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Il Trovatore by Giuseppe Verdi

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In a political battle in Spain (Biscay and Aragon, 15th century) lay Manrico (tenor) and Count Di Luna (baritone) at opposite sides. Both in love with Leonora (soprano), but she loves Manrico. The gypsy Azucena (mezzo-soprano) has a terrible secret about her son Manrico. A duel occurs between Manrico and the Count. Manrico wins, but spares the Count’s life. The Count lures Manrico to another battle. Manrico is gravely wounded. Since Leonora cannot be with Manrico, she decides to become a nun. Manrico tries to interfere with her decision and both flee, escaping from the Count who had similar intentions. As Azucena is trying to find Manrico she is arrested. When Manrico finds out, he goes out to rescue his mother and is arrested as well. When Leonora discovers the news, she offers herself to the Count in exchange of Manrico’s release. To avoid falling into the Count’s hand Leonora poison’s herself. Leonora says goodbye to Manrico, but he refuses to learn that she poisoned herself for his freedom. When the Count discovers that Leonora is dead, he sends Manrico to his death and makes Azucena watch the execution. Azucena tries to stop the execution, but it is too late. Azucena tells the Count that Manrico is his brother.

 Highlights of this opera:

Opening scene - Abbietta zingara

Leonora’s aria - Tacea la notte placida, Miserere and D’amor sull’ alli rosee

Count’s aria - Il balen del suo sorriso (Leo Nucci - Dmitri Hvorostovsky)

Manrico’s arias - Ah! si ben mio and Di quella pira

Act 2 finale

Azucena and Manrico’s duets - Madre non dormi ... Si, la stanchezza and Mal reggendo all’ aspro assalto

Anvil Chorus

Azucena’s arias - Stride la vampa and Condotta nell’era in ceppi

Soldier’s chorus

Leonora and Count’s duet - Udiste? ... Mira, di acerbe lagrime

My favorite moment is the end of the opera:

My absolute favorite finale, but it is only audio from Lincoln Center, with Joan Sutherland, Marilyn Horne and Luciano Pavarotti.

Complete opera:

Berlin

Vienna 

Picture: Il Trovatore set design by Ludwig Zuckermandel-Basserman for Stadttheater in Münster, 1936

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Pagliacci by Ruggero Leoncavallo

This masterpiece of Verismo opera is one of the pillars of opera. The story of a group of performers (clowns). Canio and Nedda are a couple, but have fallen out of love. Nedda has found a new lover: Silvio. Tonio is in love with Nedda, but she despises him. In a jealous rage, Tonio tells Canio about Nedda’s affair. In the next performance Canio confronts Nedda (in her role of Harlequin, in a play within a play). Canio realizes that what is happening in the play is happening in his life. He wants Nedda to reveal her lover’s name, but she refuses. Canio kills Nedda on stage. When Silvio tries to save Nedda, he is also killed. Canio finishes the opera by singing: “La commedia e finite” (the comedy is over).

The highlights of this wonderful opera:

Prologue: Si può, si può

Nedda and Silvio’s love duet

Canio’s aria: Recitar … Vesti la giubba

Finale: No! Pagliacci non son

Some full length performances:

Zeferelli’s film with Placido Domingo and Teresa Stratas

Zurich 2009 with Jose Cura

My favorite moment from this opera is Nedda’s aria: the Ballatella, stridono lassu

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Cavalleria rusticana by Pietro Mascagni

This opera is the quintessential example of verismo, an opera style that imitates life as it is. It is only one act, but it is pact with action and melodrama. Turiddu and Lola are in love, but Turiddu has become a soldier and left town. when he returns, Lola has married Alfio. Turiddu and Santuzza are together. Lola is jealous of this relationship and seduces Turiddu to her, while her husband is away on business. Santuzza finds out of the affair and is desperate. She tells Turiddu’s mother, but to no avail. Santuzza tries to convince Turiddu to stop the affair because she loves him and she gave herself to him. Turiddu does not listen, Santuzza curses him on Easter Sunday. Santuzza tells Alfio about the affair between Lola and Turiddu, Alfio challenges Turiddu to a duel. Turiddu is killed by Alfio. My favorite moment of this opera is the heart wrenching duet between Santuzza and Turiddu, The video attached.

