Opera

RECITAL
Melodies of Devotion!
 Libiamo ne’ lieti calici
From La Traviata, By Guiseppe Verdi

The aria "Libiamo" is a lively and celebratory drinking song performed in the
first act of "La Traviata." Sung by the characters Violetta and Alfredo, it marks
the opening of a party scene. The word "Libiamo" translates to "Let's drink" in
English, and the song encourages the characters and the audience to raise
their glasses in a toast to the pleasures of life, love, and friendship.

"La Traviata," it is a tragic opera that revolves around the courtesan Violetta
Valéry and her ill-fated love affair with Alfredo Germont. The opera explores
themes of love, sacrifice, societal expectations, and the consequences of
choices made under societal pressure. "Libiamo" is a brief moment of joy and
festivity in the opera before the story takes a more somber turn.

01. Introduction
 Recitativo, Cavatina e Cabaletta
From Maria Stuarda, By Gaetano Donizetti

Act I of Maria Stuarda features a pivotal Recitativo that unfolds against the backdrop of the historical
conflict between the two queens. The scene may be set in the royal court, where political intrigue and
personal vendettas intertwine with a deep-seated rivalry with Mary. In the Cavatina, conveys the
complexities of Queen Elizabeth I's feelings, providing a window into her soul. At Tudor court, the
Cavatina reveals Queen Elizabeth I in a more intimate light. Freed from the constraints of political
posturing, the character opens up to the audience, unveiling a range of emotions from regal authority to
inner turmoil. The Cabaletta provides Queen Elizabeth I with an opportunity to assert her power and
determination, and it also sees Queen Elizabeth I responding to the emotional revelations of the
Cavatina. This aria is a dramatic turning point, where the character transforms vulnerability into strength.

01. Introduction
 Sul fil d’un soffio etesio
From Falstaff, By Guiseppe Verdi

“Sul fil d'un soffio etesio'' which translates to “On the breath of an etesian breeze” is a
beautiful aria from the opera, Falstaff, composed by Giuseppe Verdi, an Italian
composer of operas during the 19th century and is considered one of the greatest
composers in the history of opera. This aria is performed in Act III, Scene 1 of the
opera and sung by the character, Nanetta, who is in love with Fenton.

In this aria, Nanetta expresses her yearning for her lover and the joy she feels in their
love. The aria starts with a delicate orchestral introduction that sets a dreamy and
ethereal mood as Nanetta sings about the power of love. She compares love to a
gentle breeze that brings joy and happiness to one's life. The music is filled with
lyrical phrases and soaring melodies, which reflects Nanetta’s feelings, her hopeful
and youthful innocence, and romantic outlook on life.

01. Introduction
 sempre libera
From La Traviata, By Guiseppe Verdi

Sempre Libera” is an aria from the opera “La Traviata” by Giuseppe Verdi.
Sempre Libera means “Always free”. This aria is sung by the protagonist, Violetta
Valéry, it encapsulates the essence of her character and serves as a powerful
expression of her inner turmoil and desire for freedom. Violetta longs for a life
unrestrained by societal expectations and conventions. Throughout the opera,
she is torn between her love for Alfredo Germont and demands of her social
status. In this aria, she declares that she will always be free to follow her own
desires and passions.

01. Introduction
 merce, dilette amiche
From I Vespri Siciliani, By Guiseppe Verdi

“Merce, dilette amiche" is an aria from the opera I Vespri Siciliani by Giuseppe Verdi
that translates to "Thank you, beloved friends." In this aria, the character Elena
expresses her conflicted emotions as she prepares for marriage. The music is
characterized by its lyrical and expressive qualities, showcasing Verdi's mastery in
conveying the emotional depth of the character. The aria features a beautiful
melodic line and provides a moment of introspection within the larger context of the
opera's dramatic narrative. Verdi's use of orchestration and vocal writing
contributes to the overall emotional impact of "Merce, dilette amiche" within the
operatic setting.

