Contents:
1. Ombra mai fu (Xerxes: Handel)   
Radio Sinfonieorchester Stuttgart / Alfons Rischner
Rec.1958

2. Comfort Ye My People..Every Valley  (Messiah: Handel)          
Radio Sinfonieorchester Stuttgart / Heinz Mende
Rec.1959

3. Thou Shalt Break Them (Messiah: Handel)
Radio Sinfonieorchester Stuttgart / Heinz Mende 
Rec.1959   

4. Gefesselt steht der breite See (Die Jahreszeiten: Haydn)  
Radio Sinfonieorchester Stuttgart / Hans Müller-Kray 
Rec.1959

5. Dalla sua pace (Don Giovanni: Mozart) 
Berlin Symphony Orchestra / Hans Zanotelli   
Rec.1960

6. Dies Bildnis ist bezaubernd schön (Die Zauberflöte: Mozart)    
7. Konstanze…O wie ängstlich (Die Entführung aus dem Serail: Mozart)   
8. Ach so fromm (Martha: Flotow) 
9. Mit gewitter und sturm (Der Fliegende Holländer: Wagner) 
Staatskapelle Berlin / Franz Konwitschny 
Rec.1960

10. Ach, wie so herrlich zu schau’n (Ein Nacht in Venedig: J Strauss II)   
Berlin Symphony Orchestra / Fried Walter 
Rec.1960

11. Sei nicht bös (Der Obersteiger: Zeller)    
Stuttgart Philharmonic / Fritz Mareczek 
Rec.1957

12. Adieu, Mignon! (Mignon: Thomas)     
13. Ingemisco (Requiem: Verdi)   
Radio Sinfonieorchester, Stuttgart / Hans Müller-Kray 
Rec.1960

14. Che gelida manina (La Bohème: Puccini) 
15. Vieni la sera (Madama Butterfly: Puccini) with Pilar Lorengar, Sieglinde Wagner
Berlin Symphony Orchestra / Klobucar 
Rec.1961

16. Addio fiorito assil (Madama Butterfly: Puccini) with Hermann Prey    

“His singing of Mozart was exemplary … style and elegance, perfect breath control, and superb diction. And a belief in what he was singing! All this in evidence in Ottavio’s sublime aria Dalla sua pace. What other singer has made Dies Bildnis into such a heartfelt love song? Few tenors have captured so well Belmonte’s anticipation of seeing his beloved Konstanze once again in O wie ängstlich. The three Handel arias which open this collection also serve to illustrate his awesome breath control and phrasing….It remains a source of much regret that Wunderlich’s career lasted a mere 11 years. Since his tragic death in 1966 opera lovers have ever speculated about what he might have achieved” - James Murray