Famous opera masterpieces | Featuring many great opera singers

Weber: Opera “Der Freischütz” J.277 — Huntsmen’s ChorusCarl Maria von Weber

Weber: Opera “Der Freischütz,” J.277 – Huntsmen’s Chorus

This is the Hunters’ Chorus from the opera Der Freischütz by Carl Maria von Weber, a German composer, conductor, and pianist born in 1786.

It is a male chorus performed in Act III, with a prominent horn ensemble.

The Hunters’ Chorus is often performed on its own in concerts.

Agitata Da Due VentiCecilia Bartoli

Cecilia Bartoli – Agitata Da Due Venti From “La Griselda” (Vivaldi)

From Vivaldi’s Griselda.

I’m left speechless by Bartoli, who delivers music brimming with passion—akin to modern rock—with both ferocity and precision.

She’s such a charismatic figure among today’s mezzo-sopranos that a video of a music student mimicking her distinctive singing style even became a hot topic for a time.

Gluck Orfeo ed Euridice OvertureChristoph Willibald Gluck

Gluck Orfeo ed Euridice Overture

This is the Overture from the opera Orfeo ed Euridice by composer Christoph Willibald Gluck, who was born in what is now Germany in 1714 and was active in what are now Australia and France.

Orfeo ed Euridice was the first work created by the composer, who, together with librettist Ranieri de’ Calzabigi, embarked on reforms of opera seria.

It was a great success from its premiere.

It’s a dream, it can’t be real / It’s like a dreamDiana Damrau/Deiana Damurau: uta

Ist ein Traum kann nicht wirklich sein – Damrau and Garanca

It’s a piece from the opera “Der Rosenkavalier.” It is a duet sung by the young woman Sophie and the young man Octavian, who has fallen in love with her.

Originally, Octavian was the lover of the Countess, and Sophie had an arranged fiancé, but the two awaken to the happiness of a new love and sing of the joy of being close to one another.

The harmony when they sing together is especially beautiful.

Song of the ApothecaryElisabeth Schwarzkopf

Mozart “Don Giovanni” “The Apothecary’s Song” Schwarzkopf

From Mozart’s Don Giovanni, Zerlina’s aria in Act II.

It’s the aria she sings to soothe Masetto after he’s been beaten when trying to take revenge on Don Giovanni.

Among opera fans, there’s frequent debate over whether Zerlina is naïve or a femme fatale.

That or thisEnrico Caruso

Verdi “Rigoletto” ‘Ella mi fu rapita…’ (Pari siamo!) — Caruso

From Verdi’s Rigoletto, the Duke of Mantua’s aria in Act I.

It’s the scene where he flaunts his power and brazenly sings about his own womanizing.

For those who know the story, many will likely feel disgust toward the Duke at this point.

Or is Gilda to blame for being deceived?

The Song of the CatalogFernando Corena

Mozart: Don Giovanni, “Catalogue Aria,” etc. — Colonna

Here is the servant Leporello’s aria from Mozart’s opera Don Giovanni.

In the story, this is sung in the scene where Leporello recounts at length his master’s womanizing, creating a comical atmosphere.

In this aria, it humorously describes how Don Giovanni has been involved with women of many countries and of various social classes.

For this feature, we’ve picked a performance by the distinguished bass Fernando Corena, who was active from the 1950s to the 1970s.

Corena had a brilliant career, including his Metropolitan Opera debut on February 6, 1954.