| Accelerationen, op. 234 | | | | | | | |
| Aida: Atto I, scena 1. Scena: “Ritorna vincitor!” – “E l’amor mio …” – “I sacri nomi di padre, d’amante” (Aida) | | | | Aria | | | |
| Akademische Fest-Ouvertüre, op. 80 | | | | Overture | | | |
| An der schönen blauen Donau, op. 314 | | | | | | | 5 |
| Concerto for Piano and Orchestra in A minor, op. 54: I. Allegro affettuoso | | - Marián Lapšanský, Witold Lipinsky, Maria Novak, Dubravka Tomšič, Sylvia van der Linden, Philharmonia Slavonica, Simfonični orkester RTV Slovenija, Sinfonia Academica, Slovenská filharmónia, Alberto Lizzio, Marko Munih, Bystrík Režucha, Dudley Skinner
- [unknown]
- Van Cliburn, Chicago Symphony Orchestra, Fritz Reiner
- Dinu Lipatti, Philharmonia Orchestra, Herbert von Karajan
- (show 173 more)
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| Concerto for Piano and Orchestra in A minor, op. 54: II. Intermezzo. Andantino grazioso | | | | | | | |
| Concerto for Piano and Orchestra in A minor, op. 54: III. Allegro vivace | | | | | | | |
| Concerto for Piano and Orchestra no. 1 in C major, op. 15: I. Allegro con brio | | | | | | | |
| Concerto for Piano and Orchestra no. 1 in C major, op. 15: II. Largo | | | | | | | |
| Concerto for Piano and Orchestra no. 1 in C major, op. 15: III. Rondo. Allegro scherzando | | | | | | | |
| Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: I. Allegro con brio | | | | | | | |
| Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: II. Adagio | | | | | | | |
| Concerto for Piano and Orchestra no. 2 in B-flat major, op. 19: III. Rondo. Molto allegro | | | | | | | |
| Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: I. Allegro non troppo | | | | | | | |
| Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: II. Allegro appassionato | | | | | | | |
| Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: III. Andante – Più adagio | | | | | | | |
| Concerto for Piano and Orchestra no. 2 in B-flat major, op. 83: IV. Allegretto grazioso | | | | | | | |
| Concerto for Piano and Orchestra no. 3 in C minor, op. 37: I. Allegro con brio | | | | | | | |
| Concerto for Piano and Orchestra no. 3 in C minor, op. 37: II. Largo | | | | | | | |
| Concerto for Piano and Orchestra no. 3 in C minor, op. 37: III. Rondo. Allegro | | | | | | | |
| Concerto for Piano and Orchestra no. 4 in G major, op. 58: I. Allegro moderato | | | | | | | |
| Concerto for Piano and Orchestra no. 4 in G major, op. 58: II. Andante con moto | | | | | | | |
| Concerto for Piano and Orchestra no. 4 in G major, op. 58: III. Rondo. Vivace | | | | | | | |
| Concerto for Piano and Orchestra no. 5 in E-flat major, op. 73 “Emperor” | | | | Concerto | | | 5 |
| Concerto for Piano and Orchestra no. 5 in E-flat major, op. 73 “Emperor”: I. Allegro | | | | | | | |
| Concerto for Piano and Orchestra no. 5 in E-flat major, op. 73 “Emperor”: II. Adagio un poco mosso | | | | | | | |
| Concerto for Piano and Orchestra no. 5 in E-flat major, op. 73 “Emperor”: III. Rondo. Allegro | | | | | | | |
| Concerto for Piano and Orchestra no. 23 in A major, K. 488: I. Allegro | | | | | | | |
| Concerto for Piano and Orchestra no. 23 in A major, K. 488: II. Andante (Adagio) | | | | | | | |
| Concerto for Piano and Orchestra no. 23 in A major, K. 488: III. Allegro assai | | | | | | | |
| Concerto for Piano and Orchestra no. 25 in C major, K. 503: I. Allegro maestoso | | | | | | | |
| Concerto for Piano and Orchestra no. 25 in C major, K. 503: II. Andante | | | | | | | |
| Concerto for Piano and Orchestra no. 25 in C major, K. 503: III. (Allegretto) | | | | | | | |
| Concerto for Piano no. 24 in C minor, K. 491: I. Allegro | | | | | | | |
| Concerto for Piano no. 24 in C minor, K. 491: II. Larghetto | | | | | | | |
| Concerto for Piano no. 24 in C minor, K. 491: III. Allegretto | | | | | | | |
| Concerto for Violin and Orchestra in D major, op. 61: I. Allegro ma non troppo | | | | | | | |
