Rodion Pogossov

Upcoming highlights include Rodion’s house and role debut as Dandini La Cenerentola at the Los Angeles Opera, his double debut as Jaroslav Prus in Makropulos Case at the Malmo Opera, a return to Glyndebourne for Il turco in Italia and his Liceu Barcelona house debut as Yeletsky in The Queen of Spades


© Daniil Rabovsky


Rodion Pogossov joined the Lindemann Young Artist Development Programme at the beginning of his early career. He regularly sings at the Metropolitan Opera and previous engagements there have included Il barbiere di Siviglia, Die Zauberflote and Don Pasquale.

Highlights of the 19/20 season have included Marcello in Otto Schenk’s production of La bohème at the Bayerische Staatsoper and Figaro Il barbiere dSiviglia at Minnesota Opera.

As a recording artist, Rodion’s discography includes his solo recital disc for the prestigious EMI Debut Series which recieved great acclaim and was followed by a disc of Rachmaninov songs with pianist Iain Burnside, released in 2014.


Video & Audio


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    Medtner Songs

    Label: Delphian Records

    Release Date: 16 Feb 18

    Ekaterina Siurina

    Justina Gringyte

    Oleksiy Palchykov

    Robin Tritschler

    Rodion Pogossov

    Nikolay Didenko

    Iain Burnside

    Catalogue No: DCD34177


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    BELLINI 'Adelson e Salvini'

    Label: Opera Rara

    Release Date: 03 Mar 17

    Enea Scala

    Daniela Barcellona

    Simone Alberighi

    Maurizio Muuraro

    Rodion Pogossov


    Daniele Rustoni

    BBC Symphony Orchestra


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    Rachmaninov Songs

    Label: Delphian Records

    Release Date: 10 Mar 14

    Evelina Dobraceva
    Ekaterina Siurina
    Justina Gringyte
    Daniil Shtoda
    Andrei Bondarenko
    Rodion Pogossov
    Alexander Vinogradov
    Iain Burnside

    Catalogue No: DCD34127

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    ORFF Carmina Burana

    Label: LPO

    Release Date: 10 Mar 14

    Conductor: Hans Graf

    Soprano: Sarah Tynan
    Tenor: Andrew Kennedy
    Baritone: Rodion Pogossov

    London Philharmonic Orchestra & Choir
    Trinity Boys Choir

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    Song Recital

    Label: EMI

    Release Date: 01 Jan 07

    Antonio Caldara, Antonio Cesti, Christoph Willibald Gluck, Edvard Grieg, Gustav Mahler, et al

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    18 Dec 19 PUCCINI La bohème
    Bayerische Staatsoper

    “Rodion Pogossov sang den Marcello mit kernigem, kraftvollem Bariton.”

    (Translated) “Rodion Pogossov sang Marcello with a hearty, powerful baritone.”

    Gisela Schmöger, Online Merker, 19 December 2019

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    09 Nov 19 ROSSINI Il barbiere di Siviglia
    Minnesota Opera

    “As Figaro, the fixer-upper of the opera’s tangled situation, the Russian baritone Rodion Pogossov impressed with his solid vocalism and slick comic timing.”

    Terry Blain, Star Tribune, 10 November 2019

    “While it takes a scene to adjust to the design scheme, it all falls into place when Rodion Pogossov emerges from the back of the Ordway house intoning Figaro’s familiar song of himself. The baritone has all of the requisite swagger and cocksure confidence one could wish from the character, his voice both powerful and lithe, his Italian diction delightful on the jaunty jabber of his arias.”

    Roy Hubbard, Twin Cities, 13 November 2019

    “The host of this love triangle, Figaro, was embodied completely by Rodion Pogossov, who charms the audience and his fellow characters during the four act, two and a half plus hour performance. His voice as vibrant as his stage personality, the outstanding Pogossov plays to each character”

    Peggy Sue Dunigan, Broadway World, 12 November 2019

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    17 Jul 19 MOZART Die Zauberflöte
    David H. Koch Theater, New York

    “The bird catcher Papageno (the hearty baritone Rodion Pogossov, in an endearing performance)…”