There are many music moments in this opera:

Turiddu’s introduction song - O Lola ch'ai di latti la cammisa

Santuzza’s Easter Hymn or a longer version Regina Coeli

Santuzza’s aria - Voi lo sapete

Alfio’s aria - Il cavallo scalpita

Intermezzo

Santuzza and Alfio’s duet

Turiddu’s drinking song - Viva il vino spumeggiante

Turiddu’s farewell - Mamma, quel vino e generoso

Some incredible productions of this opera are available in full:

Wonderful modern production from Salzburg with Jonas Kaufman and Liudmyla Monastyrska. The film production by Franco Zeffirelli with Placido Domingo and Elena Obratzova.

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Don't... I'm sure there are people that need you.

I not so secretly want to kill myself…

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Rigoletto by Giuseppe Verdi

This is the heartwrenching story of a father (Rigoletto) who is trying to protect his daughter (Gilda) from the world. In the process, Gilda is seduced by a cruel lord (Duke of Mantua) and loses her innocence. Rigoletto does what a father would do, tries to protect her daughter, but uses the wrong approach, hires an assassin. In the end, the assassin kills Gilda instead of the Duke. Rigoletto discovers Gilda’s body, delivered to him by the assassin. Rigoletto fears Monterone’s curse has become real on him.

Many beautiful moments in the opera and very famous moments in this opera:

Duke of Mantua’s arias - “Questa o quella” and “La donna é mobile” 

Rigoletto and Gilda’s duet - “Figlia... mio padre... Deh non parlare” and Final scene

Gilda’s aria - “Caro nome” with June Anderson; “Caro nome” with Nadine Sierra

Rigoletto’s arias - “Pari siamo” and “Cortigiani, vil razza dannata”

Gilda and Duke’s duet - “Signor ne principe” ... “addio, addio”

Some complete operas: Film with Pavarotti, Gruberova and Wixell. Live from Milan with Renato Bruson, Andrea Rost and Roberto Alagna. 

My favorite moment in the opera is the quartet between Gilda, Rigoletto, the Duke and Magdalena. My take here is the amazing singing by Joan Sutherland and Luciano Pavarotti, being a bit more mature than they normally cast these characters, however it is superb!

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Die Fledermaus by Johann Strauss II

Extremely funny operetta, perhaps the most known of all of the operettas. Written by the “King of Waltz” in 1874. The story is about sweet revenge and having fun at other people’s expenses. Falke has been looking to settle score with Eisenstein, because sometime ago they both went to a costume ball, Falke was dress as a bat, Eisenstein dressed as a butterfly. They were drunk and Eisenstein left Falke out in the street until the morning and Falke had to walk home dressed as a bat.

The operetta starts when Eisenstein is sentenced to 8 days in jail for contempt in court. Before he goes to jail, Falke, convinces him to go to a ball disguised as a Marquis. His wife, Rosalinde, is serenaded by her lover Alfred, when the jailer Frank comes to get Eisenstein. Frank takes Alfred thinking he is Eisenstein. At the party Rosalinde shows up as a Hungarian Countess. Adele (Eisenstein and Rosalinde’s maid) is also at the party. Eisenstein flirts with Adele and Rosalinde’s. Rosalinde steals his pocket watch. At the end of the night, Eisenstein decides to go to jail and discovers Alfred has taken his place. Eisenstein discovers that Rosalinde has a lover and when he seems to have a problem with it, Rosalinde shows him the watch she stole from him. All the characters show up in jail and reveal to Einsenstein they all have been playing a prank on him, ending the bat’s revenge. BTW, Die Fledermaus = the bat! Also, the opera is often performed in German, English and other languages.

Great moments in this operetta:

Overture

Trio between Eisenstein, Rosalinde and Adele (To part is such sweet sorrow)

Duet of Eisenstein and Falke Act 1 (Komm mit mir zum Souper)

Prince Orlofsky’s aria 

Adele’s laughing song (Mein Herr Marquis)

Rosalinde’s Hungarian song (Czardas)

Rosalinde and Eisenstein’s duet (Watch duet)

Champagne song

Adele’s audition aria

See the entire opera with Kiri Te Kanawa and Hermann Prey from the Royal Opera House.

