Last month in the New York Times Joshua Barone surveyed recent European streams of German works by Kurt Weill and pondered their relationship to his later Broadway successes; his piece prompted Trove Thursday to feature two versions of One Touch of Venus.

The American Opera Society introduced many important singers to New York City audiences, but few were as controversial as the Greek soprano Elena Souliotis; Trove Thursday offers her local debut (at age 23) in Anna Bolena with Marilyn Horne, Janet Baker, Plácido Domingo and Carlo Cava.

Franco Corelli was born on April 8, 1921 in Ancona and Trove Thursday celebrates the matinee-idol tenor’s centenary with a pair of his rare non-Met US appearances; seducing Marie Collier in La Fanciulla del West and vacillating between Ilva Ligabue and Grace Bumbry in Il Trovatore.

Trove (Maundy) Thursday selects for Holy Week a Stabat Mater from each of the previous three centuries:

Trove Thursday offers Offenbach’s delightful La Grande-duchesse de Gérolstein featuring Jennie Tourel, Laurel Hurley and Martial Singher, led by Arnold Gamson.

Off-and-on since last fall my PPP (Personal Pandemic Project) has been assembling a chronology of the American Opera Society. For 19 years beginning in 1951 it presented a remarkable series of concert performances of works unperformed by either the Met or New York City Opera.

Trove Thursday offers Mozart’s Requiem with Lucia Popp, Christa Ludwig, Peter Schreier and Walter Berry conducted by James Levine from the 1981 Salzburg Festival.

Following last week’s Golden Cockerel, Trove Thursday offers another classic Russian opera not in Russian: Borodin’s Fürst Igor with Nelly Miricioiu, Marjana Lipovsek, Bodo Brinkmann, Evgeny Nesterenko, Robert Schunk and Sergei Koptchak conducted by Mark Ermler.

Saturday marks the centenary of Julius Rudel’s birth which Trove Thursday celebrates with Le Coq d’or, Faust and Ariodante, a triple-bill showcasing his impressive versatility, featuring Beverly Sills and Norman Treigle, two of the most important artists he nurtured during his leadership of the New York City Opera.

Still under the spell of the recent stream of the Met’s 1983 Les Troyens (finally!), Trove Thursday offers an important musical and mythic antecedent to Berlioz’s epic work: Gluck’s Iphigénie en Aulide, as well as Iphigenia in Aulis, Wagner’s 1847 reworking of the earlier composer’s first French tragédie.

With Lent arriving next week, Trove Thursday throws a “Jeudi Gras” party featuring two delicious zarzuela concerts.