A 1984 performance of Handel’s Orlando with Marilyn Horne, Valerie Masterson, Marvis Martin, Jeffery Gall and Robert Lloyd, conducted by Charles Mackerras.

Three weeks ago “Trove Thursday” presented Mozart’s Lucio Silla and today we have Bach’s—Johann Christian Bach’s, that is.

This week “Trove Thursday” brings a rare in-house recording of a visit to the Metropolitan Opera House by the Staatsoper Hamburg presenting Stravinsky’s The Rake’s Progress with a deluxe cast

For a change of pace, “Trove Thursday” presents three recent vocal (but non-operatic) selections.

On his 86th birthday last month, the great Austrian conductor Nikolaus Harnoncourt announced his retirement.

Trove Thursday looks forward to spring via Haydn’s beguiling oratorio Die Jahreszeiten (The Seasons) in a splendid rendition from the 1981 Salzburg Festival with Ileana Cotrubas, Francisco Araiza and José van Dam, James Levine conducting.

Fidelio but with an unhappy ending, Bedrich Smetana’s stirring Dalibor opens 2016’s “Trove Thursday” in a 1968 German-language broadcast from Bavarian Radio.

Jean-Philippe Rameau was nearly 80 when he composed his final masterpiece Les Boréades, but it had to wait over 200 years to reach the stage.

This week’s “Trove Thursday” features noted Wagnerian Hildegard Behrens revisiting Rusalka, one of her early, lyric roles.

Mounting Verdi’s French grand operas in their original language is no longer as unusual as it once was.

Galina Vishnevskaya, Irina Arkhipova and Yuri Mazurok in Queen of Spades is a rare treat for this week’s “Trove Thursday.”

“Trove Thursday” presents Don Procopio, an early two-act confection in Italian featuring an all-star French (and Belgian) cast.

One Saturday afternoon during my freshman year in college, Richard Strauss’s Elektra made me fall in love with Ursula Schröder-Feinen—or maybe vice versa.

Three decades before Joyce DiDonato and Juan Diego Flórez dazzled the world with their La donna del lago roadshow, another deluxe team headed by Frederica von Stade and Marilyn Horne shone in Rossini’s neglected masterpiece.

Although it falls into the 18th century opera-comique tradition, Tom Jones is actually a comédie mêlée d’ariettes, a comedy mixed with brief arias.

It took me years to appreciate the serious Donizetti, but I’ve always loved the composer’s comic operas, particularly Don Pasquale and Elisir.

I’m beginning this new series of “pirate-casts” with a great opera: Berlioz’s Les Troyens featuring the luminous pairing of Janet Baker and Jon Vickers as Didon and Énée.