    Anthony Tommasini, New York Times, 18 July 2019

    “As Papageno, Rodion Pogossov’s clear and vibrant baritone also took centerstage every moment he was on. “Der Vogelfänger bin ich ja” had a jubilant quality to it, the baritone simply allowing the fullness of his voice to carry the charming tune. In many ways, he was the comic scene-stealer of the entire production, but this was undeniably by design, particularly in his interactions with the digital cat he was given. This alone, allowed the character to gain a tremendous amount of emotional connection with the audience. And yet, for all the fun he managed to give the audience, he really shone in the dark “Nun wohl-an,” the voice taking on a darker quality with a hint of desperation that turned to bitterness on the final accented “Gute Nacht, du falsche Welt!” The transition to this darker moment was made all the more potent by the preceding enunciations of Eins, Zwei, Drei, with its long pauses and Pogossov’s own visual expressions and body language expressing a deep sense of increasing loss and disappointment.”

    David Salazar, Operawire, 20 July 2019

    “Rodion Pogossov uses his highly polished baritone and comedic skills to effectively convey the good-natured goofiness of Papageno”

    Susan Stempleski, Classical Source, 18 July 2019


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    04 May 19 BIZET Carmen
    Seattle Opera

    “Like Fonzi from “Happy Days,” Rodion Pogossov’s Escamillo makes his entrance on a motorcycle. He’s a good match for Carmen, a risk-taker in bullfighting and in love. While Carmen and Don José sing at each other, Escamillo sings with Carmen. Their duet “Si tu m’aimes, Carmen” harmoniously promises a happy ending.”

    The Seattle Times, May 2019

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    17 Dec 18 DONIZETTI Don Pasquale
    La Monnaie | De Munt

    “Complice de la belle Norina, le Docteur Malatesta, incarné par le baryton russe Rodion Pogossov revêt un caractère plus mutin, plus vif, plus expressif (…). La comédie est assumée, la voix et la diction, précises et hachées du chanteur colle au rôle (…) La vélocité a quelque chose d’un hommage rendu à Charlie Chaplin.

    (Translated) “Accomplice to the beautiful Norina, Dr. Malatesta, played by Russian Baritone Rodion Pogossov is more mutinous, more lively, more expressive (…). He takes on the comedy, the diction, the voice is precise and chopped (…). His speed reminds of Charlie Chaplin.”

    Soline Heurtebise, Olyrix, 17 December 2019

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    19 Jun 18 PUCCINI La Bohème
    Royal Opera House

    “Rodion Pogossov asserts his strong baritone to excellent effect as Marcello in a performance made all the more impressive by the fact that he was originally scheduled to play Schaunard, and had to step in”

    Same Smith, Opera Online, 26 June 2018

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    01 Apr 18 Medtner Medtner Songs - Album

    “Rodion Pogossov has some of the treasures here, best of all the Pushkin (rather than Goethe) Winter Evening with its rich pianistic storm-surge superbly handled, like all else, by Burnside…”

    BBC Music Magazine, April 2018

    “The baritone Rodion Pogossov has many of the best songs, or perhaps it is just that his vocal quality and ringing ardour make them sound among the best. Certainly the Pushkin settings ‘Winter Evening’ Op.13/1 and ‘Echo’ Op.32/1 are among those I replayed at once.”

    Roy Westbrook, Music Web International, April 2018

    “L’accompagnement de Burnside est magistral. Les voix sont inégales, mais les contributions de Rodion Pogossov et de Nikolay Didenko sont bouleversantes.”

    Damien Colas, Classica Magazine, “Les Disques du Mois”, September 2018

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    29 Sep 17 VERDI Il Trovatore
    Opera Graz

    “Man sagt ja immer, man kann den ‚Trovatore‘ nur spielen, wenn man vier ausgezeichnete Sänger hat – und ich freue mich sehr, dass wir Rodion Pogossov als Luna, Nora Sourouzian als Azucena, Lana Kos als Leonora und Stefano Secco als Manrico haben. Stefano Secco hat die Partie schon einmal in Rom gesungen, aber auch er wächst noch mehr in diese Partie hinein“, so Intendantin Nora Schmid.”
    Steiermark, 30 September 2017

    “Rodion Pogossov als Conte di Luna verzauberte uns Frauen mit seiner Stimme, eine Stimme die unter die Haut geht, eine sehr schöne Stimme in der Rolle eines Bösen.”
    Margarethe Rinnhofer, Meinbezirk, 1 October 2017

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    15 Jul 17 MOZART The Magic Flute
    Cincinnati Opera