01. Introduction
 Ah! Je Vais L’aimer
From Beatrice et Benedict, By Hector Berlioz

"Beatrice et Benedict":
"Beatrice et Benedict" is an opera comique written by Hector Berlioz, inspired by William Shakespeare's play
"Much Ado About Nothing." Set in the Sicilian town of Messina, the opera revolves around the verbal
sparring and eventual love between the witty and independent Beatrice and the equally sharp-tongued but
confirmed bachelor, Benedict. Despite their initial reluctance to admit their feelings, their friends conspire
to bring them together, leading to a comedic and heartwarming exploration of love, misunderstandings, and
the folly of denying true emotions.

"Ah! Je vais l'aimer" is an aria sung by Benedict in Act II of "Beatrice et Benedict." In this aria, Benedict
expresses his surprise and realization that he is falling in love with Beatrice, despite his earlier assertions
against marriage. The aria reflects Benedict's internal conflict as he grapples with the unexpected stirrings
of love within him. The aria is a pivotal moment in the opera, marking the shift in Benedict's perspective on
love and foreshadowing the resolution of the romantic plot.

01. Introduction
 Vainement, ma bien-aimée
From Le Roi d'Ys, By Eduard Lalo

Eduard Lalo, a 19th-century French composer, is celebrated for his opera "Le Roi d'Ys," a work that showcases his
mastery of lyrical expression and orchestral color. Premiered in 1888, "Le Roi d'Ys" is renowned for its rich and
evocative score, blending Romantic sensibilities with French operatic tradition. Lalo's opera delves into themes of
love, sacrifice, and betrayal set against the legendary Breton tale of a submerged city. Through sumptuous
orchestration and captivating melodies, Lalo brings to life a story filled with passion, tragedy, and the complexities
of human emotions, solidifying his place as a notable composer within the operatic realm of the late 19th century.

The aria "Vainement, ma bien-aimée" takes on added poignancy as it's sung by Mylio on the dawn of his wedding
day to Rozenn. This moment intensifies the emotional weight of the aria, as Mylio, despite the impending
ceremony, expresses the heartbreaking realization that his love for Rozenn will remain unreciprocated. The
contrast between the joyous occasion of the wedding and Mylio's inner turmoil creates a poignant and emotionally
charged atmosphere, adding depth to the aria's themes of unrequited love and despair.

01. Introduction
 O du, Mein Holder Abendstern
From Tannhäuse, By Richard Wagner

“Tannhäuser” or its full title “Tannhäuser und der Sängerkrieg auf Wartburg” (Tannhäuser and the Minnesängers
contest in Wartburg) is an opera in three acts, composed by Richard Wagner in 1845. Its libretto is based on two
German legends: the story of Tannhäuser and the tale of the Wartburg Song contest. It combines the
mythological elements found in German Romantic Opera and the medieval setting found in French Grand Opera.
The story revolves around Tannhäuser’s struggle between pure and lustful love. It starts with Tannhäuser being
exposed to profane love, and from there, he journeys on to seek and be redeemed by pure and sacred love.

“O du, Mein Holder Abendstern'' (Song to the Evening Star) is a baritone aria from the Third act of Richard
Wagner’s opera, Tannhäuser. In this aria, Wolfram, a minnesinger, had just witnessed his beloved, Elisabeth, pray
to the heavens to take her life in exchange for the pardoning of the sins of her loved one, Tannhauser. Wolfram
had always admired Elisabeth from afar but insisted on having a platonic relationship with her even if Elisabeth is
in love with an undeserving man. Being a chivalrous man, he did not stop Elisabeth from having her prayer come
true, instead, he prays to the stars to guide her journey to heaven.

01. Introduction
 Kommt ein schlanker Bursch gegangen
From Der Freischütz, By Carl Maria von Weber

Kommt ein schlanker Bursch gegangen" is an aria from Carl Maria von Weber's opera "Der Freischütz." The
opera, composed in 1821, is a cornerstone of German Romantic opera and is known for its evocative and
atmospheric score. The aria occurs in Act II, and it is sung by the character Ännchen. The title can be translated
to "A slim boys come along," and the aria is a charming, folk-like song that serves to lighten the mood of the
opera. Ännchen, the lively and flirtatious cousin of the female protagonist, Agathe, sings this aria as she teases
and pokes fun at the male characters in the opera. The aria reflects Ännchen's playful and mischievous
personality and provides a moment of humor in the midst of the opera's darker themes.

