Foreword and Introduction
The History of the Tenor – (as it was recorded).
- Tamagno, Figner, De Lucia, Affre, Escalais
- Vignas, Ershov, Clément, Urlus, Constantino, Bonci
- Paoli, Labinsky, Dalmores, Sobinov
- Borgatti, Ferrari, Slezak, Caruso
- Burian, Bassi, Campagnola, Zenatello
- Anselmi, Muratore, Jadlowker, Franz
- Smirnov, De Muro, Damaev, Erb
- Battistini, Ruffo, Chaliapine, Hislop, Piccaver, McCormack
- Crimi, Martinelli, Pertile
- Merli, Schipa, Lázaro, Fleta
- Hacket, Ansseau, Gigli
- Melchior, Pattiera, Tauber
- Rogatschevski, Zanelli, Borgioli, Cortis
- Chamlee, Roswaenge, Lauri-Volpi
- Thill, Patzak, Gruning, Naval, Scaramberg, Klementyev, Senius +
- Knote, Davydov, Jorn, Laffitte, Schiavazzi
- Crooks, Kullman, Kozlovsky, Lemeshev
- Ralf, D’Arkor, Wittrisch, Valente, Milona, Mojica, Kiepura, Lanza
- Bjorling, Dermota, Tagliavini, Tucker
- Windgassen, Del Monaco, Simoneau, Schock
- Lugo, Schmidt, Svanholm, Nelepp, Peerce, Corelli
- Di Stefano, Valente, Raimondi, Vickers
- Bergonzi, Gedda
- McCracken, Thomas, Kraus, Vanzo
- Alva, Wunderlich, Andzhaparidze, Burrows
- Kollo, Spiess, Konya, Reti, Ilosfalvy, Pavarotti
- Aragall, Carreras, Araiza
- Domingo, Schreiner, Atlantov, Dvorsky, Canonici, Shicoff