    “Rodion Pogossov plays a superb Papageno, singing with an effortless and round lyric baritone.”
    Sarah Viola, City Beat, 17 July 2017

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    16 Jun 17 PUCCINI La Bohème
    Cincinnati Opera

    “Pogossov and his fellow bohemians, Rivera, Nelson – one of the best Schunards I have ever seen – and Nathan Stark were a terrific quartet of bohemians.”
    Rafael de Acha,, 16 June 2017

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    03 Mar 17 BELLINI Adelson e Salvini (CD)
    Opera Rara

    “Rodion Pogossov supplies a vigorously villanious Struley…”

    Max Loppert, Opera Magazine, July 2017

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    13 Nov 16 BELLINI Adelson e Salvini
    Fondazione Pergolesi Spontini

    “Le baryton d’origine russe Rodion Pogossov en exprime toute la noblesse, chaleureuse dans l’amitié, douloureuse quand il découvre la trahison. A une voix bien timbrée et à une diction de l’italien très soignée il joint un engagement scénique convaincant car éloigné de toute emphase. L’emphase, c’est justement ce qui caractérise Salvini, le peintre qui s’est épris de son modèle.”
    Maurice Salles, Forum Opera, 13 November 2016

    “Più convincenti proprio per l’immedesimazione nei personaggi le altre due voci basse, l’Adelson di Rodion Pogossov e il Bonifacio di Clemente Antonio Daliotti. Il baritono russo infatti trova la giusta cifra stilistica nel rendere con un fraseggio appropriato il carattere dell’inglese altolocato ma comprensivo, fin dalla sortita Obliarti? Abbandonarti?, nella quale i sentimenti per Nelly si manifestano con aristocratica posatezza, in giusto contrasto con l’irruenza di Salvini. Simili considerazioni per i duetti con Salvini e Bonifacio al secondo e terzo atto, improntati sempre a una nobiltà di accento che non però scade mai nella freddezza.”
    Domenico Ciccone, Opera Click, 15 November 2016

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    28 Sep 16 PUCCINI La bohème
    Metropolitan Opera Company

    “The company of bohemians — the Serbian David Bizic as Marcello, a painter; the American Ryan Speedo Green as Colline, a philosopher; and the Russian Rodion Pogossov as Schaunard, a musician — were particularly satisfying in the individuality of their characterizations as well as in their work as an ensemble.”
    James R. Oestreich, New York Times, 29 September 2016

    “The musician Schaunard, as the only performing artist in this gang of four, is called upon (especially in this production) to hop on tables, strike attitudes, and wave baguettes like conductor’s batons, all of which baritone Rodion Pogossov did with panache.”
    David Wright, New York Classical Review, 29 September 2016

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    07 Aug 16 ROSSINI Le comte Ory
    Seattle Opera

    “Rodion Pogossov was a stylish, energetic Raimbaud…”
    Melinda Bargreen, Seattle Times, 8 August 2016

    “Convincente l’interpretazione di Rodion Pogossov come Raimbaud, non solo per la precisa e divertente presenza scenica, ma per la facilità nell’emissione. Dotato di un timbro ricco e armonico, Pogossov sia nel primo atto, ma ancor più nel secondo con la sua Aria Dans ce lieu solitaire esibisce sicurezza e incisività articolatoria, precisione ed espressività.”
    Viviana Coppo, Opera Click, 6 August 2016

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    31 May 16 ORFF Carmina Burana
    Royal Festival Hall

    “Altogether more intrinsic with the music, Rodion Pogossov was as amorous
    and debauched as necessary, and he sung consistently well across a
    range of requirements, not least when straying into the bass register or
    higher into the tenor one (and in falsetto).”
    Colin Anderson, Classical Source, June 2016

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    12 Mar 16 ROSSINI Il barbiere di Siviglia
    Fondazione Teatro della Fortuna

    “Rodion Pogossov è un Figaro guascone e sfacciato tanto nell’emissione quanto nella presenza scenica, perfettamente a suo agio nel ruolo e forte di una vocalità estesa e sicura, con un buon dominio della coloratura….[La] prova offerta dal baritono russo… stata di buonissimo livello.”
    Domenico Ciccone, Opera Click, 12 March 2016