In the context of the opera, the plot revolves around a young marksman named Max, who makes a pact with the
devil to ensure success in a shooting competition. However, the devil's influence leads to unintended
consequences, and Max faces moral dilemmas and challenges. While the aria "Kommt ein schlanker Bursch
gegangen" doesn't directly contribute to the main plot, it adds character depth and showcases Weber's ability
to infuse his opera with both dramatic and lighthearted moments. The aria allows for a brief respite from the
opera's tension and serves as a delightful musical interlude within the larger narrative.

01. Introduction
 Jak možna věřit
From Der Freischütz, By Bedřich Smetana

Jak Mozna verit is from the Opera “The Bartered Bride” of Bedrich Smetana which expresses a sense
of skepticism and distrust. Also, it is a reflection of Marenka’s doubts and concerns in the context of
the opera’s plot, highlights her emotional journey and the challenges she faces in her romantic and
personal life.
The aria is sung by Jenik, who is a young man who works in a farm. He sings the song on Act 2 it is
when Kecal, the marriage broker, tries to convince Jenik to marry another woman but Jenik doesn’t
want to give up Marenka. But with his mysterious plan, he will take the money and signed the
contract reads that “Marenka is to marry one man alone, and that man is Tobias Micha’s son, or
contract will be cancelled.” Not everyone knowing, that Jenik is the eldest son of Tobias Micha. In
this aria, Jenik is wondering how anyone could believe that he would really do it, and in the song he is
finally expressing his love for Marenka.

01. Introduction
 Se Come voi Piccina
From Le Villi, By Giacomo Puccini

The aria’s scene plays out in the bloom of springtime season where family and
friends gather in celebration of Anna and Roberto’s engagement. Roberto is
leaving before the ceremony to claim an inheritance but assures Anna that
everything will be fine: they will get married on his from Mainz.

With fleeting innocence, she puts little flowers in his suitcase as she sings her
heart out to herself – wishing that he never forgets about her. Anna eagerly
anticipated for Roberto’s return. But just as the seasons passed like clockwork,
so did she when the bitter cold of winter crept in.

01. Introduction
 O fior del giorno
From Edgar, By Giacomo Puccini

O fior del giorno is an aria from one of Giacomo Puccini’s operas, “Edgar”. It is sung in the first act
of the opera. Singing this aria is Fidelia, who is a young village girl in love with a Flemish knight
named Edgar. The scene takes place at the main square of a Flemish village in April. Behind the
village is Edgar’s house. Near it is an almond tree in bloom, a church, and an inn. The dawn
brightens the beautiful setting while Edgar is asleep. Fidelia walks through the square of the
village looking upon the flowers on the tree. Their scent brings her hope. She then brings Edgar a
sprig of almond blossom as a love token.

01. Introduction
 Donde Lieta usci
From La Boheme, By Giacomo Puccini

"Donde Lieta Usci" is an aria from the opera "La Bohème," depicting the story of Mimi and Rodolfo
in mid-19th century Paris the Act 1 of "La Bohème" introduces us to a group of bohemian friends
living in Paris in the 19th century. The central characters are the poet Rodolfo, the painter
Marcello, the musician Schaunard, and the philosopher Colline. They are struggling artists, living in
a cold and cramped attic. Rodolfo meets and falls in love with Mimì, a poor seamstress. Their love
blossoms quickly, but Rodolfo is haunted by the fear of Mimì's declining health.

In this aria, the lovers decide to part ways as Rodolfo fears his financial struggles prevent him
from properly caring for Mimi's deteriorating health. The scene takes place in Act 3, where Mimi
discovers the true reason behind Rodolfo's recent irritability towards her in his concern for her
well-being and his own dire financial situation.

01. Introduction