This discography aims to include all published recordings featuring the conducting of Victor de Sabata.
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
18 March 1950 | Barber | School for Scandal (Overture) | New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 2297, Archipel ARPCD 0135 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
2–3 May 1946 | Beethoven | Third Symphony (Eroica) | London Philharmonic Orchestra | Studio recording for Decca, Walthamstow Assembly Halls, London | Istituto Discografico Italiano IDIS 6361, Iron Needle IN 1410, Arkadia 105788, Grammofono 2000 78686-7 | , , , |
16 March 1950 | Beethoven | Fifth Symphony | New York Philharmonic | Live recording, Carnegie Hall, New York | Urania URN 22.142, Tahra TAH 449, Nuova Era 013.6316 | |
23–25, 29 January, 3 February 1947 | Beethoven | Sixth Symphony (Pastoral) | Orchestra of Santa Cecilia | Studio recording for HMV, Teatro Argentina, Rome | Grammofono 2000 AB 78852, Naxos 8.110859, Arkadia 105788 | |
18 March 1951 | Beethoven | Eighth Symphony | New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 013.6338, Istituto Discografico Italiano IDIS 6361 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
May 1946 | Berlioz | Le Carnaval Romain Overture | London Philharmonic Orchestra | Studio recording for Decca, Walthamstow Assembly Halls, London | Magic Master 37086, Iron Needle IN 1410, Grammofono 2000 78686-7 | , |
1 August 1953 | Berlioz | Le Carnaval Romain overture | Vienna Philharmonic Orchestra | Live recording, Festspielhaus, Salzburg | Istituto Discografico Italiano IDIS 6416, Nuova Era 2319, Dynamic IDIS6416 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
February 1953 | Brahms | Third Symphony (finale) (rehearsal) | San Francisco Symphony | Live recording, San Francisco | Archiv Documents ADCD200, Nuova Era 2319 | , |
April 1939 | Brahms | Fourth Symphony | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Pearl GEMS 0054, Magic Master 37086, Andante 1030, Istituto Discografico Italiano IDIS 6406/07, Grammofono 2000 78686-7 | , , , |
16 March 1950 | Brahms | Violin Concerto | Nathan Milstein (violin), New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 013.6316, Tahra TAH 449, Archipel ARPCD 0086 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
29–30 December 1933 | De Sabata | Juventus | RAI Symphony Orchestra, Turin | Studio recording for Parlophone, Turin | Naxos 8.110859 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
7 February 1947 | Debussy | Jeux | Orchestra Stabile Accademia di Santa Cecilia, Roma | Studio recording for HMV, Teatro Argentina, Rome | Testament SBT 1108, Pristine Audio PASC046 | , |
28 February – 1 March 1948 | Debussy | La Mer | Orchestra Stabile Accademia di Santa Cecilia, Roma | Studio recording for HMV (not issued until 1997), Teatro Argentina, Roma | Testament SBT 1108 | |
1 February 1948 | Debussy | Nocturnes (Nuages) | Orchestra Stabile Accademia di Santa Cecilia, Roma | Studio recording for HMV, Teatro Argentina, Roma | Testament SBT 1108 | |
24 February 1948 | Debussy | Nocturnes (Fetes) | Orchestra Stabile Accademia di Santa Cecilia, Roma | Studio recording for HMV, Teatro Argentina, Roma | Testament SBT 1108 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
12 March 1950 | Dukas | The Sorcerer's Apprentice | New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 6350, Originals 821 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
26 March 1950 | Dvořak | Ninth Symphony (From the New World) | New York Philharmonic | Live recording, Carnegie Hall, New York | Istituto Discorafico Italiano IDIS 336, Nuova Era 2297 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
12 March 1950 | Franck | Symphony in D minor | New York Philharmonic | Live recording, Carnegie Hall, New York | Istituto Discografico Italiano IDIS 336, Nuova Era 6350 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
5 March 1950 | Ghedini | Marinaresca e baccanale | New York Philharmonic | Live recording, Carnegie Hall, New York, 3pm | Nuova Era 2219, Archipel ARPCD 0135 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
6 March 1949 | Giordano | Andrea Chénier (excerpts) | Mario del Monaco (Andrea Chénier), Renata Tebaldi (Madeleine), Paolo Silveri (Gerard), Orchestra and chorus of La Scala | Live recording, Teatro alla Scala, Milan | Fono Enterprise 1058, Myto MCD 90634 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
28 December 1933 | Glazunov | From the Middle Ages (suite) | RAI Symphony Orchestra, Turin | Studio recording for Parlophone, Turin | Naxos 8.110859 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
April 1939 | Kodály | Dances of Galanta | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Pearl GEMS 0054, Urania 155, Istituto Discografico Italiano IDIS 6406/07, Grammofono 2000 78686-7 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