My favorite moment of this operetta is the Act 2 toast

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Great, I have not seen the concert, but i have a CD of both of them singing a lot of Mozart as well. May have to see if there is any of that on youtube.

Le Nozze di Figaro by W.A. Mozart

Based on an extremely scandalous play by Beauchermais. This play follows the Barber of Seville (made an opera by Rossini years later, see my blog post on Barber). The opera has a very complex plot: Figaro is about to marry Susanna. The Count, married to the Countess who happens to be Rosina from the Barber of Seville, is trying to get with Susanna for himself and prevent the wedding from happening. Figaro discovers this and puts a plan in place with the help of the Countess, Susanna and Cherubino. Marcellina and Bartolo working for the Count try to cancel the wedding by forcing Figaro to marry Marcellina to pay for a debt, but turns out Figaro is Marcellina and Bartolo’s long-lost son. Susanna and the Countess keep plotting, exchange clothing and sent a letter to the Count and Figaro sees the play, but thinks Susanna is unfaithful. Soon, Figaro discovers that Susanna and the Countess are playing the Count. The Count thinking he is wooing Susanna, gives her a ring. It turns out it is the Countess. The Count sees Figaro and Susanna, disguised as the Countess, and calls all his servants to see the cheating wife. The Countess reveals herself and the Count realizes he’s been played and is forced to ask for his wife’s forgiveness. 

This was the first opera “highlights” I owned from which I learn a lot. There are many wonderful moments in this opera:

Cherubino’s arias (Non so più and Voi che sapete)

Susanna’s arias (Venite, inginocchiatevi and Giunse al fin il momento … Deh vieni non tardar; an alternative aria Giunse al fin il moment … Al desio)

The Countess’ arias (Porgi, amor and Dove sono i bei momenti)

The Count’s aria (Hai gia vinta la causa)

Figaro’s arias (Non più andrai and Se vuol ballare)

Susanna and the Count’s duet (Crudel, perche fin'ora)

Susanna and Figaro’s opening duets (Cinque, dieci, venti, trenta.. Se a caso madama la notte ti chiama)

Listen to a brilliantly staged modern version of the opera from Salzburg http://youtu.be/R3A7FZUcXDE  (with Anna Netrebko, Dorothea Roschmann, Ildebrando D'Arcangelo, Bo Skovhus, Christine Schafer). A more traditional version from La Scala http://youtu.be/_OYtlGpApc0 (with Marcella Orsatti Talamanca, Pietro Spagnoli, Diana Damrau, Ildebrando D’Arcangelo and Monica Bacilli).

My favorite moment of the opera is Susanna and the Countess’ duet: Che soave zeffiretto:

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Yes, he’s brilliant! In fact, when Cecilia Bartoli and Renee Fleming sang Figaro at the MET he was the Figaro: https://youtu.be/_OhYAq5AETo , just a snippet of the beginning.

Le Nozze di Figaro by W.A. Mozart

Based on an extremely scandalous play by Beauchermais. This play follows the Barber of Seville (made an opera by Rossini years later, see my blog post on Barber). The opera has a very complex plot: Figaro is about to marry Susanna. The Count, married to the Countess who happens to be Rosina from the Barber of Seville, is trying to get with Susanna for himself and prevent the wedding from happening. Figaro discovers this and puts a plan in place with the help of the Countess, Susanna and Cherubino. Marcellina and Bartolo working for the Count try to cancel the wedding by forcing Figaro to marry Marcellina to pay for a debt, but turns out Figaro is Marcellina and Bartolo’s long-lost son. Susanna and the Countess keep plotting, exchange clothing and sent a letter to the Count and Figaro sees the play, but thinks Susanna is unfaithful. Soon, Figaro discovers that Susanna and the Countess are playing the Count. The Count thinking he is wooing Susanna, gives her a ring. It turns out it is the Countess. The Count sees Figaro and Susanna, disguised as the Countess, and calls all his servants to see the cheating wife. The Countess reveals herself and the Count realizes he’s been played and is forced to ask for his wife’s forgiveness. 