    “Rodion Pogossov è un Figaro mobilissimo e versatile con l’ironia e l’aspetto del comico televisivo Ficarra, è un barbiere atletico che tiene la scena con grande padronanza del palcoscenico e gestisce in modo appropriato una voce baritonale estesa e flessibile…”

    Giosetta Guerra, Associazione Musicale Mario Tiberini,12 March 2016

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    11 May 16 BELLINI Adelson e Salvini

    “Rodion Pogossov’s Struley, [was] nicely managed…”
    Tim Ashley, The Guardian, 12 May 2016

    “…Rodion Pogossov made a classy, spruce villain out of Colonel Struley…”
    Yehuda Shepiro, Opera Magazine, July 2016

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    17 Oct 15 PUCCINI La boheme
    Michigan Opera Theatre

    “As Marcello, baritone Rodion Pogossov sounded fine…”
    George Bulanda, Detroit News, 19 October 2015

    “As the on-again, off-again lovers Musetta and Marcello, the creamy-voiced Marina Costa-Jackson and spirited Rodion Pogossov made an attractive pair.”
    Mark Stryker, Detroit Free Press, 20 October 2015

    “Baritone Rodion Pogossov as Marcello, the painter, has wonderful stage presence also, with his comedic and serious acting done with equal craft…wonderful performances, especially of …Mr. Pogossov”.
    David Kiley, Encore Michigan, 18 October 2015

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    22 Jul 15 Napa Valley Festival: 22 July 2015
    Castello di Amorosa

    “Rodion Pogossov, on the other hand, had no need for any amplification. The moment he opened his mouth out came a tidal wave of formidable sound. As Onegin, he was the perfect embodiment of the Byronic hero: confident, authoritative, and mysteriously aloof”.
    Alice Zhang, GB Opera, July 2015

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    29 Jun 15 MOZART Cosi Fan Tutte
    Spoleto Festival

    “Altrettanta sicurezza vocale ed eccellente fraseggio quella del baritono russo , Rodion Pogossov nel ruolo di Guglielmo…con una invidiabile voce “in maschera”.”

    Carlo Vantaggioli, Tuttoggi, 27 June 2015

    “Rodion Pogossov … est ici émouvant, drôle, charmant. Sa voix scintillante et pleine, son sens du timing comique font, paradoxalement, ressortir le sérieux du rôle”.
    Élisabeth Schneiter, ResMusica, 3 July 2015

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    28 Feb 15 ROSSINI Barber of Seville
    Los Angeles Opera

    “Pogossov brings robust baritone authority to his Figaro as he manipulates the various escapes that pervade the opera’s plot.”
    Jim Farber, Los Angeles Daily News, 3 March 2015

    “Baritone Rodion Pogossov, who was the Papageno in Los Angeles Opera’s 2013 presentation of The Magic Flute, was a robust Figaro who convinced the audience that his presence was irreplaceable.”
    Maria Nockin, Opera Today, 5 March 2015

    “Russian Rodion Pogossov sang the title role. He portrayed Figaro as a dapper but good-natured clever cogs with just enough manly swagger. Eager to facilitate Almaviva’s romantic rescue of Rosina, Pogossov marshaled his light and rather lovely baritone through the mind-boggling difficulties of the role…”
    Jaime Robles, Bachtrack, 3 March 2015

    “Pogossov, whose Los Angeles debut was as Papageno in the Barrie Kosky production of Mozart’s “Magic Flute”, showed mastery of the rapid “patter” of opera buffa comic arias that comprises the latter part of the iconic aria.”
    Opera Warhorses, 1 March 2015

    “If the effervescence of Rodion Pogossov’s dapper Figaro could be bottled, no one would need Cava or Prosecco (we’re in Spain, after all, with music by an Italian). Honestly, this Russian baritone can move with the grace of Astaire and the charm of Chaplin.”
    Jane Rosenberg, The International Review of Music, 2 March 2015

    “The Figaro of Rodion Pogossov was new to me and his singing, which started at very good, only get better as the evening progressed. It almost
    seemed that with each new number and its particular set of challenges, the bar was placed just a tad higher each time. He’s a supple comedian on the stage and he had a matador’s cape flourish in the last scene that I don’t think anyone present will be able to forget for a long time. It’s a beautiful rich baritone
    sound with an easy top and not only was his diction superb but he knows how to
    land a punchline even if he is speaking a language foreign to the majority of
    the audience.”
    Patrick Mack,, 2 March 2015

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    10 Mar 14 RACHMANINOV Rachmaninov Disc
    Delphian Records

    “Vinogradov, Bondarenko and Pogossov perfectly suited in their different ways to the Chaliapin-inspired ‘Sudba’ (‘Fate’), Op 21 No 1, ‘Voskresheniye Lazarya’ (‘The Raising of Lazarus’), Op 34 No 6, and ‘Ty znal evo’ (‘You knew him’), Op 34 No 9.”

