a televised concert staged in New York's Avery Fisher Hall, in which Jerry Hadley and Samuel Ramey joined her in singing excerpts from the work. In the autumn of 1987, she recorded a collection of show numbers and pop songs in Flicka: Another Side of Frederica von Stade; the difficulty that she experienced in adapting her technique to the requirements of pop left her with an abiding respect for the singers into whose territory she had trespassed. In December, she starred in the most nearly complete version of The Sound of Music ever recorded, conducted by Erich Kunzel, after two preparatory concert performances of the piece in Cincinnati. In 1988, she was Hope Harcourt in another John McGlinn recording, a historically scrupulous version of Cole Porter's Anything Goes. Her final collaboration with McGlinn was in 1989, when they taped My Funny Valentine: Frederica von Stade Sings Rodgers and Hart. In 1992, she was Professor Claire de Loone in a semi-staged production of Bernstein's On the Town in London that was recorded for release on CD, VHS video cassette and Laserdisc. In 1994, she was reunited with Jerry Hadley and Erich Kunzel to record an anthology of show tunes, Puttin' on the Ritz. In 1999, she was Desiree Armfeldt in Stephen Sondheim's A Little Night Music in Houston, performing a specially revised version of the score that reallocated some music from its Greek Chorus to its principals. And in 2014, she was the Old Lady who was easily assimilated in a semi-staged performance of Bernstein's Candide at Tanglewood. Concert music Von Stade's concert repertoire included sacred music by J. S. Bach, Handel and Mozart. She sang in Mozart's Requiem under Carlo Maria Giulini (London, 1989), and she took part in the filmed performance of his Great Mass in C minor presided over by Bernstein six months before his death (Waldsassen, 1990). It was Bernstein who introduced her to a very different Christian work, Mahler's Symphony No. 4, as she sat beside him on his piano stool and was treated to a private lesson on the song in which it culminates. The symphony's child's-eye vision of paradise entrances her: "I love this concept of heaven that Mahler giveshaving asparagus, and [Saint] Cecilia, and baking the bread. It meant so much to me. being a Catholic." She sang in the symphony under Pierre Boulez (New York, 1974), Claudio Abbado (Edinburgh, 1976), Seiji Ozawa