- Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Giunse alfin il momento...Deh vieni, non tardar
- Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Ho già vinto la causa! ... Vedrò mentr'io sospiro
- La Clemenza di Tito, opera, K. 621: Parto, parto, ma tu, ben mio
- Don Giovanni, opera, K. 527: Madamina, il cagalogo è questo
- Idomeneo, rè di Creta, opera, K. 366: Oh smania! oh furie ... D'Oreste, d'Aiace
- Die Zauberflöte (The Magic Flute), opera, K. 620: In diesen heil'gen Hallen
- Don Giovanni, opera, K. 527: Fuggi, crudele, fuggi!
- Don Giovanni, opera, K. 527: Là ci darem la mano
- Die Zauberflöte (The Magic Flute), opera, K. 620: Der Hölle Rache kocht in meinem Herzen
- Die Zauberflöte (The Magic Flute), opera, K. 620: Der Vogelfänger bin ich ja
- La Clemenza di Tito, opera, K. 621: Ah, perdona al primo affetto
- Idomeneo, rè di Creta, opera, K. 366: Zeffiretti lusinghieri
- Così fan tutte, opera, K. 588: Soave sia il vento
Taking advantage of a vocal roster that increasingly looks like the best of any classical label, Deutsche Grammophon has put together an anniversary salute to Mozart's operas that's far more than the usual grab-bag of greatest hits. With several brand-new recordings by Anna Netrebko featured here, it's nearly enough to qualify the disc as another star vehicle for the popular Russian soprano. Netrebko opens the album in fine form with a glowingly lyrical "Deh vieni non tardar" from The Marriage of Figaro, returning a few tracks later in very different guise for the dramatic coloratura of "Oh smanie! oh furie!" from Idomeneo. One of her four other appearances places her opposite Thomas Quasthoff in Don Giovanni's "Là ci darem la mano" duet, hinting that despite Netrebko's front-and-center positioning, this album really is a team effort. Quasthoff's solo outings as Leporello and Papageno are wonderfully comic, too, while Elina Garanca fills the bill's mezzo-soprano slot with a warmly luscious tone, partnering beautifully with Netrebko on a duet from La clemenza di Tito. (And as the latter item suggests, this program also strikes a nice balance of famous numbers and lesser-known ones.) While most of the recordings were made exclusively for this release, a few are available elsewhere -- a boon for anyone who didn't want to buy Claudio Abbado's new Magic Flute just to hear René Pape's distinguished performance as Sarastro, which is sampled here alongside one of the Queen of the Night's arias from the same recording, sung with piercing accuracy by Erika Miklósa. Amid all this youthful talent, Bryn Terfel is on hand to represent a slightly more established league of opera stars, and the net effect is simply a wonderfully varied program that pays tribute to Mozart in the best possible way, through the sheer excellence of all of these performances.