30 December 1933 | Mosolov | Iron Foundry | RAI Symphony Orchestra, Turin | Studio recording for Parlophone, Turin | Naxos 8.110859 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
December 1941 | Mozart | Requiem (complete) | Pia Tassinari (soprano), Ebe Stignani (mezzo-soprano), Ferruccio Tagliavini (tenor), Italo Tajo (bass), Orchestra e Coro di Torino dell'EIAR | Live recording, Basilica di Santa Maria degli Angeli, Rome | Iron Needle IN 1390, Cetra 40001, Naxos 8.111064 | , , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
7 December 1949 | Puccini | La bohème (excerpts) | Gianni Pogi (Rodolfo), Margherita Carosio (Mimì), Paolo Silveri (Marcello), Alda Noni (Musetta), Orchestra and chorus of La Scala | Live recording, Teatro alla Scala, Milan | Myto MCD 90634 | , |
12 April 1953 | Puccini | Tosca (Aria "Vissi d'arte") | Renata Tebaldi (soprano), Orchestra of La Scala, Milan | Live recording, Teatro alla Scala, Milan | Nuova Era 2319 | , |
10–14, 16, 18–21 August 1953 | Puccini | Tosca (complete) | Maria Callas (Floria Tosca), Giuseppe Di Stefano (Mario Caravadossi), Tito Gobbi (Scarpia), Chorus and orchestra of La Scala | Studio recording for HMV, Teatro alla Scala, Milan | EMI 7243 5 62890 2 4 (and many others), Naxos 8.110256-57, Regis 2065 |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
12 March 1950 | Rachmaninoff | Rhapsody on a Theme of Paganini | Artur Rubinstein (piano), New York Philharmonic | Live recording, Carnegie Hall, New York | Aura 252, Archipel ARPCD 0135, Originals ORI 821, Nuova Era 2232 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
5 March 1950 | Ravel | Boléro | New York Philharmonic | Live recording, Carnegie Hall, New York, 3pm | Nuova Era 2219, Archipel ARPCD 0135, | |
26 March 1950 | Ravel | Ma Mère l'Oie (suite) | New York Philharmonic | Live recording, Carnegie Hall, New York | Archipel ARPCD 0135, Originals 821, Nuova Era 2219 | |
1 August 1953 | Ravel | La Valse | Vienna Philharmonic Orchestra | Live recording, Festspielhaus, Salzburg | Istituto Discografico Italiano IDIS 6416, Archipel ARPCD 0135, Nuova Era 2219, Dynamic IDIS6416 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
April 1939 | Respighi | Feste Romane | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Pearl GEMS 0054, Istituto Discografico Italiano IDIS 6406/07 | , |
23–24 January 1947 | Respighi | Fountains of Rome | Orchestra Stabile Accademia di Santa Cecilia, Roma | Studio recording for HMV, Teatro Argentina, Rome | Testament SBT 1108, EMI References 7243 56550629, Naxos 8.111049-50 | , , |
12 March 1950 | Respighi | Pines of Rome | New York Philharmonic | Live recording, Carnegie Hall, New York | Urania URN 22.142, Nuova Era 2232 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
3 February 1952 | Rossini | Barber of Seville (complete) | Gino Bechi (Figaro), Dora Gatta (Rosina), Cesare Valletti (Almaviva), Melchiorre Luise (Bartolo), Nicola Rossi-Lemeni (Basilio), Chorus and orchestra of La Scala | Live recording, Teatro alla Scala, Milan | Walhall WLCD 0061 | |
February 1953 | Rossini | La gazza ladra (overture) (rehearsal) | San Francisco Symphony | Live recording, San Francisco | Archiv Documents ADCD200 | |
February 1948 | Rossini | William Tell (overture) | Orchestra of Santa Cecilia | Studio recording for HMV | Grammofono 2000 AB 78852, EMI References 7243 56550629, Naxos 8.111049-50 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
18 March 1951 | Schumann | Piano Concerto | Claudio Arrau (piano), New York Philharmonic | Live recording, Carnegie Hall, New York | Aura 252, Music and Arts 1174, Archipel ARPCD 0086 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
May 1946 | Sibelius | En saga | London Philharmonic Orchestra | Studio recording for Decca, Walthamstow Assembly Halls, London | Decca LP 6BB 236/7 | , |
5 March 1950 | Sibelius | First Symphony | New York Philharmonic | Live recording, Carnegie Hall, New York, 3pm | Nuova Era 2210, Urania 155 | , |
May 1946 | Sibelius | Valse Triste | London Philharmonic Orchestra | Studio recording for Decca, Walthamstow Assembly Halls, London | Grammofono 2000 78686-7 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
April 1939 | Richard Strauss | Death and Transfiguration | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Pearl GEMS 0054, Istituto Discografico Italiano IDIS 6406/07 | , , |
1 August 1953 | Richard Strauss | Death and Transfiguration | Vienna Philharmonic Orchestra | Live recording, Festspielhaus, Salzburg | Istituto Discografico Italiano IDIS 6416, Nuova Era 2210, Dynamic IDIS6416, Archipel ARPCD 0135 | |
November/December 1948 | Richard Strauss | Don Quixote | Aldo Parisot (cello), Pittsburgh Symphony Orchestra | Live recording, Pittsburgh | Urania URN 22.105 | , |