This was the first opera “highlights” I owned from which I learn a lot. There are many wonderful moments in this opera:

Cherubino’s arias (Non so più and Voi che sapete)

Susanna’s arias (Venite, inginocchiatevi and Giunse al fin il momento … Deh vieni non tardar; an alternative aria Giunse al fin il moment … Al desio)

The Countess’ arias (Porgi, amor and Dove sono i bei momenti)

The Count’s aria (Hai gia vinta la causa)

Figaro’s arias (Non più andrai and Se vuol ballare)

Susanna and the Count’s duet (Crudel, perche fin'ora)

Susanna and Figaro’s opening duets (Cinque, dieci, venti, trenta.. Se a caso madama la notte ti chiama)

Listen to a brilliantly staged modern version of the opera from Salzburg http://youtu.be/R3A7FZUcXDE  (with Anna Netrebko, Dorothea Roschmann, Ildebrando D'Arcangelo, Bo Skovhus, Christine Schafer). A more traditional version from La Scala http://youtu.be/_OYtlGpApc0 (with Marcella Orsatti Talamanca, Pietro Spagnoli, Diana Damrau, Ildebrando D’Arcangelo and Monica Bacilli).

My favorite moment of the opera is Susanna and the Countess’ duet: Che soave zeffiretto:

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Just a selection of arias, the ones i like the most :) I try to go through my library and see what they have listed and my CDs, etc.

Le Nozze di Figaro by W.A. Mozart

Based on an extremely scandalous play by Beauchermais. This play follows the Barber of Seville (made an opera by Rossini years later, see my blog post on Barber). The opera has a very complex plot: Figaro is about to marry Susanna. The Count, married to the Countess who happens to be Rosina from the Barber of Seville, is trying to get with Susanna for himself and prevent the wedding from happening. Figaro discovers this and puts a plan in place with the help of the Countess, Susanna and Cherubino. Marcellina and Bartolo working for the Count try to cancel the wedding by forcing Figaro to marry Marcellina to pay for a debt, but turns out Figaro is Marcellina and Bartolo’s long-lost son. Susanna and the Countess keep plotting, exchange clothing and sent a letter to the Count and Figaro sees the play, but thinks Susanna is unfaithful. Soon, Figaro discovers that Susanna and the Countess are playing the Count. The Count thinking he is wooing Susanna, gives her a ring. It turns out it is the Countess. The Count sees Figaro and Susanna, disguised as the Countess, and calls all his servants to see the cheating wife. The Countess reveals herself and the Count realizes he’s been played and is forced to ask for his wife’s forgiveness. 

This was the first opera “highlights” I owned from which I learn a lot. There are many wonderful moments in this opera:

Cherubino’s arias (Non so più and Voi che sapete)

Susanna’s arias (Venite, inginocchiatevi and Giunse al fin il momento … Deh vieni non tardar; an alternative aria Giunse al fin il moment … Al desio)

The Countess’ arias (Porgi, amor and Dove sono i bei momenti)

The Count’s aria (Hai gia vinta la causa)

Figaro’s arias (Non più andrai and Se vuol ballare)

Susanna and the Count’s duet (Crudel, perche fin'ora)

Susanna and Figaro’s opening duets (Cinque, dieci, venti, trenta.. Se a caso madama la notte ti chiama)

Listen to a brilliantly staged modern version of the opera from Salzburg http://youtu.be/R3A7FZUcXDE  (with Anna Netrebko, Dorothea Roschmann, Ildebrando D'Arcangelo, Bo Skovhus, Christine Schafer). A more traditional version from La Scala http://youtu.be/_OYtlGpApc0 (with Marcella Orsatti Talamanca, Pietro Spagnoli, Diana Damrau, Ildebrando D’Arcangelo and Monica Bacilli).

