Maria Callas – Verdi - Bizet - Puccini - Rossini: Maria Callas Sings

Various Artists – Italian Opera

This Is Puccini

The Sopranos - all music from the HBO series - Part 1

The Best of The Best - part 3

ODRCDODRCD372 Maija Kovalevska & Liepāja Symphony Orchestra - Majesty Operatic Arias

Wagner  to Franz Liszt:

"Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams in which, from the first to the last, love shall, for once, find utter repletion. I have devised in my mind a Tristan und Isolde, the simplest, yet most full-blooded musical conception imaginable, and with the ‘black flag’ that waves at the end I shall cover myself over – to die"

Richard Wagner - Tristan und Isolde, Prelude

An upcoming Digital release from Opera d'Oro

Puccini Madame Butterfly Act 2 Un Bel Di, Vedremo

World renowned master of composition Puccini delivers one of the most inspiring sounds. 

Giacomo Puccini - Madama Butterfly -  Humming Chorus

Puccini: Tosca
Ferruccio Tagliavini / Tito Gobbi / The Covent Garden Opera Chorus / The Covent Garden Orchestra / Francesco Molinari-Pradelli

This June 1955 performance of Puccini’s Tosca marked Renata Tebaldi’s first appearance with the Covent Garden Company. The roles of Cavaradossi and Scarpia were filled by two of Italy’s finest singers, Ferruccio Tagliavini (Cavaradossi) and Tito Gobbi (Scarpia).  All three went on to make memorable studio recordings for Decca, Cetra and EMI. The Times wrote, ‘The performance was tremendous, not only in the singing, which was up to the heroic standards of the past, but in dramatic tension’.

Renata Tebaldi - Puccini- Tosca Act 2 'Vissi d'arte'

PUCCINI: Turandot: Signore Ascolta! (Act I)

Live-Mitschnitt aus dem Concertgebouw Amsterdam. Version der Suite von Hartmut Haenchen

Richard Wagner:  Götterdämmerung - Suite

SINEM. Concierto de Manuel María Gutiérrez en Turrialba durante la primera gira 2011

Giacomo Puccini - O mio babbino caro

A Giacomo Puccini song, E L'uccellino tells the story of a mother bird singing to its baby in the nest.

Sung by Susan Starbuck with Andria Fennig accompanying on Grand Piano.

E L'uccellino - Giacomo Puccini

Shame , Shame , Shame - Shirley & Company ( Steve Jones Remix )

Il Preludio sinfonico in La maggiore è una composizione sinfonica di Giacomo Puccini.

Fu composto durante gli studi presso il conservatorio di Milano per l'esame finale dell'anno accademico 1881-1882, nella classe di composizione di Antonio Bazzini, e fu eseguito il 15 luglio 1882 presso lo stesso istituto musicale.

Della partitura autografa rimangono tre frammenti, due conservati presso il Museo Puccini di Celle di Pescaglia, uno presso l'Istituto Musicale "Luigi Boccherini" a Lucca, dove sono conservate anche tutte le parti orchestrali autografe tranne quelle di fagotti, arpa e contrabbassi. Questa partitura rappresenta una prima redazione del brano, di cui Puccini eliminò 30 battute.

In questa forma accorciata e definitiva il brano ci è stato tramandato, non senza alcuni errori, in una partitura manoscritta, probabilmente di mano del fratello Michele, ma firmata "Giacomo Puccini" (Milano, Conservatorio G. Verdi). Le parti orchestrali relative si trovano all'Istituto Boccherini.


The Prelude in A major Symphony is a symphonic composition by Giacomo Puccini.

It was composed during his studies at the conservatory in Milan for the final exam of the academic year 1881-1882, in the class of composition of Antonio Bazzini, and was executed July 15, 1882 at the same institute music.

Autograph score of the three fragments remain, two in the Museo Puccini Celle of Pescaglia, one at the Music Institute "Luigi Boccherini" in Lucca, which houses all our Parts autograph except those of bassoons, harp and double bass. This score is a first version of the song, of which Puccini eliminated 30 beats.

In this shortened form and ultimately the song has been handed down, not without some errors in a manuscript score, probably hand of his brother Michael, but signed "Giacomo Puccini" (Milan, Conservatorio G. Verdi). The orchestral parts are related to the Institute Boccherini.

Giacomo Puccini - Preludio Sinfonico - OFC live

The Best Of Dion & The Belmonts

I Wonder Why (Remastered)

I'm So Happy I Can't Stop Crying

Bless Its Pointed Little Head

The Other Side of This Life (Live at the Fillmore West, San Francisco, CA - October 1968)

Puccini: Turandot

Turandot, Act 3: "Nessun dorma" (Calaf, Coro) [feat. Coro del Teatro dell'Opera di Roma & Franco Corelli]

Who Can You Trust?

Puccini: Tosca (1965 - Prêtre) - Callas Remastered

Tosca, Act 2: "Vissi d'arte" (Tosca)

Puccini: La Bohème (Highlights)

"Donde lieta uscì" (Live)

Das Rheingold

Das Rheingold, Opera: Act II

Donde Lieta Uscì - La Bohème - Giacomo Puccini
Vocals - Mio
Piano - Yadviga Grom

Donde Lieta Uscì - La Bohème - Giacomo Puccini

Die Walküre

Richard Wagner - Die Walküre

A majestic selection of operatic arias interpreted by Maija Kovalevska, who, with the Liepāja Symphony Orchestra, performs her favourite heroines from operas by Puccini, Mozart, Massenet, Gluck and Tchaikovsky.