February 1953 | Richard Strauss | Dance of the Seven Veils (from Salome) (rehearsal) | San Francisco Symphony | Live recording, San Francisco | Archiv Documents ADCD200, Nuova Era 2319, Archipel ARPCD 0135 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
9 September 1947 | Stravinsky | Chant du Rossignol | Stockholm Philharmonic Orchestra | Live recording, Stockholm | Urania 155, Archipel ARPCD 0135, Nuova Era 2319 | |
28 December 1933 | Stravinsky | Fireworks | RAI Symphony Orchestra, Turin | Studio recording for Parlophone, Turin | Naxos 8.110859 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
7 June 1936 | Verdi | Aïda (excerpts) (sung in Swedish and German) | Jussi Björling, (Radamès), Maria Nemeth, Kerstin Thorborg, Alexander Svied, Ludwig Hofmann, Orchestra and chorus of the Vienna State Opera | Live recording, Vienna | Koch Schwann 3-1454-2 ("Edition Wiener Staatsoper Live, Volume 4") | , |
22 June 1937 | Verdi | Aïda (complete) | Gina Cigna (Aida), Beniamino Gigli (Radamès), Ebe Stignani (Amneris), Tancredi Pasero (Ramfis), Orchestra and chorus of La Scala | Live recording, Berlin | Eklipse EKR 53 | , , , |
14 May 1938 | Verdi | Aïda (excerpts) | Gina Cigna (Aïda), Beniamino Gigli, (Radamès), Orchestra and chorus of La Scala | Live recording, Teatro alla Scala | Music and Arts 1104 | |
April 1939 | Verdi | Aïda (prelude) | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Istituto Discografico Italiano IDIS 6406/07 | |
7 June 1951 | Verdi | Falstaff (complete) | Mariano Stabile (Falstaff), Renata Tebaldi, Cloë Elmo (Quickly), Chorus and orchestra of La Scala | Live recording, Teatro alla scala, Milan | Opera d'Oro 1214, Urania 176, Nuova Era 2220/21, Premiere Opera CDNO 2932 | |
26 May 1952 | Verdi | Falstaff (complete) | Mariano Stabile (Falstaff), Renata Tebaldi (Alice), Cloë Elmo (Quickly), Orchestra and chorus of La Scala | Live recording, Teatro alla Scala, Milan | Music and Arts CD 1104, Cantus Classics 500.408 | , |
7 December 1952 | Verdi | Macbeth (complete) | Maria Callas (Lady Macbeth), Enzo Mascherini (Macbeth), Italo Tajo (Banquo), Orchestra and Chorus of La Scala | Live recording, Teatro alla Scala, Milan | Nuova Era 2202/3, EMI CMS 5 66447 2, Hunt 2CDSLMH 34027, Legendary LR-CD-1003-2, Movimento Musica 051.022, Arkadia CDMP 427.2, G.O.P. 750-CD2, Canale 539003/4, Documents 221886-303 | , |
1 February 1938 | Verdi | Otello (excerpts) | Maria Caniglia (Soprano), Francesco Merli (Tenor), Piero Biasini (Baritone), Orchestra and chorus of La Scala | Live recording, Teatro alla Scala | Music and Arts 1104 | |
5 February 1949 | Verdi | Otello (aria "Willow Song") | Renata Tebaldi, Orchestra and chorus of La Scala | Live recording, Teatro alla Scala, Milan | Fono Enterprise 1058 | |
12 December 1940 | Verdi | Requiem (excerpts) | Beniamino Gigli (Tenor), Ebe Stignani (Mezzo-soprano), Maria Caniglia (Soprano), Tancredi Pasero (Bass), RAI Chorus and Orchestra | Live recording | Enterprise RY 77 | , |
14 December 1940 | Verdi | Requiem (excerpts) | Beniamino Gigli (Tenor), Ebe Stignani (Mezzo-soprano), Maria Caniglia (Soprano), Tancredi Pasero (Bass), EIAR Symphony Orchestra and Chorus, Orchestra da Camera di Roma | Live recording, Basilica di Santa Maria degli Angeli, Rome | Legato LCD 178-2, Arkadia CDMP 446 | , , |
27 January 1951 | Verdi | Requiem (complete) | Renata Tebaldi (soprano), Nell Rankin (mezzo-soprano), Giacinto Prandelli (tenor), Nicola Rossi-Lemeni (bass), Chorus and orchestra of La Scala | Live recording, Teatro alla Scala, Milan | Nuova Era 6346/47, Urania URN 22.189, Great Opera Performances GOP 825 | |
18–22, 25–27 June 1954 | Verdi | Requiem (complete) | Elisabeth Schwarzkopf (soprano), Oralia Dominguez (mezzo-soprano), Giuseppe di Stefano (tenor), Cesare Siepi (bass), Chorus and orchestra of La Scala | Studio recording for HMV, Teatro alla Scala, Milan | EMI 653565 5062, EMI References 7243 56550629, Naxos 8.111049-50, Opera d'Oro OPD 1314 | , , |
February – March 1948 | Verdi | La traviata (Act 1 and Act 3 Preludes) | Orchestra of Santa Cecilia | Studio recording for HMV | Grammofono 2000 AB 78852, EMI References 7243 56550629, Naxos 8.111049-50 | , |
February 1947 | Verdi | I vespri siciliani (Overture) | Orchestra of Santa Cecilia | Studio recording for HMV | Grammofono 2000 AB 78852, Malibran CDRG 174, EMI References 7243 56550629, Naxos 8.111049-50 | , , |
1 August 1953 | Verdi | I vespri siciliani (overture) | Vienna Philharmonic Orchestra | Live recording, Festspielhaus, Salzburg | Istituto Discografico Italiano IDIS 6416, Nuova Era 2319, Originals ORI 821, Dynamic IDIS6416 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
25 March 1951 | Wagner | Götterdämmerung (immolation scene) | Eileen Farrell (soprano), New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 013.6637, Arkadia/Hunt 512, Arkadia CDHP 512.1, Urania 22167 | |