My favorite moment of the opera is Susanna and the Countess’ duet: Che soave zeffiretto:

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Le Nozze di Figaro by W.A. Mozart

Based on an extremely scandalous play by Beauchermais. This play follows the Barber of Seville (made an opera by Rossini years later, see my blog post on Barber). The opera has a very complex plot: Figaro is about to marry Susanna. The Count, married to the Countess who happens to be Rosina from the Barber of Seville, is trying to get with Susanna for himself and prevent the wedding from happening. Figaro discovers this and puts a plan in place with the help of the Countess, Susanna and Cherubino. Marcellina and Bartolo working for the Count try to cancel the wedding by forcing Figaro to marry Marcellina to pay for a debt, but turns out Figaro is Marcellina and Bartolo’s long-lost son. Susanna and the Countess keep plotting, exchange clothing and sent a letter to the Count and Figaro sees the play, but thinks Susanna is unfaithful. Soon, Figaro discovers that Susanna and the Countess are playing the Count. The Count thinking he is wooing Susanna, gives her a ring. It turns out it is the Countess. The Count sees Figaro and Susanna, disguised as the Countess, and calls all his servants to see the cheating wife. The Countess reveals herself and the Count realizes he’s been played and is forced to ask for his wife’s forgiveness. 

This was the first opera “highlights” I owned from which I learn a lot. There are many wonderful moments in this opera:

Cherubino’s arias (Non so più and Voi che sapete)

Susanna’s arias (Venite, inginocchiatevi and Giunse al fin il momento … Deh vieni non tardar; an alternative aria Giunse al fin il moment … Al desio)

The Countess’ arias (Porgi, amor and Dove sono i bei momenti)

The Count’s aria (Hai gia vinta la causa)

Figaro’s arias (Non più andrai and Se vuol ballare)

Susanna and the Count’s duet (Crudel, perche fin'ora)

Susanna and Figaro’s opening duets (Cinque, dieci, venti, trenta.. Se a caso madama la notte ti chiama)

Listen to a brilliantly staged modern version of the opera from Salzburg   (with Anna Netrebko, Dorothea Roschmann, Ildebrando D'Arcangelo, Bo Skovhus, Christine Schafer). A more traditional version from La Scala  (with Marcella Orsatti Talamanca, Pietro Spagnoli, Diana Damrau, Ildebrando D’Arcangelo and Monica Bacilli).

My favorite moment of the opera is Susanna and the Countess’ duet: Che soave zeffiretto:

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Tosca by Giacomo Puccini

While Mario Cavaradossi is painting at a church, an escaped member of the resistance, Angelotti, appears and requests help. Mario hides him. Mario’s girlfriend, Tosca, arrives. She’s jealous of Mario’s painting as it looks like one of the church’s member. Mario reassures Tosca, he loves only her. Mario is arrested for aiding a fugitive. Tosca begs the jailer, Scarpia, to release Mario. Scarpia only accepts if Tosca agrees to be his. Tosca accepts his offer. Scarpia tells Tosca his squad will fire blank bullets. After Scarpia signs the release order, Tosca kills him. The bullets are not blank and Mario is executed. Scarpia is discovered dead and Tosca is suspect of the murder. She is not going to let anybody touch her, so she jumps from the top of the castle where Mario was executed.

There are some very beautiful moments in the opera:

Recondita armonia

Mario, Mario ... Son qui (Mario and Tosca’s duet)

Scarpia’s Te deum

Scarpia and Tosca’s duet

E lucevan le stelle

You may listen to the entire opera from Arena di Verona (with Eva Marton, Giacomo Aragall and Ingvar Wixell). The historic recording with Maria Callas, Tito Gobbi and Giuseppe Di Stefano. From Roma with Luciano Pavarotti, Ines Salazar and Juan Pons, conducted by Placido Domingo.

My favorite moment in this opera is Tosca’s only aria of the opera “Vissi d’arte” where she sings about her pain and asks why “this” is happening to her.

Leontyne Price’s interpretation is wonderful. 

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Lucia di Lammermoor by Gaetano Donizetti

 I was obsessed with this opera for many years, after watching it on VHS performed by Dame Joan Sutherland, Alfredo Kraus and Pablo Elvira (hometown hero for me). My obsession has tone down a bit, but I still get excited every time I hear anything from it; (which makes the movie the Fifth Element more exciting to watch especially when it gets to the Diva’s song). 

