| | Catherine Bott, Academy of Ancient Music & Christopher Hogwood | Dido and Aeneas, Act 3: "Thy Hand Belinda - When I Am Laid in Earth" | |
| | The Parley of Instruments, Peter Holman & Catherine Bott | The Mock Marriage, Z. 605: 'Twas Within a Furlong of Edinboro' Town | |
| | The Parley of Instruments, Peter Holman & Catherine Bott | You Spotted Snakes | |
| | Catherine Bott, Orchestre Révolutionnaire et Romantique & John Eliot Gardiner | Requiem, Op. 48: IV. Pie Jesu | |
| | Nicole Tibbels, John Harle, Children Of New Brighton Primary School, Birkenhead, Catherine Bott, Silencium Ensemble, Academy of St Martin in the Fields & Sarah Leonard | Silencium - Music of Inner Peace: 1. Morning Prayer | |
| | Catherine Bott, Paula Chateauneuf, Richard Egarr & Mark Levy | The Fairy Queen - Edited by Anthony Lewis, Act 5: Thrice Happy Lovers | |
| | Catherine Bott, Tessa Bonner, New London Consort & Philip Pickett | Il ballo delle ingrate: Del'implacabil Dio | |
| | Psalmody, Joseph Cornwell, The Parley of Instruments, Peter Holman & Catherine Bott | Alfred: Rule, Britannia | |
| | Catherine Bott, Academy of Ancient Music & Christopher Hogwood | Dido and Aeneas, Act 3: "Thy Hand Belinda - When I Am Laid in Earth" | |
| | Catherine Bott & Florilegium | Ouverture in D Major: La Joye | |
| | Purcell Quartet, Cecelia Bruggemeyer, Stephen Preston, Catherine Bott & Jane Rogers | Laudate pueri, Dominum, RV 601: VI. Ut collocet eum cum principibus populi sui | |
| | Catherine Bott, David Roblou, Paula Chateauneuf, Tom Finucane & Anthony Pleeth | Don Quixote: Let the Dreadful Engines | |
| | Catherine Bott, New London Consort & Philip Pickett | Carmina Burana: 4. Curritur ad vocem | |
| | Michael Torke, Argo Band & Catherine Bott | Four Proverbs: 1. Better a Dish | |
| | American Bach Soloists, Catherine Bott, Judith Malafronte & Jeffrey Thomas | St Matthew Passion, BWV 244 27. Aria Soprano I, Alto I, Coro II: So ist mein Jesus nun gefangen | |
| | Catherine Bott, Pavlo Beznosiuk & Mark Levy | Trop est mes maris jalos | |
| | Catherine Bott, Academy of Ancient Music & Christopher Hogwood | Dido and Aeneas, Act 1: "Ah! Belinda. I Am Prest With Torment" | |
| | Catherine Bott, Pavlo Beznosiuk, Rachel Podger, Paula Chateauneuf, Mark Levy & Richard Egarr | Sir Anthony Love or the Rambling Lady (1690), Z588: Pursuing Beauty | |
| | Catherine Bott, David Roblou & Mark Levy | Love's But the Frailty of the Mind | |
| | Catherine Bott, John Mark Ainsley, New London Consort & Philip Pickett | Il combattimento di Tancredi e Clorinda: Amico, hai vinto | |
| | Catherine Bott, Philip Pickett & New London Consort | Carmina Burana (13th C. Bavarian Manuscript): Axe Phebus Aureo | |
| | Catherine Bott | Ar ne kuth ich sorghe non 'The Prisoner's Song' | |
| | David Owen Norris & Catherine Bott | Chalk Farm to Camberwell Green (Live) | |
| | Catherine Bott, Ronald Corp, New London Orchestra & New London Light Opera Chorus | A Runaway Girl: No. 2, The Sly Cigarette | |
| | Catherine Bott, Pavlo Beznosiuk, Rachel Podger, Paula Chateauneuf & Mark Levy | Creep Softly, Purling Streams | |