25 March 1951 | Wagner | Die Meistersinger (prelude) | New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 013.6637, Arkadia/Hunt 512, Arkadia CDHP 512.1, Urania 22167 | |
25 March 1951 | Wagner | Parsifal (Prelude and Good Friday music) | New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 013.6637, Arkadia/Hunt 512, Arkadia CDHP 512.1, Urania 22167 | |
11 December 1930 | Wagner | Tristan und Isolde (excerpts) (sung in Italian) | Giuseppina Cobelli (Isolde), Renato Zanelli (Tristan), Orchestra of La Scala | Live recording, Teatro alla Scala, Milan | Pearl GEMS 0054, Symposium 1102 | , |
April 1939 | Wagner | Tristan und Isolde: Prelude and Liebestod | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Pearl GEMS 0054, Uhttp://worldcat.org/search?q=victor+de+sabata&qt=owc_searchrania 155, Magic Master 37086, Iron Needle IN 1410, Istituto Discografico Italiano IDIS 6406/07, Grammofono 2000 78686-7 | , , , |
14 April 1948 | Wagner | Tristan und Isolde (excerpts) | Kirsten Flagstad (Isolde), Max Lorenz (Tristan), Rosette Anday (Brangäne) Paul Schöffler (King Mark), Orchestra and chorus of La Scala (Note: Urania booklet notes falsely claim the performance to be from 1947 with Einar Beyron as Tristan and Elsa Calveti as Brangäne) | Live recording, Teatro alla Scala, Milan | Urania URN 22.105, Simax 1820 | , |
25 March 1951 | Wagner | Tristan und Isolde (prelude and liebestod) | Eileen Farrell (soprano), New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 013.6637, Arkadia/Hunt 512, Arkadia CDHP 512.1, Urania 22167 | |
13 December 1951 | Wagner | Tristan und Isolde (complete) | Gertrud Grob-Prandl (Isolde), Max Lorenz (Tristan), Chorus and orchestra of La Scala | Live recording, Teatro alla Scala, Milan | Archipel ARPCD 0027-3 | , |
May 1946 | Wagner | Ride of the Valkyries | London Philharmonic Orchestra | Studio recording for Decca, Walthamstow Assembly Halls, London | Magic Master 37086, Iron Needle IN 1410, Grammofono 2000 78686-7 | , |
February 1953 | Wagner | Ride of the Valkyries (rehearsal) | San Francisco Symphony | Live recording, San Francisco | Archiv Documents ADCD200 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
February – March 1948 | Wolf-Ferrari | I quattro rusteghi (Intermezzo from Act II) | Orchestra of Santa Cecilia | Studio recording for HMV | EMI References 7243 56550629, Naxos 8.111049-50 | , |
February – March 1948 | Wolf-Ferrari | Il segreto di Susanna (overture from Act I) | Orchestra of Santa Cecilia | Studio recording for HMV | EMI References 7243 56550629, Naxos 8.111049-50 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
11 December 1930 | Wagner | Tristan und Isolde (excerpts) (sung in Italian) | Giuseppina Cobelli (Isolde), Renato Zanelli (Tristan), Orchestra of La Scala | Live recording, Teatro alla Scala, Milan | Pearl GEMS 0054, Symposium 1102 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
28 December 1933 | Stravinsky | Fireworks | RAI Symphony Orchestra, Turin | Studio recording for Parlophone, Turin | Naxos 8.110859 | |
28 December 1933 | Glazunov | From the Middle Ages (suite) | RAI Symphony Orchestra, Turin | Studio recording for Parlophone, Turin | Naxos 8.110859 | |
29–30 December 1933 | De Sabata | Juventus | RAI Symphony Orchestra, Turin | Studio recording for Parlophone, Turin | Naxos 8.110859 | |
30 December 1933 | Mosolov | Iron Foundry | RAI Symphony Orchestra, Turin | Studio recording for Parlophone, Turin | Naxos 8.110859 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
7 June 1936 | Verdi | Aida (excerpts) (sung in Swedish and German) | Jussi Björling, (Radamès), Maria Nemeth, Kerstin Thorborg, Alexander Svied, Ludwig Hofmann, Orchestra and chorus of the Vienna State Opera | Live recording, Vienna | Koch Schwann 3-1454-2 ("Edition Wiener Staatsoper Live, Volume 4") | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
22 June 1937 | Verdi | Aida | Gina Cigna (Aida), Beniamino Gigli, (Radamès), Orchestra and chorus of La Scala | Live recording, Berlin | Eklipse EKR 53 | , , , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
1 February 1938 | Verdi | Otello (excerpts) | Maria Caniglia (Soprano), Francesco Merli (Tenor), Piero Biasini (Baritone), Orchestra and chorus of La Scala | Live recording, Teatro alla Scala | Music and Arts 1104 | |
14 May 1938 | Verdi | Aïda (excerpts) | Gina Cigna (Aïda), Beniamino Gigli, (Radamès), Orchestra and chorus of La Scala | Live recording, Teatro alla Scala | Music and Arts 1104 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
April 1939 | Brahms | Fourth Symphony | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Pearl GEMS 0054, Magic Master 37086, Andante 1030, Istituto Discografico Italiano IDIS 6406/07, Grammofono 2000 78686-7 | , , , |