| Concerto for Violin and Orchestra in D major, op. 61: II. Larghetto | | | | | | | |
| Concerto for Violin and Orchestra in D major, op. 61: III. Rondo. Allegro | | | | | | | |
| Concerto for Violin and Orchestra no. 4 in D major, K. 218: I. Allegro aperto | | | | | | | |
| Concerto for Violin and Orchestra no. 4 in D major, K. 218: II. Andante cantabile | | | | | | | |
| Concerto for Violin and Orchestra no. 4 in D major, K. 218: III. Rondeau. Allegro grazioso - Allegro ma non troppo - Andante grazioso | | | | | | | |
| Concerto for Violin and Orchestra no. 5 in A major, K. 219 “Turkish”: I. Allegro aperto | | | | | | | |
| Concerto for Violin and Orchestra no. 5 in A major, K. 219 “Turkish”: II. Adagio | | | | | | | |
| Concerto for Violin and Orchestra no. 5 in A major, K. 219 “Turkish”: III. Rondeau. Tempo di menuetto – Allegro | | | | | | | |
| Così fan tutte: Ouvertura | | | | Overture | | | |
| Das Lied von der Erde: I. Das Trinklied vom Jammer der Erde | | | | | | | |
| Das Lied von der Erde: II. Der Einsame im Herbst | | | | | | | |
| Das Lied von der Erde: III. Von der Jugend | | | | | | | |
| Das Lied von der Erde: IV. Von der Schönheit | | | | | | | |
| Das Lied von der Erde: V. Der Trunkene im Frühling | | | | | | | |
| Das Lied von der Erde: VI. Der Abschied | | | | | | | |
| Der Rosenkavalier, op. 59: Akt I. "Die Zeit, die ist ein sonderbar Ding" (Marschallin) | | - Agnes Baltsa, Gerhard Panzenböck, Johann Reinprecht, Wolfgang Scheider, Adolf Tomaschek, Anna Tomowa‐Sintow, Wiener Philharmoniker, Herbert von Karajan
- Elisabeth Schwarzkopf, Philharmonia Orchestra, Herbert von Karajan
- Christa Ludwig, Tatiana Troyanos, Wiener Philharmoniker, Karl Böhm
- Gwyneth Jones, Christa Ludwig, Wiener Philharmoniker, Leonard Bernstein
- (show 13 more)
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| Der Schauspieldirektor, K. 486 (Erik Smith reconstruction): Ouvertüre | | | | | | | |
| Die ägyptische Helena | | - Chor der Wiener Staatsoper, Mimi Coertse, Gwyneth Jones, Jess Thomas, Orchester der Wiener Staatsoper, Josef Krips
- Chor der Wiener Staatsoper, Mimi Coertse, Laurence Dutoit, Anny Felbermayer, Dagmar Hermann, Gwyneth Jones, Liselotte Maikl, Jess Thomas, Orchester der Wiener Staatsoper, Josef Krips
- Chor der Wiener Staatsoper, Mimi Coertse, Laurence Dutoit, Anny Felbermayer, Dagmar Hermann, Liselotte Maikl, Jess Thomas, Orchester der Wiener Staatsoper, Josef Krips
- Chor der Wiener Staatsoper, Gwyneth Jones, Jess Thomas, Orchester der Wiener Staatsoper, Josef Krips
- (show 10 more)
| | Opera | | | |
| Die Entführung aus dem Serail, K. 384: Act III, Scene V. Dialog "Was gibt's, Osmin, was gibt's?" (Selim, Osmin, Konstanze, Belmonte) | | | | Opera | | | |
| Die Entführung aus dem Serail, K. 384: Akt I | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene I. Dialog "Aber wie soll ich in den Palast kommen?" (Belmonte) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene I. No. 1 Arie "Hier soll ich dich denn sehen" (Belmonte) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene II. No. 2 Lied und Duett "Wer ein Liebchen hat gefunden" (Osmin) / "Verwünscht seist du samt deinem Liede!" (Osmin, Belmonte) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene III. Dialog "Könnt' ich mir doch noch so einen Schurken" (Osmin, Pedrillo) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene III. No. 3 Arie "Solche hergelauf'ne Laffen" (Osmin) / Akt I, Szene III. Dialog "Was bist du nur für ein Mensch!" (Pedrillo) / Akt I, Szene III. "Erst geköpft, dann gehangen" (Osmin) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene IV. Dialog "Geh nur, verwünschter Aufpasser!" (Pedrillo, Belmonte) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene V. Dialog "Geschwind, geschwind auf die Seite" (Pedrillo) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene