Top 10 Favourite Arias

I thought I'd do something different today; my last two posts have been in-depth analyses of two arias, 'Vissi D'arte' from 'Tosca' by Puccini, and 'Sempre libera' from 'La traviata' by Verdi. I've been trying to accumulate a list of my top ten favourite arias, and I think I finally have a top ten that I'm happy with! To narrow it down, they're all either soprano or mezzo-soprano arias, all solos. Links to my favourite version of each aria are linked in their names, along with a gif of that particular performance below the text. As always, I hope you enjoy this post. Without further ado, let's get on with the top ten!

10.) 'Der Hölle Rache kocht in meinem Herzen' - Mozart's 'Die Zauberflöte'
This aria is sung by the Queen of the Night in Act II of Mozart's last opera, first performed on September 30th 1791 in Vienna, Austria. 'Der Hölle Rache', as it's commonly abbreviated to, is performed by the Queen of the Night as a way of telling her daughter, Pamina, to either assassinate her rival Sarastro, or face being denied and cursed. The aria is probably the most famous soprano aria of all time, due to its fiendish coloratura, and the multiple high Fs that are required to be sung (there are 4, I believe). Furthermore, there are thirty high Cs; the full vocal range spans exactly two octaves, from F4-F6. Mozart composed the aria for his friend's wife, who despite her unusually high tessitura, was reportedly extremely underwhelming on stage - Mozart composing the aria was a means to show off her vocal talents.
Favourite version: German soprano Diana Damrau's.

09.) 'O mio babbino caro' - Puccini's 'Gianni Schicci'
'O mio babbino caro', or 'My Dear Father' in English, has often brought some notoriety, as it is often performed by extremely young singers (children and teens) before they have been properly taught how to sing, when in actually fact, this aria is difficult, for there are many high Abs and sustained notes. Singing this aria without extensive training can damage the voice badly. The range of this aria is between the Eb above middle C and the Ab below high C. 'O mio babbino caro' is the main aria in one of Puccini's lesser-known operas 'Gianni Schicci'; Puccini's main four are 'La bohème', 'Madama Butterfly', 'Tosca', and 'Turandot'. However, 'O mio' itself is quite famous. It is sung by the character of Lauretta, played by a soprano, after the tensions between her father Schicci and her lover Rinuccio become so bad she can bear it no longer.
Favourite version: Russian soprano Anna Netrebko's.

08.) 'L'amour est oiseau rebelle' ('Habanera') - Bizet's 'Carmen'
The first mezzo-soprano aria in this countdown! 'Habanera' is an extremely famous song, from Bizet's only successful opera, set in 1820s Spain. 'Carmen' is also known for the fact that it features a mezzo-soprano in the leading role, instead of a soprano, the voice type which is usually featured in the female main roles. 'L'amour est oiseau rebelle' translates to 'Love is a rebellious bird'; it is sung provocatively by Carmen to attract the young men in the square they are in. The range of Habanera is one octave and four semitones, from D4-F#5, with a tessitura from D4-D5. The aria is in D minor, and is performed in the fifth scene of the first act.
Favourite version: Romanian soprano Angela Gheorghiu's.

07.) 'Una voce poco fa' - Rossini's 'Il Barbiere di Siviglia'
Another non-soprano aria! This aria features in the first act of Rossini's popular opera, originally based on a story which is the prequel to the story that Mozart's 'Le nozze di Figaro' is based upon. 'Una voce' was originally intended as a contralto aria, written in E major, although it's sometimes transposed up for coloratura sopranos to sing; they add on cadenzas which enable them to showcase their top range, often performing up to high F (F6). The aria translates to 'A Voice a Little While Ago' - it is the main female character Rosina's cavatina (meaning a short song of simple character). The character of Rosina was originally intended to be played by a contralto, but due to the rarity of true contraltos, the role is more commonly performed by mezzo-sopranos, or even sopranos. To suit  in the latter two voice types, the B4, which is the third-last note sung, is transposed up an entire octave to B5.
Favourite version: American/Greek soprano Maria Callas's.

