Famous opera masterpieces | Featuring many great opera singers

Libiamo ne’ lieti calici / Drinking Song (Brindisi)Carlo Rizzi／Karuro Rittsi: shiki

Libiamo ne’ lieti calici – La Traviata – Arena di Verona 2011

This is one of the songs from the opera La Traviata, which depicts the love between Alfredo, a young man from a distinguished family, and Violetta, a high-class courtesan.

It is sung when the two meet for the first time at a party at Violetta’s home.

Though it sings of the thrill of love, its light, airy melody captures the lively atmosphere of the party, making it a heart-lifting piece.

I Gioielli della Madonna Intermezzo ~’The Jewels of the Madonna’ – Intermezzo~Ermanno Wolf-Ferrari

Wolf-Ferrari – Intermezzo [from Jewels of The Madonna]

Born in 1876, this is the Intermezzo from the tragedy I gioielli della Madonna by the Italian composer Ermanno Wolf-Ferrari.

This piece is the first intermezzo, performed before Act II, and it is the most renowned work among Ermanno Wolf-Ferrari’s compositions.

Dialogues des Carmélites de Poulenc – Les grands moments – Atelier d’opéra UdeMFrancis Poulenc

Dialogues des Carmélites de Poulenc – Les grands moments – Atelier d’opéra UdeM

Born in 1899, the French composer Francis Poulenc wrote the opera Dialogues of the Carmelites.

The opera is based on a true story about sixteen Carmelite nuns who were executed in 1794.

When it was staged in Paris and elsewhere, it quickly met with great acclaim.

Anja Silja – Janacek – Vec Makropoulos – Final part 1.wmvLeoš Janaček

Anja Silja – Janacek – Vec Makropoulos – Final part 1.wmv

This is Makropulos, the eighth opera by composer Janáček, based on the play The Makropulos Affair.

After seeing the stage play Makropulos, Janáček was determined to adapt it into an opera.

Although considered challenging due to its extensive dialogue, it became an excellent opera that combines passion with serenity.

O god of love, grant us peace.Maria Callas

Mozart “The Marriage of Figaro” “O god of love, grant us peace” Maria Callas

From Mozart’s The Marriage of Figaro, the Countess’s aria in Act II.

Sung by a lyric soprano, this aria is above all remarkable for its beautiful melody.

Particularly noteworthy is the introduction; Mozart’s rich harmonic writing is astonishing.

It’s also interesting that the story continues from The Barber of Seville.

Overture to the opera “The Merry Wives of Windsor”Otto Nicolai

Overture to the opera “The Merry Wives of Windsor”

This is the Overture from the opera The Merry Wives of Windsor by Otto Nicolai, a German composer and conductor born in 1810.

The three-act opera was composed by Otto Nicolai, the founder and first conductor of the Vienna Philharmonic.

The overture, which skillfully weaves together melodies from the opera, is very popular and is often performed as a standalone piece.

Tchaikovsky: Polonaise from the opera Eugene Onegin, Op. 24Pyotr Tchaikovsky

Tchaikovsky: Polonaise from the opera Eugene Onegin, Op. 24

Polonaise, Op.

24 from the opera Eugene Onegin by Russian composer Pyotr Tchaikovsky, born in 1840.

Tchaikovsky wrote a total of ten operas, and this is the one performed most frequently among them.

my fatherRenée Fleming

Renée Fleming - O mio babbino caro (Gianni Schicchi)

From Puccini’s Gianni Schicchi, Lauretta’s aria.

It’s often titled in Japanese as “My Father,” but a more literal translation is “Oh, my dear daddy,” which has a subtly different meaning.

That’s because she’s sweetly pleading with him to allow her to marry her beloved.

Rachmaninoff – The Miserly Knight, Op. 24Sergei Rachmaninov

Rachmaninoff – The Miserly Knight, Op. 24

Op.

24 from the opera The Miserly Knight by Sergei Rachmaninoff, born in Russia in 1873, a composer, pianist, and conductor.

This distinctive work features an all-male cast.

It ushered in a new style of opera in which the orchestra carries a large portion of the work.

I don’t understand myself.Teresa Berganza

Mozart, The Marriage of Figaro: “I don’t know myself” — Berganza

From Mozart’s The Marriage of Figaro, Cherubino’s Act I aria.

This role, in which a female singer performs a male character, is a so-called “trouser role.” It richly expresses the delicate and complex emotions of the adolescent Cherubino, offering a glimpse into the genius of Mozart.