Adam: Le Toreador (Michel Trempont, Sumi Jo, Welsh National Opera Orchestra, Richard Bonynge / 1996)

Berlioz: La Damnation de Faust (Ausz. ) (Irma Kolassi, Raoul Jobin, London Symphony Orchestra, Anatole Fistoulari / 1954)

Bizet: Carmen (Ausz. ) (Marilyn Horne, Maria Pellegrini, Gwyneth Griffiths, Royal Philharmonic Orchestra, Henry Lewis / 1970); Les Pecheurs de perles (Ausz. ) (Janine Micheau, Libero de Luca, Orchestre de la Societe des Concerts du Conservatoire de Paris, Alberto Erede / 1953)

Boito: Mefistofele (Ausz. ) (Nicolai Ghiaurov, Franco Tagliavini, Orchestra del Teatro dell'Opera di Roma, Silvio Varviso)

Bononcini: Griselda (Ausz. ) (Lauris Elms, Joan Sutherland, Monica Sinclair, London Philharmonic Orchestra, Richard Bonynge / 1966)

Cimarosa: Il maestro di Cappella ( Fernando Corena, Orchestra of the Royal Opera House Covent Garden, Argeo Quadri / 1960)

Gounod: Mireille (Ausz. ) (Janine Micheau, Pierre Giannotti, Orchestre du Theatre National de l'Opera-Comique Paris, Alberto Erede / 1953)

Graun: Montezuma (Ausz. ) (Lauris Elms, Joan Sutherland, London Philharmonic Orchestra, Richard Bonynge / 1966)

Handel: Giulio Cesare in Egitto (Ausz. ) (Joan Sutherland, Margreta Elkins, New Symphony Orchestra, Richard Bonynge / 1963)

Kalman: Gräfin Mariza (Ausz. ) (Marika Nemeth, Monika Dahlberg, Orchester der Wiener Volksoper, Anton Paulik / 1958)

Lehar: Die lustige Witwe (Ausz. ) (Joan Sutherland, Werner Krenn, National Philharmonic Orchestra, Richard Bonynge / 1977 / 1978)

Massenet: Werther (Ausz. ) (Irma Kolassi, Raoul Jobin, London Symphony Orchestra, Anatole Fistoulari / 1954)

Mozart: Mia speranza adorata... Ah, non sai qual pena KV 416; No, che non sei capace KV 419 (Ilse Hollweg, London Symphony Orchestra, Josef Krips / 1951)

Rossini: L'assedio di Corinto (Ausz. ) (Marilyn Horne, Royal Philharmonic Orchestra, Henry Lewis / 1972); La donna del lago (Marilyn Horne, Royal Philharmonic Orchestra, Henry Lewis / 1972)

Strauss: Arabella (Ausz. ) (Hilde Güden, Alfred Poell, Wiener Philharmoniker, Rudolf Moralt / 1952); Capriccio (Ausz. ) (Lisa della Casa, Franz Bierbach, Wiener Philharmoniker, Heinrich Hollreiser / 1954); Ariadne auf Naxos (Ausz. ) (Lisa della Casa, Ilse Hollweg, Wiener Philharmoniker, London Symphoony Orchestra, Heinrich Hollreiser, Josef Krips / 1954 / 1951); Der Rosenkavalier (Ausz. ) (Regine Crespin, Elisabeth Söderström, Wiener Philharmoniker, Silvio Varviso / 1964); Salome (Ausz. ) (Birgit Nilsson, Gerhard Stolze, Wiener Philharmoniker, Georg Solti / 1961)

Verdi: Aida (Ausz. ) (Birgit Nilsson, Grace Hoffman, Orchestra of the Royal Opera House Covent Garden, John Pritchard / 1963); Falstaff (Ausz. ) (Fernando Corena, Renato Capecchi, New Symphony Orchestra of London, Edward Downes / 1963)

Wagner: Die Walküre (Ausz. ) (Set Svanholm, Kirsten Flagstad, Otto Edelmann, Marianne Schech, Claire Watson, Wiener Philharmoniker, Hans Knappertsbusch, Georg Solti / 1957); Götterdämmerung (Ausz. ) (Birgit Nilsson, Gottlob Frick, Wiener Philharmoniker, Hans Knappertsbusch, Georg Solti / 1956 / 1964); Tristan und Isolde (Ausz. ) (Birgit Nilsson, Grace Hoffman, Wiener Philharmoniker, Hans Knappertsbusch / 1959)

Wolf-Ferrari: Il segreto di Susanna (Gesamtaufnahme) (Bernd Wikl, Maria Chiara, Orchestra of the Royal Opera House Covent Garden, Lamberto Gardelli / 1976)

Zandonai: Francesca da Rimini (Ausz. ) (Magda Olivero, Mario del Monaco, Orchestre National de l'Opera de Monte-Carlo, Nicola Rescigno / 1969)

From Adam to Zandonai, from 1954 to 1996, 20 CDs made up of no less than 28 Decca opera recordings, most of them recorded as highlights albums, many long unavailable, newly remastered and all featuring the greatest singers of their age. In bygone years, before 24/7 streaming, recorded music was less readily available than it is now. Complete opera sets were an expensive luxury; yet opera, and singers, still captured the classical music public's imagination like no other genre. The advent of LP allowed for up to an hour's highlights from a stage-work, including the most popular arias and numbers, to be issued in a single, cost-effective product. Listeners who baulked at the cost of Solti's Ring cycle could nevertheless acquire Birgit Nilsson singing the Immolation Scene on one side the climactic scene of Salome on the other. But with John Pritchard in charge she also recorded a sequence of scenes from Verdi's Aida in 1963, and four years earlier the first-act scena from Tristan with Grace Hoffman as Brangane and Knappertsbusch in Vienna. Many of these 'highlights only' recordings have fallen from currency, but now we can all relive the pleasures of Regina Resnik's Mistress Quickly and Luigi Alva's Fenton (excerpts from Falstaff, 1963) and Marilyn Horne's first recorded Carmen (with her husband Henry Lewis, 1970). A sequence of rare Baroque operas features the most famous husband-and-wife team of all, Richard Bonynge and Joan Sutherland, in vocally spectacular excerpts from operas by Bononcini, Graun and Handel; Monica Sinclair's 'Si spietata' from Giulio Cesare is an astonishing piece of Baroque virtuosity. Meanwhile single-act operas (notably Cimarosa's Il Maestro di capella with Fernando Corena, 1960) Wolf-Ferrari's Il segreto di Susanna, 1976, directed by Lamberto Gardelli) and single acts of Wagner (the first and third acts of Die Walkure in Vienna, 1957) enjoyed all the attention to engineering and dramatic effect for which Decca's production team was famous. Further highlights albums functioned as artist showcases: for the superb Greek-French mezzo Irma Kolassi in Berlioz and Massenet's Werther; Horne again in rare Rossini; and Lisa della Casa reprising her most notable Strauss heroines. The booklet of this uniquely compiled new set includes a new essay by Andrew Dalton on the history of opera highlights on disc as well as many treasurable artist and session photos: Resnik and her luggage, Nilsson and her Valkyrie's steed, Sutherland and her son in full cowboy rig.