April 1939 | Respighi | Feste Romane | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Pearl GEMS 0054, Istituto Discografico Italiano IDIS 6406/07 | , |
April 1939 | Wagner | Tristan und Isolde: Prelude and Liebestod | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Pearl GEMS 0054, Uhttp://worldcat.org/search?q=victor+de+sabata&qt=owc_searchrania 155, Magic Master 37086, Iron Needle IN 1410, Istituto Discografico Italiano IDIS 6406/07, Grammofono 2000 78686-7 | , , , |
April 1939 | Kodály | Dances of Galanta | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Pearl GEMS 0054, Urania 155, Istituto Discografico Italiano IDIS 6406/07, Grammofono 2000 78686-7 | , |
April 1939 | Richard Strauss | Death and Transfiguration | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Pearl GEMS 0054, Istituto Discografico Italiano IDIS 6406/07 | , , |
April 1939 | Verdi | Aïda (prelude) | Berlin Philharmonic Orchestra | Studio recording for Polydor, Alte Jacobstrasse Studio, Berlin | Istituto Discografico Italiano IDIS 6406/07 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
12 December 1940 | Verdi | Requiem (excerpts) | Beniamino Gigli (Tenor), Ebe Stignani (Mezzo-soprano), Maria Caniglia (Soprano), Tancredi Pasero (Bass), RAI Chorus and Orchestra | Live recording | Enterprise RY 77 | , |
14 December 1940 | Verdi | Requiem (excerpts) | Beniamino Gigli (Tenor), Ebe Stignani (Mezzo-soprano), Maria Caniglia (Soprano), Tancredi Pasero (Bass), EIAR Symphony Orchestra and Chorus, Orchestra da Camera di Roma | Live recording, Basilica di Santa Maria degli Angeli, Rome | Legato LCD 178-2, Arkadia CDMP 446 | , , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
December 1941 | Mozart | Requiem | Pia Tassinari (soprano), Ebe Stignani (mezzo-soprano), Ferruccio Tagliavini (tenor), Italo Tajo (bass), Orchestra e Coro di Torino dell'EIAR | Live recording, Basilica di Santa Maria degli Angeli, Rome | Iron Needle IN 1390, Cetra 40001, Naxos 8.111064 | , , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
2–3 May 1946 | Beethoven | Third Symphony (Eroica) | London Philharmonic Orchestra | Studio recording for Decca, Walthamstow Assembly Halls, London | Istituto Discografico Italiano IDIS 6361, Iron Needle IN 1410, Arkadia 105788, Grammofono 2000 78686-7 | , , , |
May 1946 | Berlioz | Le Carnaval Romain Overture | London Philharmonic Orchestra | Studio recording for Decca, Walthamstow Assembly Halls, London | Magic Master 37086, Iron Needle IN 1410, Grammofono 2000 78686-7 | , |
May 1946 | Wagner | Ride of the Valkyries | London Philharmonic Orchestra | Studio recording for Decca, Walthamstow Assembly Halls, London | Magic Master 37086, Iron Needle IN 1410, Grammofono 2000 78686-7 | , |
May 1946 | Sibelius | Valse Triste | London Philharmonic Orchestra | Studio recording for Decca, Walthamstow Assembly Halls, London | Grammofono 2000 78686-7 | |
May 1946 | Sibelius | En Saga | London Philharmonic Orchestra | Studio recording for Decca, Walthamstow Assembly Halls, London | Decca LP 6BB 236/7 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
23–24 January 1947 | Respighi | Fountains of Rome | Orchestra Stabile Accademia di Santa Cecilia, Roma | Studio recording for HMV, Teatro Argentina, Rome | Testament SBT 1108, EMI References 7243 56550629, Naxos 8.111049-50 | , , |
23–25, 29 January, 3 February 1947 | Beethoven | Sixth Symphony (Pastoral) | Orchestra of Santa Cecilia | Studio recording for HMV, Teatro Argentina, Rome | Grammofono 2000 AB 78852, Naxos 8.110859, Arkadia 105788 | |
7 February 1947 | Debussy | Jeux | Orchestra Stabile Accademia di Santa Cecilia, Roma | Studio recording for HMV, Teatro Argentina, Rome | Testament SBT 1108, Pristine Audio PASC046 | , |
February 1947 | Verdi | I vespri siciliani (Overture) | Orchestra of Santa Cecilia | Studio recording for HMV | Grammofono 2000 AB 78852, Malibran CDRG 174, EMI References 7243 56550629, Naxos 8.111049-50 | , , |
9 September 1947 | Stravinsky | Chant du Rossignol | Stockholm Philharmonic Orchestra | Live recording, Stockholm | Urania 155, Archipel ARPCD 0135, Nuova Era 2319 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
1 February 1948 | Debussy | Nocturnes (Nuages) | Orchestra Stabile Accademia di Santa Cecilia, Roma | Studio recording for HMV, Teatro Argentina, Roma | Testament SBT 1108 | |
24 February 1948 | Debussy | Nocturnes (Fetes) | Orchestra Stabile Accademia di Santa Cecilia, Roma | Studio recording for HMV, Teatro Argentina, Roma | Testament SBT 1108 | |
28 February – 1 March 1948 | Debussy | La Mer | Orchestra Stabile Accademia di Santa Cecilia, Roma | Studio recording for HMV (not issued until 1997), Teatro Argentina, Roma | Testament SBT 1108 | |
February 1948 | Rossini | William Tell (overture) | Orchestra of Santa Cecilia | Studio recording for HMV | Grammofono 2000 AB 78852, EMI References 7243 56550629, Naxos 8.111049-50 | , |