V. No. 4 Rezitativ und Arie "Konstanze, dich wieder zu sehen!" (Belmonte) / "O wie ängstlich, o wie feurig" (Belmonte) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene VI. No. 5b Chor de Janitscharen "Singt dem grossen Bassa Lieder" (Chor und Solisten der Janitscharen) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene VII. Dialog "Immer noch traurig, geliebte Konstanze?" (Selim, Konstanze) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene VII. No. 6 Arie "Ach ich liebte, war so glücklich" (Konstanze) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt I, Szene VIII. Dialog "Undankbare! Ihr Schmerz, ihre Tränen" (Selim, Pedrillo, Belmonte, Osmin) | | - Edita Gruberová, Wiener Philharmoniker, Sir Georg Solti
- Lynne Dawson, Wolfgang Hinze, Wilfried Gahmlich, Günter von Kannen, Wolfgang Hinze
- Walter Franck, Wolfgang Spier, Sebastian Fischer, Josef Greindl
- Mozartorchester des Opernhauses Zürich, Nikolaus Harnoncourt
- (show 7 more)
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| Die Entführung aus dem Serail, K. 384: Akt II | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene I. No. 8 Arie "Durch Zärtlichkeit und Schmeicheln" (Blonde) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene I. No. 9 Duett "Ich gehe, doch rate ich dir" (Osmin, Blonde) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene II. Dialog "Ach mein bestes Fräulein" (Blonde, Konstanze) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene II. No. 10a Rezitativ "Welcher Kummer herrscht in meiner Seele" (Konstanze) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene III. No. 11 Arie "Introduktion - Martern aller Arten - Doch du bist entschlossen" (Konstanze) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene IX. No. 15 Arie "Wenn der Freude Tränen fließen" (Belmonte) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene IX. No. 16 Quartett "Ach Belmonte! Ach mein Leben!" (Konstanze, Belmonte, Pedrillo, Blonde) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene VI. No. 12 Arie "Welche Wonne, welche Lust" (Blonde) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene VII. No. 13 Arie "Frisch zum Kampfe!" (Pedrillo) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene VIII. Dialog "Ha! Geht's hier so lustig zu?" (Osmin, Pedrillo) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt II, Szene VIII. No. 14 Duett "Vivat Bacchus! Bacchus lebe!" (Pedrillo, Osmin) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt III | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt III, Szene IV. No. 18 Romanze "In Mohrenland gefangen war" (Pedrillo, Belmonte) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt III, Szene IX. No. 21a Vaudeville "Nie werd'ich deine Huld verkennen" | | - English Baroque Soloists, Sir John Eliot Gardiner
- Academy of Ancient Music, Christopher Hogwood
- Norma Burrowes, Stuart Burrows, Christiane Eda‐Pierre, The John Alldis Choir, Robert Lloyd, Robert Tear, Academy of St Martin in the Fields, Sir Colin Davis
- Kathleen Battle, Chor der Wiener Staatsoper, Edita Gruberová, Martti Talvela, Gösta Winbergh, Heinz Zednik, Wiener Philharmoniker, Sir Georg Solti
- (show 17 more)
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| Die Entführung aus dem Serail, K. 384: Akt III, Szene IX. No. 21b Chor der Janitscharen "Bassa Selim lebe lange" | | - John McCarthy, Ambrosian Singers, Academy of St Martin in the Fields, Sir Neville Marriner
- Chor der Wiener Staatsoper, Wiener Philharmoniker, Sir Georg Solti
- Norma Burrowes, Stuart Burrows, Christiane Eda‐Pierre, The John Alldis Choir, Robert Lloyd, Robert Tear, Academy of St Martin in the Fields, Sir Colin Davis
- The John Alldis Choir, Academy of St Martin in the Fields, Sir Colin Davis
- (show 14 more)