This opera is another Romeo and Juliet sort-of story.  Two rival families Ashton and Ravenswood. Lucia Ashton and Edgardo Ravenswood are in love, but Enrico Ashton’s has promised Lucia’s hand to Arturo Bucklaw to save the Ashton’s family from bankruptcy and to get political advantage. Enrico deceives Lucia, by forging love letters from Edgardo. Lucia then marries Arturo. Edgardo shows up at the wedding and curses Lucia, since she has married Arturo. Lucia has gone mad and on her wedding night, she kills Arturo then dies. Edgardo finds out Lucia is dead and kills himself.

Beautiful bel canto moments in this opera:

Lucia’s entrance aria (Regnava nel silenzio .. quando rapito)

Lucia and Edgardo’s duet (Verranno a te sull’ aure)

Lucia and Enrico’s duet (Se tradirmi tu potrai)

Lucia’s mad scene (Il dolce suono ... ardon gl’incensi)

Lucia and Raimondo’s duet (Ah! cedi, cedi o più sciagure)

Edgardo’s aria (Tombe degli... Fra poco a me ricovero)

My favorite moment of this opera is the show stopping sextet ‘Chi mi frena’ and the subsequent cursing (after the sextet is done a lot of applause, but they deserve it)... listen to what’s next, which is even more dramatic!

Watch the entire opera here (with Mariella Devia, Marcelo Alvarez and Renato Bruson). Or listen to it here (with the legendary Maria Callas, Giuseppe Di Stefano and Rolando Panerai recorded live from La Scala in 1955). Also Donizetti made a French version (Lucie di Lammermoor) which you can see here (with Natalie Dessay, Sebastien Na and Ludovic Tezier)

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Norma by Vincenzo Bellini

Norma tells the story of a Druid priestess who has fallen in love with Pollione, a Roman pro-consul and enemy of the Druids. They have had two children, whom Norma has kept in secret, since she’s supposed to remain a virgin as a condition of being the High Priestess of the Druids. Pollione no longer loves Norma and he has fallen in love with the young Adalgisa, a priestess devoted to Norma. Norma discovers Pollione’s betrayal and tries to convince him to return to her, but he refuses. Druids and Romans go to war, following Norma’s command. Pollione is sentenced to death after he has tried to take Adalgisa away. Normal reveals that she has betrayed her people, gives her children to her father, Oroveso, and goes to the deadly pire with Pollione.

There are wonderful moments in this opera that have made or break many singer’s careers. Pretty much every soprano has sung or thought about singing one of the most popular and beautiful Bellini’s melodies: Casta Diva, Norma’s introducing aria (Renee Fleming , Maria Callas , Monserrat Caballe , Cecilia Bartoli, - sorry I couldn’t decide as there are too many good options-); the entire scene of recitative, aria and cabaletta with my favorite of all times Joan Sutherland ( Sediziose voci... Casta Diva... Ah! bello a me ritorna). Adalgisa’s aria (Sgombra è la sacra selva); Adalgisa and Pollione’s duet (Va, crudele); Norma and Adalgisa’s duet (Adalgisa...Oh! rimembranza); Norma, Adalgisa and Pollione’s trio (Ma dì l' amato giovane...O di qual sei tu vittima...Vanne sì, mi lascia indegno) and Oroveso’s aria (Ite sul colle, O   Druidi).

My favorite moment of Norma is the duet between Norma and Adalgisa where Norma is trying to convince Adalgisa to take her sons. Here’s one of my favorite combination of singers: Joan Sutherland and Marilyn Horne:

Here’s the same duet with Cecilia Bartoli and Sumi Jo, a very controversial modern recording as Cecilia has taken the role of Norma, following research establishing that the original role was written for a mezzo-soprano rather than a soprano.

See the entire opera here with Joan Sutherland, Malgreta Elkins and  Ronald Stevens. A more recent version here with Dimitra Theodossiu, Fabio Sartori, Ruxandra Donose, Carlo Colombara.

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Carmen by George Bizet

One of the most famous French operas. Filled with wonderful and recognizable music. This is the story of a “modern” woman trapped in Spain of 1820′s. Our heroine, Carmen, does not follow norms or rules; she knows what she wants and she knows how to get it. Unfortunately, every action has a reaction and through twists and turns, she ends up dying in the hands of her former lover, Don Jose, after she has left him for the Toreador, Escamillo.

