"Trischerlied des Valentin from ''Der Vershwender'' (1834) Text: Ferdinand Raimund Music: Konradin Kreutzel Da streiten sich die Leut' herum oft um den Wert des Glücks; der Eine heißt den Andern dumm, am End' weiß keiner nix. Da ist der allerärmste Mann ... https://www.youtube.com/watch?v=FTT7TCodEsc

Various Composers Opp.130-135 (Part 2) Good listening by MikoNatt! ... https://www.youtube.com/watch?v=8kABne-7h7M

Daniel Auber: La Muette de Portici, Overture, S 16 (1828) La muette de Portici (The Mute Girl of Portici, or The Mute Girl of Portici), also called Masaniello in some versions, is an opera in five acts by Daniel Auber, with a libretto by Germain Delavigne, revised by Eugène Scribe. The work has an important place in music history as the earliest French grand opera. It is also known for its role in the Belgian Revolution of 1830. Background The opera was first given at the Salle Le Peletier of the Paris Opéra on 29 February 1828. The role of Masaniello was taken by the famous tenor Adolphe Nourrit and Princess Elvire was sung by Laure Cinti-Damoreau. The dancer Lise Noblet played the mute title role, a part later taken by other dancers such as Marie Taglioni, Fanny Elssler, and Pauline Leroux, also the actress Harriet Smithson (the future wife of Hector Berlioz). Alphonse was created by Alexis Dupont, who was Lise Noblet's brother-in-law. The conductor at the premiere was Henri Valentino. La muette was innovative in a number of ways. First, it marked the introduction into opera of mime and gesture as an integral part of an opera plot (although these formats were familiar to Parisian audiences from ballet and mélodrame). Also, it is historic setting, liberal political implications, use of popular melodies, handling of large orchestra and chorus and spectacular stage effects immediately marked it as different from preceding types of opera, in retrospect earning it the title of the first of the genre of 'Grand Opera'. The journal Pandore commented after the premiere "for a long time, enlightened critics have thought that alongside the old tragédie Lyrique it was possible to have a more realistic and natural drama which might suit the dignity of this theatre." The new genre was consolidated by Rossini's Guillaume Tell (1829) and Meyerbeer's Robert le diable (1831). ... https://www.youtube.com/watch?v=0uzI6IOPD7k

Johann Strauss II: Maskenball-Quadrille (From Giuseppe Verdi Opera: "Un ballo in Maschera"), Op.272 Good listening by MikoNatt! ... https://www.youtube.com/watch?v=UCpzpwOTM0k