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| Die Entführung aus dem Serail, K. 384: Akt III, Szene V. No. 19 Arie "Ha, wie will ich triumphieren" (Osmin) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Akt III, Szene VII. No. 20a Rezitativ "Welch ein Geschick!" (Belmonte, Konstanze) | | | | | | | |
| Die Entführung aus dem Serail, K. 384: Ouvertüre | | | | Overture | | | |
| Die Zauberflöte: Ouvertüre | | | | Overture | | | |
| Don Giovanni : « In quali eccessi... Mi tradì » | | | | | | | |
| Don Giovanni: Atto I. “Bisogna aver coraggio” (Donna Elvira, Don Ottavio, Donna Anna) | | | | | | | |
| Don Giovanni: Atto I. “Ecco il birbo che t'ha offesa!” (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Don Giovanni, Leporello, Masetto, Coro) | | - Philharmonia Orchestra, Carlo Maria Giulini
- Richard van Allan, Martina Arroyo, Stuart Burrows, Chorus of the Royal Opera House, Covent Garden, Mirella Freni, Wladimiro Ganzarolli, Kiri Te Kanawa, Ingvar Wixell, John Constable, Orchestra of the Royal Opera House, Covent Garden, Sir Colin Davis
- Wiener Philharmoniker, Riccardo Muti
- New Philharmonia Orchestra, New Philharmonia Chorus, Otto Klemperer
- (show 20 more)
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| Don Giovanni: Atto I. “Protegga il giusto cielo” (Donna Anna, Donna Elvira, Don Ottavio) | | - Philharmonia Orchestra, Carlo Maria Giulini
- English Baroque Soloists, Sir John Eliot Gardiner
- La Petite Bande, Sigiswald Kuijken
- Martina Arroyo, Stuart Burrows, Wladimiro Ganzarolli, Kiri Te Kanawa, Ingvar Wixell, John Constable, Orchestra of the Royal Opera House, Covent Garden, Sir Colin Davis
- (show 23 more)
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| Don Giovanni: Atto I. “Riposate, vezzose ragazze” (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Don Giovanni, Leporello, Masetto, Coro) | | - Cesare Siepi, Fernando Corena, Walter Berry, Hilde Gueden, Suzanne Danco, Lisa della Casa, Anton Dermota, Wiener Philharmoniker, Josef Krips
- Berliner Philharmoniker, Herbert von Karajan
- Philharmonia Orchestra, Carlo Maria Giulini
- English Baroque Soloists, Sir John Eliot Gardiner
- (show 39 more)
| | | | | |
| Don Giovanni: Atto I. “Tra quest’ arbori celata” (Zerlina, Don Giovanni, Masetto, Coro) | | | | | | | |
| Don Giovanni: Atto I. “Trema, trema, o scellerato!” (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Don Giovanni, Leporello, Masetto, Coro) | | - Philharmonia Orchestra, Carlo Maria Giulini
- Wiener Philharmoniker, Riccardo Muti
- Richard van Allan, Martina Arroyo, Stuart Burrows, Chorus of the Royal Opera House, Covent Garden, Mirella Freni, Wladimiro Ganzarolli, Kiri Te Kanawa, Ingvar Wixell, John Constable, Orchestra of the Royal Opera House, Covent Garden, Sir Colin Davis
- New Philharmonia Orchestra, New Philharmonia Chorus, Otto Klemperer
- (show 14 more)
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| Don Giovanni: Atto I. “Venite, pur avanti” … “Ricominciate il suono” … Minuetto (Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Don Giovanni, Leporello, Masetto, Coro) | | - Philharmonia Orchestra, Carlo Maria Giulini
- Wiener Philharmoniker, Riccardo Muti
- La Petite Bande, Sigiswald Kuijken
- Richard van Allan, Martina Arroyo, Stuart Burrows, Mirella Freni, Wladimiro Ganzarolli, Kiri Te Kanawa, Ingvar Wixell, John Constable, Orchestra of the Royal Opera House, Covent Garden, Sir Colin Davis
- (show 26 more)
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| Don Giovanni: Atto I. Anhang. No. 10a Aria “Dalla sua pace” (Don Ottavio) [K. 540a] | | | | Aria | | | |
| Don Giovanni: Atto I. No. 1 Introduzione “Notte e giorno faticar” (Leporello) / “Non sperar se non m’uccidi” – “Lasciala indegno” – “Ah soccorso” (Donna Anna, Don Giovanni, Leporello, Commendatore) | | | | | | | |
| Don Giovanni: Atto I. No. 2 Duetto “Fuggi, crudele, fuggi!” (Donna Anna, Don Ottavio) | | | | | | | |