February – March 1948 | Verdi | La Traviata (Act 1 and Act 3 Preludes) | Orchestra of Santa Cecilia | Studio recording for HMV | Grammofono 2000 AB 78852, EMI References 7243 56550629, Naxos 8.111049-50 | , |
February – March 1948 | Wolf-Ferrari | I quattro rusteghi (Intermezzo from Act II) | Orchestra of Santa Cecilia | Studio recording for HMV | EMI References 7243 56550629, Naxos 8.111049-50 | , |
February – March 1948 | Wolf-Ferrari | Il segreto di Susanna (overture from Act I) | Orchestra of Santa Cecilia | Studio recording for HMV | EMI References 7243 56550629, Naxos 8.111049-50 | , |
14 April 1948 | Wagner | Tristan und Isolde (excerpts) | Kirsten Flagstad (Isolde), Max Lorenz (Tristan), Rosette Anday (Brangäne) Paul Schöffler (King Mark), Orchestra and chorus of La Scala (Note: Urania booklet notes falsely claim the performance to be from 1947 with Einar Beyron as Tristan and Elsa Calveti as Brangäne) | Live recording, Teatro alla Scala, Milan | Urania URN 22.105, Simax 1820 | , |
November/December 1948 | Richard Strauss | Don Quixote | Aldo Parisot (cello), Pittsburgh Symphony Orchestra | Live recording, Pittsburgh | Urania URN 22.105 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
5 February 1949 | Verdi | Otello (aria "Willow Song") | Renata Tebaldi, Orchestra and chorus of La Scala | Live recording, Teatro alla Scala, Milan | Fono Enterprise 1058 | |
6 March 1949 | Giordano | Andrea Chénier (excerpts) | Mario del Monaco (Andrea Chénier), Renata Tebaldi (Madeleine), Paolo Silveri (Gerard), Orchestra and chorus of La Scala | Live recording, Teatro alla Scala, Milan | Fono Enterprise 1058, Myto MCD 90634 | , |
7 December 1949 | Puccini | La bohème (excerpts) | Gianni Pogi (Rodolfo), Margherita Carosio (Mimì), Paolo Silveri (Marcello), Alda Noni (Musetta), Orchestra and chorus of La Scala | Live recording, Teatro alla Scala, Milan | Myto MCD 90634 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
5 March 1950 | Ghedini | Marinaresca e baccanale | New York Philharmonic | Live recording, Carnegie Hall, New York, 3pm | Nuova Era 2219, Archipel ARPCD 0135 | |
5 March 1950 | Ravel | Boléro | New York Philharmonic | Live recording, Carnegie Hall, New York, 3pm | Nuova Era 2219, Archipel ARPCD 0135, | |
5 March 1950 | Sibelius | First Symphony | New York Philharmonic | Live recording, Carnegie Hall, New York, 3pm | Nuova Era 2210, Urania 155 | , |
12 March 1950 | Dukas | The Sorcerer's Apprentice | New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 6350, Originals 821 | |
12 March 1950 | Franck | Symphony in D minor | New York Philharmonic | Live recording, Carnegie Hall, New York | Istituto Discografico Italiano IDIS 336, Nuova Era 6350 | |
12 March 1950 | Respighi | Pines of Rome | New York Philharmonic | Live recording, Carnegie Hall, New York | Urania URN 22.142, Nuova Era 2232 | |
16 March 1950 | Beethoven | Fifth Symphony | New York Philharmonic | Live recording, Carnegie Hall, New York | Urania URN 22.142, Tahra TAH 449, Nuova Era 013.6316 | |
16 March 1950 | Brahms | Violin Concerto | Nathan Milstein (violin), New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 013.6316, Tahra TAH 449, Archipel ARPCD 0086 | |
18 March 1950 | Barber | School for Scandal (Overture) | New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 2297, Archipel ARPCD 0135 | |
26 March 1950 | Rachmaninoff | Rhapsody on a Theme of Paganini | Artur Rubinstein (piano), New York Philharmonic | Live recording, Carnegie Hall, New York | Aura 252, Archipel ARPCD 0135, Originals ORI 821, Nuova Era 2232 | |
26 March 1950 | Dvořak | Ninth Symphony (From the New World) | New York Philharmonic | Live recording, Carnegie Hall, New York | Istituto Discorafico Italiano IDIS 336, Nuova Era 2297 | |
26 March 1950 | Ravel | Ma Mère l'Oie (suite) | New York Philharmonic | Live recording, Carnegie Hall, New York | Archipel ARPCD 0135, Originals 821, Nuova Era 2219 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
27 January 1951 | Verdi | Requiem | Renata Tebaldi (soprano), Nell Rankin (mezzo-soprano), Giacinto Prandelli (tenor), Nicola Rossi-Lemeni (bass), Chorus and orchestra of La Scala | Live recording, Teatro alla Scala, Milan | Nuova Era 6346/47, Urania URN 22.189, Great Opera Performances GOP 825 | |
18 March 1951 | Beethoven | Eighth Symphony | New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 013.6338, Istituto Discografico Italiano IDIS 6361 | |
18 March 1951 | Schumann | Piano Concerto | Claudio Arrau (piano), New York Philharmonic | Live recording, Carnegie Hall, New York | Aura 252, Music and Arts 1174, Archipel ARPCD 0086 | |
25 March 1951 | Wagner | Tristan und Isolde (prelude and liebestod), Götterdämmerung (immolation scene), Die Meistersinger (prelude), Parsifal (Prelude and Good Friday music) | Eileen Farrell (soprano), New York Philharmonic | Live recording, Carnegie Hall, New York | Nuova Era 013.6637, Arkadia/Hunt 512, Arkadia CDHP 512.1, Urania 22167 | |