There are wonderful moments in this opera: Carmen’s habanera (L’amour est un oiseau rebelle) where she sings about love; Carmen’s Seguidilla (Pres des remparts de Seville) after being jailed for stabbing a woman she convinces Don Jose to release her and invites him to meet her at Lilas Pastia’s; Don Jose’s aria (La fleur que tu m’avais jetee) where he sings about the flower Carmen gave him and how he’s falling in love with her; Bohemian trio (Les tringles des sistres tintaient) sung by Carmen and her two friends, Mercedes and Frasquita; Quinttet (Nous avons en tete una affaire) where they sing about leaving town, but Carmen refuses because she is in love; Escamillo’s aria (Votre toast je peux vous le rendre) he sings about his triumps being a Toreador, one of the baritone’s most well known aria; Micaela’s aria (Je dis que rien ne m’epouvante) where she asks for God’s strength before she goes to talk to Don Jose about his parents, she is also Don Jose’s old girlfriend; Carmen’s card aria (En vain, pour eviter) this trio and aria is where Carmen is foretold of her death.

My favorite moment of Carmen is the finale, where Don Jose (half the man he used to be) confronts Carmen and asks her to get back together, she is now with Escamillo and refuses. This ending is so full of passion and intensity, be prepared.

My favorite finale has always been the interpretation with Regina Resnik and Mario del Monaco, however the one above has the video incentive and it is spectacular.

Here’s the full opera with Obratszova and Domingo or a more recent performance.

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The Barber of Seville (Il barbiere di Siviglia) by Gioacchino Rossini

This is one of the lightest, happiest and entertaining operas of all times. The main character, Figaro (the Barber of Seville) puts all his tactics in action to get his friend the Count Almaviva aka Lindoro, to get the sweet Rosina, who is about to marry Bartolo. This masterpiece has excellent moments: Figaro’s famous introduction aria (Largo al factotum with Simon Keenlyside and Thomas Hampson - I couldn’t decide which one I like best), this is probably one of the most famous aria; Rosina’s introduction aria (Una voce poco fa); Basilio’s aria (La Calunnia); Rosina’s voice lesson (Contro un cor); Almaviva’s arias (Ecco ridente in cielo and Cessa di piu resistere); Figaro and Rosina’s duet (Dunque Io son). My favorite moment of this opera is the delightful trio between Figario, Rosina and Almaviva:

Watch the full opera from La Scala.

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La Boheme by Giacomo Puccini

One of the most popular and beloved operas of all time. The story of a group of Bohemians living in Paris where love and art are all tied together. Rodolfo and Mimi meet and fall in love, then separate and at the end of the opera they are back together, but Mimi dies while lying down by herself. 

My favorite scenes of this opera: Rodolfo’s aria (Che gelida manina), Mimi’s introduction aria (Si, mi chiamano Mimi), Mimi’s goodbye song (Donde lieta usci), Musetta’s aria (Quando me’n vo), Colline’s aria (Vecchia zimarra senti) and the quartet between Mimi, Rodolfo, Musetta and Marcello where the two couples break up (Addio dolce svegliare).

My favorite opera scene is the duet between Rodolfo and Marcello where they sing about their sorrows (O Mimi tu piu non torni).

The full opera with Anna Netrebko and Rolando Villazon or if you prefer other singers Mirella Freni and Gianni Raimondi

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Die Zauberflote (The Magic Flute) by Wolfgang Amadeus Mozart

A story of the fight of good (represented by Sarastro) vs. evil (represented by the Queen of the Night). This great tale includes masonry principles and fantasy characters. This is the last completed work by Mozart, possibly his most known work and one of my favorite operas. There are many highlights for this opera that include the two arias of the Queen of the Night (the highest notes ever written for an opera: O zittre nicht and Der Holle Racht); Tamino’s aria, Pamina’s aria, Sarastro’s arias (O Isis und Osiris and In diesen heil’gen) and Papageno’s arias (Der Vogelfanger bin ich ja and Ein Madchen oder Weibchen). There are several quintets, trios and duets. One of my favorite moments of The Magic Flute is the beginning, Tamino is trying to escape from a giant snake, asks for help and faints. The Three Ladies of the Queen of the Night come to his rescue and kill the snake.