    Gramophone Magazine, 24 April  2014

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    23 Nov 13 MOZART The Magic Flute
    Los Angeles Opera

    “The Papageno of Rodion Pogossov was a wall-to-wall pleasure. With a silky, powerful baritone and comic presence that was able to outpunch even the most distracting animated effects, he embodied the bird-catcher as silent comedy hero and took us on a joy ride of an evening.”
    Jane Rosenberg, Seen and Heard International, 24 November 2013

    “The Russian Rodion Pogossov plays Papageno in a low-key humorous, Chaplinesque style. He is a kind of everyman who wants simple pleasures of eating and romance and is not too involved in the rituals. He is adorably followed around by a spunky animated cat. A true talent, his lovely baritone is accompanied by his clever physical expression.”
    Georja Umano/Gerald Everett Jones, LA Splash, 24 November 2013

    “Rodion Pogossov, a sweet slapstick Papageno…”

    Mark Swed, LA Times, 25 November 2013

    “Brownlee and Pogossov prove ideal as the opera’s contrasting heroes, Tamino (the seeker of wisdom) and Papageno (the seeker of earthly pleasure, who throughout the opera is accompanied by a wonderfully loyal cartoon feline). Brownlee possesses an ideally bright Mozartean tenor that works beautifully in tandem with Pogossov’s resonant baritone.”
    Jim Farber, Press Telegram, 26 November 2013

    “The star of the show was Russian baritone Rodion Pogossov as Charlie Chaplin sans moustache, aka Papageno. Mr. Pogossov’s postures were pure Chaplin, vocally he was much more richly endowed than the usual Papageno. He was a warm, abstractly human silent film character (who incongruously sang) aided in no small way by the complete absence of the usual Schikaneder (Flute’s playwright) imposed schtick.”
    Michael Milenski,, 25 November 2013
    “Still, the cast onstage could not be faulted. Rodion Pogossov, as the guileless fool Papageno and here a Buster Keaton type, had the best shot at exercising human physicality; in his earthy gold suit and flattened, slouchy hat to match, hands often in pockets, he ambled about, his voice a most pleasing, warm baritone.”

    Donna Perlmutter, LA Observed, 4 December 2013

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    24 Sep 13 MOZART Così fan tutte
    Metropolitan Opera

    “Mr. Pogossov made a robust-voiced and volatile Guglielmo. He really cut loose in the sputtering aria “Donne mie” (“Dear ladies”), a denunciation of all women with their capacity for deception. This Guglielmo really meant it.”
    Anthony Tommasini, NY Times, 25 September 2013

    “The Russian baritone Rodion Pogossov adds a solid performance as Guglielmo.”
    Wilborn Hampton, The Huffington Post, 25 September 2013

    “The young Russian baritone Rodion Pogossov revealed a shimmering, even voice and sharp comic timing.”
    James Jordan, New York Post, 25 September 2013

    “Again, if pushed to choose, there is a clear favourite: Rodion Pogossov’s Guglielmo. Pogossov acts brilliantly, can come close to being absolutely hilarious, yet sings with a melting lyricism when required; his brief “Non siate ritrosi” from the first act was the perfect exemplar.”

    Colin Clarke, Seen and Heard International, 24 April 2014

    “The two lovers, Ferrando and Guglielmo, sung by Matthew Polenzani and Rodion Pogossov, were clear-voiced and sure-footed… Pogossov was dashing and witty in the role Guglielmo and his warm, inviting tone exuded masculinity.”
    Melanie O’Neill, The Examiner, 27 April 2014

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    20 Jul 13 ROSSINI Barber of Seville
    Teatro Municipal de Santiago