From Gluck’s Orfeo & Euridice Maija Kovalevska performs Euridice’s aria, Che fiero momento! (“What a proud moment!”), which anticipates the story’s climax. From Mozart’s Don Giovanni we hear Donna Elvira’s Act II aria Mi tradì quell’alma ingrata (“Cruel heart, you have betrayed me”), which reveals a woman at war with herself, furious at her lover’s betrayal but still longing for him against her own will. There are two of Mimì’s arias from Puccini’s La Bohème, alongside powerful music from Manon Lescaut, Gianni Schicchi and Turandot. From Act II of Massenet’s Thaïs there is the sensuous, passionate Dis-moi que je suis belle (“Tell me I’m beautiful”), known as the “mirror aria”; gazing at her reflection, Thaïs fears old age and longs for her beauty to remain. The album concludes with two of Tchaikovsky’s greatest operatic moments: Iolanta’s Arioso and the pivotal Letter Aria from Eugene Onegin. A gorgeous release, essential both for opera aficionados and for those seeking an introduction to the genre.

08 - Giacomo Puccini - Turandot Act III Scene 1 Aria 'Tu Che Di Gel Sei Cinta' (Liu)

05 - Giacomo Puccini - Manon Lescaut Act II Intermezzo (orchestral)

04 - Giacomo Puccini - La Boheme Act I Aria 'Si. Mi Chiamano Mimi' (Mimi)

03 - W. A.Mozart - Don Giovanni K. 527 Act II Aria 'Mi Tradi Quellalma Ingrata' (Donna Elvira)

02 - Christoph W.Gluck - Orfeo Ed Euridice Act III Scene 1 Aria 'Che Fiero Momento' (Euridice)

01 - Christoph Willibald Gluck - Orfeo Ed Euridice Overture

Classical Voices

La traviata: Act I, Libiamo ne'lieti calici

Odradek Records is a democratic classical cooperative, non-profit and artist-controlled label and concert association, promoting new artists and fresh repertoire.

Entrance to our roster is through anonymous demo.

Our dream is utopian: to separate music-making from markets and create a just system of pure artistic meritocracy.


Odradek Records is not just a new record label. Odradek Records is the first wedge of a larger project, proposing a new way to produce and enjoy classical music. We think that the current model undermines the true essence and significance of music. We think that a model centered on just a few big names, the great concert halls, a limited repertoire that is necessarily restricted by the bonds of popularity--a model that makes its selection of new young performers from the anti-musical system of competitions, the success of which is often obtained through extravagant histrionics rather than the correctness or subtlety of interpretation--and finally, a model that is subject to the exploitation of the marketplace, and which obliges the majority of musicians to pay enormous sums to record CDs, for which the profits then go largely to the record company, thus depriving many very worthy but not wealthy musicians from the possibility of recording--is not only a model that is far from art, but is a model that even itself is in crisis. 

Ideally, music just as other primary goods, should not fall subject to the markets. We know that in a strict sense, this is utopian, but it is precisely this tension towards an unreachable utopia that guides our project.

Odradek Records is a non-profit seeking label. Once production and distribution expenses are recuperated, all of our proceeds go directly to the artist. Odradek Records selects its artists solely through the criterion of utmost quality of the recording and the interest of the proposed program. We don’t want to exclude, but rather include: we are not interested if you have won important competitions or not, neither if you have performed in important halls or signed with major labels. We are not interested in your age or where you come from. The only thing that interests us is whether you play your instrument to a very high and professional level. With us you can record Chopin, but you can also record: Berio, Scelsi, Copland, Carter, Webern, Schoenberg, Ligeti, Kurtag, Ives, and many others.

Our recording studio avails itself of the greatest technical instruments available today.

The distribution of our CDs is guided by an innovative criterion of transparency and flexibility in setting prices.
The rights of the composers and of the artist are protected by Creative Commons copyright (sometimes referred to as “copyleft” policy) because we want to render legal and free all those things that almost everybody already illegally does anyway.

We consider that the distribution of our music is not a one way street, but instead a dialogue. Only the presence of an active public gives true life to an artistic product. Write us. In the comments section you can leave opinions, suggestions, and criticisms of our music and our project. If you want to you can sign up as a “Friend of Project Odradek”, indicating your name, your profession, where you are from, and why you support Project Odradek. Send us your thoughts on the state of music, culture, and the arts: we’ll publish them on our blog.

If you like us, help us spread the word by linking to us from your blogs, sites, and through your social networks.

Odradek Records does not only produce CDs. We are convinced that the truest fruition of music happens in live concerts. For this reason we organize itinerant music festivals, moving from city to city, to promote our disks and music.

And finally, a word about our name: we borrow it from Kafka. Like the worried family man in Kafka’s tale, we are also worried. We are worried that music might become always more and more an odradek, an indefinable and incomprehensible being, whose voice sounds falsely, like the voice of one who is “without lungs”, a being without form, disturbingly replicating that which was once alive, that can plastically become whatever is wished for by those who posses the instruments of power and control. We wish for the cage-like railing surrounding the man of Kafka’s drawing to become instead an instrument to play - we would like to transform our prison into our liberty. 

We would like to restore music to its true role, that of artwork, and restore musical interpretation to its true function, the only one that opens itself towards the possibility of a future: that of a field of research.

Welcome to Project Odradek.