Hungarian, under Georg Solti, Pierre Boulez and Rafael Kubelik in Chicago, Cleveland, New York and London between 1972 and 1981). In 1984 she sang with the Philadelphia Orchestra in the world premiere, in English, of Act I of Rachmaninoff's opera Monna Vanna, which had been left in piano score by the composer and orchestrated by Igor Buketoff. Along with Monna Vanna, her performances of such pieces as Berlioz's Les nuits d'été and Mahler's Rückert Songs and Das Lied von der Erde could be heard on radio broadcasts of major American orchestras. She was featured in Chicago Symphony broadcasts from the Ravinia Festival from 1980 to 1990, which included works like Beethoven's Missa Solemnis and Mahler's Das klagende Lied. She was active as a song recitalist (her first recital was at the Paris Opera in 1972. She made a Carnegie Hall recital debut in 1978), as well as in a series of duo recitals with the soprano Benita Valente which began after they co-starred in Ariodante at the Santa Fe Opera in 1987. Concert telecasts with Troyanos included Schoenberg's Gurre-Lieder with the Boston Symphony in 1979 and a recital with pianist Martin Katz, featuring Ravel's Shéhérazade, Falla's Siete canciones populares españolas and songs by Berlioz and Mahler, at the Casals Festival in 1985. Audio and video discography Troyanos enjoyed an equally versatile career as a recording artist; her first appearance as a soloist in a recording hall was as Dorabella, opposite Leontyne Price's Fiordiligi, in Mozart's Così fan tutte under Erich Leinsdorf (recorded in London in 1967, released in 1968, and winner of the Grammy Award for Best Opera Recording in 1969). She went on to sing Cherubino in Karl Böhm's recording of Mozart's The Marriage of Figaro, the title role in Bizet's Carmen for Sir Georg Solti (she was described in the Penguin classical record guide as "quite simply the subtlest Carmen on record ... Troyanos' singing is delicately seductive too"), the Composer in Ariadne for both Böhm and Solti, Dido in Purcell's Dido and Aeneas for both Charles Mackerras and Raymond Leppard, and Anita in Leonard Bernstein's high-profile (if controversial) operatic recording of his West Side Story, among numerous other roles. David Anthony Fox in the St. James Opera Encyclopedia concluded that many of Troyanos's discs "capture her faithfully — or ... as faithfully as is possible without her marvelous physical presence ... In fact, she never made a