Famous opera masterpieces | Featuring many great opera singers

Live for song, live for loveLeontyne Price

Puccini Tosca “Vissi d’arte, vissi d’amore” Leontyne Price

From Puccini’s Tosca, Tosca’s aria in Act II.

Although this work is synonymous with Italian prima donna opera, it isn’t performed very frequently in Japan due to the difficulty of the title role.

It’s a moving scene in which Tosca’s heartfelt lament to God is deeply affecting and brings tears to the eyes.

Tears unseen by anyoneLuigi Alva

Donizetti “L’elisir d’amore” ‘Una furtiva lagrima’ — Luigi Alva

Nemorino’s aria from Act 2 of Donizetti’s L’elisir d’amore.

Among the most famous Romantic-era tenor arias, it is typically sung by a lyric leggero.

It’s moving to see the cheerful, guileless young Nemorino grow a little more mature as he becomes confident in Adina’s love.

Recondita armoniaPlacido Domingo

Placido Domingo sings: Recondita armonia

From Puccini’s Tosca, Cavaradossi’s aria from Act I.

While not particularly flashy compared to other works of the same era, this piece is woven with Puccini’s characteristically beautiful melodies and, like the Act III aria, appears to enjoy great popularity.

Because it contains many sustained high notes, a high level of vocal technique is required to sing it.

You devil, you fiend.Renato Bruson

Rigoletto: "You devil, you fiend!" — Renato Bruson

From Verdi’s Rigoletto, the Act II aria by Rigoletto.

Sung as he tries to get his daughter back, this aria combines fierce anger with music that pleads for mercy, and because it demands extremely high technique, it is said to be the pinnacle that Verdi baritones devote their careers to reaching.

The current singing voiceRita Streich

Rossini “The Barber of Seville” ‘Una voce poco fa’ Rita Streich

From Rossini’s The Barber of Seville, Rosina’s aria from Act 1.

You can hear the advanced technique called agilità, frequently used in Rossini’s music, in which a single word is sung through a rapid succession of notes.

Incidentally, this aria exists in two versions—mezzo-soprano and soprano—with different keys for each.

Largo al factotumThomas Hampson

Thomas Hampson – Largo al factotum – Il barbiere di Siviglia

From Rossini’s The Barber of Seville, Figaro’s aria in Act 1.

It’s an extremely challenging piece that demands a very high range for a baritone.

In addition, the rapid-fire patter—emblematic of the witty narrator—never lets up, and if performed flawlessly, it brings the house down with thunderous applause.

My fatherAna Maria Marutinesu: uta

Puccini: Opera “Gianni Schicchi”: O mio babbino caro [Naxos Classical Curations #Romantic]

This is one of the arias from the opera Gianni Schicchi.

Lauretta, the daughter, is in love with the young Rinuccio and wants to marry him, but she faces opposition from Zita, a relative of Rinuccio’s, because Lauretta’s family is not wealthy.

There is also an inheritance dispute on Zita’s side of the family, so the marriage is not permitted.

In this aria, Lauretta pleads with her father—Gianni Schicchi, an educated man—to find a good solution.

Though desperate in content, the piece also possesses a wistful elegance.