7 June 1951 | Verdi | Falstaff | Mariano Stabile (Falstaff), Renata Tebaldi, Cloë Elmo (Quickly), Chorus and orchestra of La Scala | Live recording, Teatro alla scala, Milan | Opera d'Oro 1214, Urania 176, Nuova Era 2220/21, Premiere Opera CDNO 2932 | |
13 December 1951 | Wagner | Tristan und Isolde | Gertrud Grob-Prandl (Isolde), Max Lorenz (Tristan), Chorus and orchestra of La Scala | Live recording, Teatro alla Scala, Milan | Archipel ARPCD 0027-3 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
3 February 1952 | Rossini | Barber of Seville | Gino Bechi (Figaro), Dora Gatta (Rosina), Cesare Valletti (Almaviva), Melchiorre Luise (Bartolo), Nicola Rossi-Lemeni (Basilio), Chorus and orchestra of La Scala | Live recording, Teatro alla Scala, Milan | Walhall WLCD 0061 | |
26 May 1952 | Verdi | Falstaff | Mariano Stabile (Falstaff), Renata Tebaldi (Alice), Cloë Elmo (Quickly), Orchestra and chorus of La Scala | Live recording, Teatro alla Scala, Milan | Music and Arts CD 1104, Cantus Classics 500.408 | , |
7 December 1952 | Verdi | Macbeth | Maria Callas (Lady Macbeth), Enzo Mascherini (Macbeth), Italo Tajo (Banquo), Orchestra and Chorus of La Scala | Live recording, Teatro alla Scala, Milan | Nuova Era 2202/3, EMI CMS 5 66447 2, Hunt 2CDSLMH 34027, Legendary LR-CD-1003-2, Movimento Musica 051.022, Arkadia CDMP 427.2, G.O.P. 750-CD2, Canale 539003/4, Documents 221886-303 | , |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
February 1953 | Brahms | Third Symphony (finale) (rehearsal) | San Francisco Symphony | Live recording, San Francisco | Archiv Documents ADCD200, Nuova Era 2319 | , |
February 1953 | Richard Strauss | Dance of the Seven Veils (from Salome) (rehearsal) | San Francisco Symphony | Live recording, San Francisco | Archiv Documents ADCD200, Nuova Era 2319, Archipel ARPCD 0135 | |
February 1953 | Rossini | La gazza ladra (overture) (rehearsal) | San Francisco Symphony | Live recording, San Francisco | Archiv Documents ADCD200 | |
February 1953 | Wagner | Ride of the Valkyries (rehearsal) | San Francisco Symphony | Live recording, San Francisco | Archiv Documents ADCD200 | |
12 April 1953 | Puccini | Tosca (Aria Vissi d'arte) | Renata Tebaldi (soprano), Orchestra of La Scala, Milan | Live recording, Teatro alla Scala, Milan | Nuova Era 2319 | , |
1 August 1953 | Berlioz | Le Carnaval Romain overture | Vienna Philharmonic Orchestra | Live recording, Festspielhaus, Salzburg | Istituto Discografico Italiano IDIS 6416, Nuova Era 2319, Dynamic IDIS6416 | , |
1 August 1953 | Richard Strauss | Death and Transfiguration | Vienna Philharmonic Orchestra | Live recording, Festspielhaus, Salzburg | Istituto Discografico Italiano IDIS 6416, Nuova Era 2210, Dynamic IDIS6416, Archipel ARPCD 0135 | |
1 August 1953 | Ravel | La valse | Vienna Philharmonic Orchestra | Live recording, Festspielhaus, Salzburg | Istituto Discografico Italiano IDIS 6416, Archipel ARPCD 0135, Nuova Era 2219, Dynamic IDIS6416 | |
1 August 1953 | Verdi | I vespri siciliani (overture) | Vienna Philharmonic Orchestra | Live recording, Festspielhaus, Salzburg | Istituto Discografico Italiano IDIS 6416, Nuova Era 2319, Originals ORI 821, Dynamic IDIS6416 | , |
10-14, 16, 18–21 August 1953 | Puccini | Tosca | Maria Callas (Floria Tosca), Giuseppe di Stefano (Mario Caravadossi), Tito Gobbi (Scarpia), Chorus and orchestra of La Scala | Studio recording for HMV, Teatro alla Scala, Milan | EMI 7243 5 62890 2 4 (and many others), Naxos 8.110256-57, Regis 2065 | |
Date | Composer | Work | Soloists/Choir/Orchestra | Type | Label(s) | References |
---|---|---|---|---|---|---|
18–22, 25–27 June 1954 | Verdi | Requiem | Elisabeth Schwarzkopf (soprano), Oralia Dominguez (mezzo-soprano), Giuseppe di Stefano (tenor), Cesare Siepi (bass), Chorus and orchestra of La Scala | Studio recording for HMV, Teatro alla Scala, Milan | EMI 653565 5062, EMI References 7243 56550629, Naxos 8.111049-50, Opera d'Oro OPD 1314 | , , |
An International Standard Serial Number (ISSN) is an eight-digit serial number used to uniquely identify a serial publication (periodical), such as a magazine. The ISSN is especially helpful in distinguishing between serials with the same title. ISSNs are used in ordering, cataloging, interlibrary loans, and other practices in connection with serial literature.
30 Urania is a large main-belt asteroid that was discovered by English astronomer John Russell Hind on July 22, 1854. It was his last asteroid discovery. This object is named after Urania, the Greek Muse of astronomy. Initial orbital elements for 30 Urania were published by Wilhelm Günther, an assistant at Breslau Observatory. It is orbiting the Sun with a period of 3.64 years and is spinning on its axis once every 13.7 hours.
