye Norman (1988)
Giuseppe Verdi’s Rigoletto, Act II scene vi, “Tutte le feste” (1851): duet with Diana Damrau as Gilda (daughter) and Rigoletto (her father) in a 2008 production.
Giacomo Puccini, Madame Butterfly, Aria from Act II, “Un bel dì,” p. 269.
Claude Debussy (1862-1918), “Clouds,” Three Nocturnes (1899)
Claude Debussy, “Golliwog’s Cakewalk,” Children’s Corner (1908)
Claude Debussy, “Pagodes,” Estampes (1903)
I Lotring, Bopong (1986)
Igor Stravinsky, The Rite of Spring: Pictures of Pagan Russia in Two Acts (Paris, 1913)
Ornette Coleman Sextet, “Sleep Talk/Sleep Talking” at Ansbach, Germany (1978)
Paul Robeson, as per a short Australian documentary