    “El barítono ruso Rodion Pogossov, perfiló de manera estupenda la singular personalidad de Fígaro, se desplaza con desplante y gracia; su manejo vocal, así como en lascoloraturas, es impecable; su momento más exitoso fue sin duda su aria “Largo al factotum”, cantada en forma arrolladoramente perfecta, aunque también fueron notables su intervenciones en dúos y concertatos.”
    Gilberto Ponce Vera, Visiones Criticas, 21 June 2013

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    06 Apr 13 ORFF Carmina Burana
    Royal Festival Hall

    “The three soloists all delivered fine performances, with the Russian baritone Rodion Pogossov suitably youthful and lusty.”
    Chris Garlick, Bachtrack, 9 April 2013

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    23 Dec 12 ROSSINI The Barber of Seville
    Metropolitan Opera, New York

    “Rodion Pogossov’s hearty Figaro and John Del Carlo’s blustering Bartolo were perfectly pitched for this conception.”
    Steve Smith, New York Times, 23 December 2012

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    14 Oct 12 ROSSINI The Barber of Seville
    Michigan Opera Theatre

    “…the leading role is played by dashing Moscow- born baritone Rodion Pogossov who recently performed in this role at the Metropolitan Opera in New York. His voice is wonderful and seems effortless-reminds us at times of Bryn Terfel and at others of Jim Morrison. But what stunned the MOT audiences is that Pogossov not only sings, he also tap dances, juggles and walks on his hands. This guy is a performer, and the audience loved him.”
    Patty Nolan, The Examiner, 14 October 2012

    “Pogossov commanded the stage from his first entracne, zipping in on a scooter, singing the famous ‘Largo al factotum’…Pogossov has a rich, clear voice, marrying warm colour, supple phrasing and pinpoint diction. When you combine his musicianship with the grace, timing and expressive gestures of a born comedic actor, you’ve got a world-class Figaro.”
    Mark Stryker, The Free Press, 15 October 2012

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    01 Jun 11 DONIZETTI L'elisir d'amore
    Glyndebourne Festival

    “…More rewarding is the Sergeant Belcore of Russian baritone Rodion Pogossov, who brings the cocksure ladykiller to life in a performance of flamboyant macho panache…”

    The Stage, 10 June 2011

    “…Rodion Pogossov’s Sgt Belcore (who made his Festival debut after his unforgettable Guglielmo in the 2006 Tour’s Cosi fan tutti): Apart from his brilliantlyblazing voice (a given) he’s pretty good at thight slapping and his long riding boots look great…”
    Sussex Express, 13 June 2011



BELLINI I Puritani (Riccardo)
BELLINI Adelson e Salvini
BIZET Les Pecheurs des Perles (Zurga)
DEBUSSY Pelleas et Melisande (Pelleas)
DONIZETTI Don Pasquale (Malatesta)
DONIZETTI L’elisir d’amore (Belcore)
GOUNOD Faust (Valentin)
GOUNOD Romeo et Juliette (Mercutio)
LEONCAVALLO I Pagliacci (Silvio)
MASSENET Cherubin (Count)
MASSENET Werther (Albert)
MOZART Così fan tutte (Guglielmo)
MOZART Die Zauberflöte (Papageno)
MUSSORGSKY Boris Godunov (Shelkalov)
PUCCINI Gianni Schicchi
PUCCINI La Bohème (Marcello)
PUCCINI Manon Lescaut
ROSSINI Il Barbiere di Siviglia (Figaro)
ROSSINI Le Comte Ory
STRAUSS Die Fledermaus (Eisenstein)
TCHAIKOVSKY Eugene Onegin (Onegin)
TCHAIKOVSKY Iolanta (Robert)
TCHAIKOVSKY Pique Dame (Yeletsky)
TCHAIKOVSKY The Maid of Orleans (Lionel)
VERDI Falstaff (Ford)


BACH Solobasskantaten “ich habe genug”, Kreuzstabkantate
BACH Johannespassion
BACH Matthäuspassion
BRAHMS Requiem
FAURE Requiem
HAYDN Schöpfung
MAHLER Des Knaben Wunderhorn
MAHLER Lieder eines fahrenden Gesellen
MOZART Mass in C minor
MOZART Krönungsmesse
ORFF Carmina Burana
POULENC Chansons Gaillardes
RACHMANINOV Spring Cantata
SCHUBERT Winterreise
SCHUBERT Messe in C-Dur
SCHUBERT Messe in G-Dur
SCHUMANN Dichterliebe