Uranian is a historical term for homosexual men. The word was also used as an adjective in association with male homosexuality or inter-male attraction regardless of sexual orientation.
Alfa Romeo Giulia is the name of three not directly related models by the Italian car manufacturer Alfa Romeo. The first is a line of sporty four-door compact executive cars produced from 1962 to 1978, the second is an updated, mainly up-engined Spider, Sprint and Sprint Speciale Giuliettas, and the third Giulia is a compact executive car unveiled in 2015.
Victor Alberto de Sabata was an Italian conductor and composer. He is widely recognized as one of the most distinguished operatic conductors of the twentieth century, especially for his Verdi, Puccini and Wagner.
Sabata is a series of Spaghetti Western films released between 1969 and 1971, directed by Gianfranco Parolini, and starring Lee Van Cleef in the first, Sabata, Yul Brynner in the second, Adiós, Sabata, and Van Cleef returning for the third, Return of Sabata.
Return of Sabata is a 1971 Spaghetti Western film directed by Gianfranco Parolini. The third film in The Sabata Trilogy, it features the return of Lee Van Cleef as the title character, which he had played in the first film, Sabata, but was replaced by Yul Brynner in the second film, Adiós, Sabata, due to a scheduling conflict. Return of Sabata was listed in the 1978 book The Fifty Worst Films of All Time.
The Swiss Basketball League, also known as SB League or SBL, is the top-tier professional club basketball league in Switzerland. It is organized by Swiss Basketball. The winners of the SBL are crowned Swiss national basketball champions. Currently, twelve teams compete in the league. Historically, Fribourg Olympic is the league's most successful team, as it has won a league-record 19 championships. Until 2017, the league was known as the Championnat LNA.
The Diocese of Chioggia is a Latin diocese of the Catholic Church in the Veneto, at the southernmost point of the Laguna veneta. Until 1451, the diocese was a suffragan of the Patriarchate of Grado. On 8 October 1451, in the bull "Regis Aeterni", Pope Nicholas V abolished the patriarchate of Grado, and transferred its powers and privileges to the Archdiocese of Venice. Since then, Chioggia has been a suffragan of Venice.
Gianni Poggi was an Italian tenor, particularly associated with the Italian repertory.
Sortes were a frequent method of divination among the ancient Romans. The method involved the drawing of lots (sortes) to obtain knowledge of future events: in many of the ancient Italian temples, the will of the gods was consulted in this way, as at Praeneste and Caere.
Blood at Sundown is a Spaghetti Western film directed by Alberto Cardone. The film is notable as the primary inspiration for the Sartana film series, starring Gianni Garko as a antiheroic incarnation of the villainous character he previously portrayed in Blood at Sundown.
Aphrodite Urania was an epithet of the Greek goddess Aphrodite, signifying a "heavenly" or "spiritual" aspect descended from the sky-god Ouranos to distinguish her from the more earthly epithet of Aphrodite Pandemos, "Aphrodite for all the people". The two were used to differentiate the more "celestial" love of body and soul from purely physical lust. Plato represented her as a daughter of the Greek god Uranus, conceived and born without a mother. Hesiod described this aspect as being born from the severed genitals of Uranus and emerging from the sea foam.
Giulia Recli was an Italian composer and essayist.
The city of Milan, Italy, has had three different systems of defending walls. The oldest, the Roman walls, were developed in two stages: the first in the Republican era and the second in the Imperial era. The second wall system was realized in the Middle Ages, after the destruction of the city by Frederick I Barbarossa. Finally, the latest wall system was built by the Spanish rulers in the 16th century. While very little remains of these walls, their structure is clearly reflected in the urbanistic layout of the city. In particular, modern Milan has two roughly circular rings of streets, namely the "Cerchia dei Navigli" and the "Cerchia dei Bastioni", which essentially correspond to the Medieval and Spanish walls, respectively. Note that a third ring of roads just beyond the Inner Ring Road, called the External Ring Road, does not follow any old city walls, but rather was part of the 1884 Beruto Plan for the city of Milan, created and named after a municipal engineer and public servant to the local city government.
The Cuban Friendship Urn, also known as the Cuban–American Friendship Urn or USS Maine Memorial, is a marble statue in Washington, D.C., listed on the National Register of Historic Places. The monument originally stood in Cuba to honor the American deaths aboard the USS Maine preceding the Spanish–American War in 1898.
Urania's Mirror; or, a view of the Heavens is a set of 32 astronomical star chart cards, first published in November 1824. They are illustrations based on Alexander Jamieson's A Celestial Atlas, but the addition of holes punched in them allow them to be held up to a light to see a depiction of the constellation's stars. They were engraved by Sidney Hall, and were said to be designed by "a lady", but have since been identified as the work of the Reverend Richard Rouse Bloxam, an assistant master at Rugby School.
Urania was a torpedo cruiser of the Partenope class built for the Italian Regia Marina in the 1880s. She was built by the Cantieri navali Odero shipyard; her keel was laid in February 1889, she was launched in June 1891, and was commissioned in July 1893. Her main armament were her six torpedo tubes, which were supported by a battery of ten small-caliber guns. Urania spent most of her career in the main Italian fleet, where she was primarily occupied with training exercises. She was still in service at the outbreak of the Italo-Turkish War in September 1911, but she did not take part in any operations. Instead, she remained in Italian waters and was broken up for scrap in January 1912.
HNLMS Urania was a naval training ship of the Dutch Navy and was used to train future Adelborsten from the Royal Naval College (KIM).