| | Marinella Pennicchi, John Eliot Gardiner, English Baroque Soloists, Catherine Bott, Constanze Backes, Bernarda Fink, Anne Sofie von Otter, Sylvia McNair & Dana Hanchard | L'incoronazione Di Poppea: Scendiam, Scendiam (Amore, Coro D'Amori, Venere, Poppea, Nerone) | |
| | Catherine Bott & Paula Chateauneuf | My Lodging Is On The Cold Ground | |
| | Catherine Bott, New London Consort & Philip Pickett | Carmina Burana: 10. Ich was ein chint so wolgetan | |
| | Catherine Bott, Pavlo Beznosiuk & Mark Levy | Four Planctus | |
| | Roy Goodman, Catherine Bott & The Brandenburg Consort | Admeto, HWV 22, Act II: Aria. La sorte mia vacilla (Antigona) | |
| | Catherine Bott & Pavlo Beznosiuk | Carmina Burana: 13. Non te lusisse pudeat | |
| | Catherine Bott, Michael George, New London Consort & Philip Pickett | Il ballo delle ingrate: Bella madre d'amor | |
| | Catherine Bott, Peter Holman & The Parley of Instruments | Pardon, Goddess of the Night | |
| | The Parley of Instruments, Peter Holman & Catherine Bott | Where the Bee Sucks, There Lurk I | |
| | Joseph Cornwell, Catherine Bott, Peter Holman & The Parley of Instruments | This Lady Ripe and Fair | |
| | David Owen Norris & Catherine Bott | Business Girls | |
| | Catherine Bott | Sweet Thames, Flow Softly (Live) | |
| | Catherine Bott, Janet Youngdahl & Cecilia's Circle | Cantate, ariette, e duetti, Op. 2: No. 23, I baci | |
| | Catherine Bott & David Owen Norris | Five Am'rous Sighs (1977): No. 4, All These Dismal Looks and Fretting [Live] | |
| | Catherine Bott & Melvyn Tan | 12 Canzonets, Hob.XXVIa:27: No. 3, A Pastorial Song in A Major | |
| | Catherine Bott, Academy of Ancient Music & Christopher Hogwood | Dido and Aeneas, Act 1: "Ah! Belinda. I Am Prest With Torment" | |
| | Catherine Bott & Pavlo Beznosiuk | Carmina Burana: 13. Non te lusisse pudeat | |
| | Catherine Bott, Roy Goodman & The Brandenburg Consort | Tolomeo, HWV 25, Act I: Aria. Fonti amiche, aure leggiere (Seleuce) | |
| | Catherine Bott, Paula Chateauneuf & Richard Egarr | Rule a Wife and Have a Wife: There's Not A Swain On The Plain | |
| | Catherine Bott, Dame Emma Kirkby, Roy Goodman & The Brandenburg Consort | Alessandro, HWV 21, Act I: Recit. Che vidi? Che mirai! (Lisaura, Rossane) | |
| | Catherine Bott, Michael George, New London Consort & Philip Pickett | Il ballo delle ingrate, SV 167: 3. Bella madre d'amor | |
| | Catherine Bott, Tessa Bonner, New London Consort & Philip Pickett | Vespro della Beata Virgine (Arr. Philip Pickett): Sonata sopra Sancta Maria a 1 | |
| | Catherine Bott, New London Consort & Philip Pickett | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Agnus Dei/Regula moris | |
| | American Bach Soloists, Catherine Bott, William Sharp & John Abberger | Wachet auf, ruft uns die Stimme, BWV 140: 6. Duet: Mein Freund ist mein | |
| | Catherine Bott, Christopher Robson, John Mark Ainsley, Andrew King, New London Consort & Philip Pickett | Vespro della Beata Virgine (Arr. Philip Pickett): Et exulatavit | |
