Troyanos: Jeanne – Die Teufel von Loudun, Penderecki (Janowski, 1969) Santuzza – Cavalleria rusticana, Mascagni (Levine, 1978) Eboli – Don Carlo, Verdi (Levine, 1980) Sesto – La Clemenza di Tito, Mozart (Levine, 1980) Adalgisa – Norma, Bellini (Bonynge, 1981) Octavian – Der Rosenkavalier, R. Strauss (Levine, 1982) Venus – Tannhäuser, Wagner (Levine, 1982) Didon – Les Troyens, Berlioz (Levine, 1983) Composer – Ariadne auf Naxos, R. Strauss (Levine, 1988) Clairon – Capriccio, R. Strauss (Runnicles, 1993) There are also on DVD: In Concert At The Met with Plácido Domingo (Levine, 1982) The Making of West Side Story (Bernstein, 1985) George London: A Tribute: Mozart, "Deh, per questo istante" (Hollreiser, 1984) The Unanswered Question: Poetry of Earth (6): Stravinsky, Oedipus Rex – Jocasta (Bernstein, 1972) Other voices Soprano Benita Valente provided a unique glimpse of Troyanos as working musician. "I don't know any singer who spent as much time in depth with the music," Valente said. "I don't think she even knew what a stamp she put on each role. She didn't talk about this. But we spent a lot of time working on our recitals, and when I was in her New York apartment, just seeing the music on the piano was a revelation." The scores were "covered with instructions to herself ... words and signs in a big, bold slanted hand" filling "every margin and possible space ... It was like a diary in those scores", said Valente. Mezzo-soprano Susan Graham recalled, "Once I started performing, I got quite acquainted with the art of Tatiana Troyanos, another artist from whom I learned 100% commitment." Early in her career, Graham sang Annio to Troyanos' Sesto in La clemenza di Tito. Preparing Sesto herself years later, "I went back to my Clemenza score and opened it up, and the smell of the paper reminded me of Tatiana. Isn't that weird? And seeing certain phrases, I can still hear her voice in my head. It's not that we were that close. But I was so impacted by her performance and the power of being on stage with her, that just looking at the score and remembering the Annio/Sesto duet, I can still hear that voice in my ear, the way she sang certain phrases of recit." "When I did my first Sesto ... there were certain phrases that I found myself singing just like she did, because it was in my ear