GIOACCHINO ROSSINI: “A un dottor della mia sorte” from The Barber of Seville (1816)
The Barber of Seville follows the schemes of Figaro, the barber, who assists Count Almaviva in his pursuit of Rosina’s heart. Unfortunately, Rosina is a ward of Dr. Bartolo’s, who plans on marrying her for her beauty and riches. This aria takes place after Bartolo sees Rosina slipping a letter to the Count, and is unconvinced by her excuses.
—Christine Le, MM '26
GAETANO DONIZETTI: “O luce di quest'anima” from Linda di Chamounix (1842)
Donizetti’s opera Linda di Chamounix tells a classic love story. Linda, the daughter of two poor farmers, has been sought after by the rich Marquis, who promised to finance the struggling farmers in return for her love. Linda, however, loves another. Her heart belongs to the impoverished painter Carlo. In this aria, which occurs in the first act of the three-act opera, she sings of her devotion to him. She remarks that she and Carlo were supposed to meet in a forest where they could be alone, but she had arrived late, and all she could find were the flowers that Carlo had left for her. As the aria goes on, the setting of the text becomes more frantic as she falls deeper and deeper into her love spell. The music is full of turns, scales (both diatonic and chromatic), and sky-high climax points. In this way, the listener can feel her passion for him as she sings her high praises for Carlo.
—Simon Sadiković, MM '26
W. A. MOZART: “Se vuol ballare” from Le nozze di Figaro (1786)
“Se vuol ballare” comes from Mozart’s Le nozze di Figaro (The Marriage of Figaro), a comic opera that critiques aristocratic privilege. Premiered in 1786, the opera follows the clever servant Figaro as he thwarts the lecherous advances of his employer, Count Almaviva, who hopes to seduce Figaro's fiancée, Susanna. The aria is sung by Figaro as he plots to outwit the Count, veiling his defiance in polite dance metaphors. The opera is notable for its social commentary, lively ensemble writing, and brilliant character development.
—Julian Dürr, MM '26
GAETANO DONIZETTI: “O mio Fernando” from La Favorita (1840)
“O mio Fernando” is a dramatic aria from Donizetti’s grand opera La Favorita, which premiered in 1840. Set in fourteenth-century Spain during the Moorish wars, the opera centers on the tragic love between Leonora, the mistress (“favorite”) of King Alfonso XI, and the noble warrior Fernando, who is unaware of her royal entanglements. In this aria, Leonora, consumed by guilt and sorrow, confesses her past and pleads for forgiveness. La Favorita blends romantic passion with political intrigue, and this aria stands as a powerful expression of emotional vulnerability and vocal virtuosity in the bel canto tradition.
—Julian Dürr, MM '26
CHARLES GOUNOD: “Amour, ranime mon courage” (Poison Aria) from Roméo et Juliette (1867)
In this dramatic aria from Act IV of Gounod’s Roméo et Juliette, Juliette prepares to take a sleeping potion that will make her appear dead, allowing her to escape an arranged marriage and reunite with Romeo. As fear and doubt threaten to overwhelm her, she calls upon love to give her the strength to carry out the plan. This aria captures Juliette’s emotional turmoil and unwavering devotion in one of the opera’s most poignant moments.
—N. F. Pratama, MM '25
CHARLES GOUNOD: Stephano’s Song, “Que fais-tu” from Roméo et Juliette (1867)
Though not originally in Shakespeare’s classic tragedy, the character of Stephano, Romeo’s page, was added to Gounod’s Roméo et Juliette by librettists Jules Barbier and Michel Carré. In this scene, the young and pompous Stephano entertains himself through song while Romeo reappears from his secret marriage ceremony with Juliette. Mustering seemingly innocent lyrics about a lovely turtledove (Juliette) held hostage by vultures (the Capulets), Stephano is rooting for Romeo’s union with Juliette, just from the wrong perspective—by adding more brimstone to the ardent fire of discord between the Montagues and Capulets.
—Harold Rivas Perdomo, MM '25