06. 'Quando m'en vo' - Puccini's 'La bohème'
Perhaps the most well-known aria in one of the world's most celebrated and love operas, 'Quando m'en vo' is also known as 'Musetta's Waltz', therefore it's written in 3/4 time. Musetta sings the aria to make her former lover Marcello jealous. 'Quando m'en vo' translates to 'When I walk'. Like 'Una voce poco fa', this aria is written in E major, although this time, the highest note (B5) isn't optional. Musetta is a provocative, enigmatic role, played by a soprano; in the opera, she is a singer. The full range is E4-B5.
Favourite version: Russian soprano Anna Netrebko's.

05.) 'Voi che sapete' - Mozart's 'Le nozze di Figaro'
Getting into the top five! 'Voi che sapete' is sung by the page Cherubino, who despite is male in the opera, is actually played by a woman; originally the role was played by a soprano, but because the role doesn't often go very high, it's also played by mezzo-sopranos. The aria's title translates to 'Ladies, You Know What Love is' - Cherubino has an adolescent crush on Countess Almaviva, and then sings this aria, accompanied by Susanna on the guitar, basically describing the new emotions he is feeling. The key of this aria is Bb major, and the range is middle C to the F below high C.
Favourite version: Italian mezzo-soprano Cecilia Bartoli's.

04.) 'Un bel di, vedremo' - Puccini's 'Madama Butterfly'
'Un bel di, vedremo': an extremely challenging and stunningly beautiful aria. It is sung in the beginning of Act II of the opera, when the main character Butterfly, played by a soprano, imagines her husband, the American soldier Pinkerton, returning to her. The key in in Gb major, with six flats, and the vocal range spans almost two octaves, from Db4-Bb5. The aria is often translated into English, therefore the title is 'One Fine Day'. Classical crossover singers often sing it in English. 'Un bel di, vedremo', is perhaps one of Puccini's most famous arias, and definitely the most famous one in 'Madama Butterfly'.
Favourite version: Romanian soprano Angela Gheorghiu's.

03.) 'Sempre libera' - Verdi's 'La traviata'
(For a full analysis of this cabaletta, please read my earlier post here). Verdi's most tragic opera contains my third favourite aria, 'Sempre libera', or 'Always Free', in English. 'Sempre' is a stunning aria, detailing how rich courtesan Violetta Valéry knows that, because she is a prostitute, she must stay free, always happy, and just enjoying life, even though she is fascinated by the fact that the aristocrat Alfredo Germont is in love with her. There is an optional Eb6 in the aria, but many famous sopranos, including Anna Netrebko and Angela Gheorghiu, choose to omit it; however, other well-known opera singers such as Emma Matthews and Maria Callas decide to sing it, enhancing the aria indescribably. Excluding the optional high Eb, the range of 'Sempre libera' is from C4-Db6.
Favourite version: Australian soprano Emma Matthews's.

02.) 'Où va la jeune Indoue' ('Bell Song') - Delibes's Lakmé'
Number two! The 'Bell Song' from Delibes's only famous opera 'Lakmé' is the second most prominent aria in this opera, behind 'Sous le dôme épais' (The 'Flower Duet'). It lasts eight minutes, and is sung by the title character after her father, Nilakantha, the high priest, forces her to; he intends to find her lover, the French soldier Gérard, after he trespassed on sacred Indian ground. Nilakantha reasons that, if Lakmé sings, she will attract the attention of the unfortunate soldier. The aria is renowned for the opening unaccompanied cadenza, which lasts about thirty seconds. A modified repeat of the said cadenza happens about five minutes into 'Où va la jeune Indoue', albeit with music. In the cadenza, the soprano sings up to high E, although opera singers such as French soprano Natalie Dessay have substituted even higher notes, such as G6 and even G#6 in its place. The aria changes key many times.
Favourite version: Australian soprano Emma Matthews's.

01.) 'Vissi d'arte' - Puccini's 'Tosca'
My favourite aria is 'Vissi d'arte', simply because of the beautiful music and despairing tone. A more in depth analysis of this can be found on my blog (here is a link). It is sung by the main character Floria Tosca after Baron Scarpia, the chief of police, gives her the following ultimatum: she must sleep with him to let her lover Cavaradossi, who is currently awaiting is execution, go free, or let Cavaradossi die. It's an impossible choice, and 'Vissi d'arte' showcases how Tosca never did anything wrong, was always a lovely, compassionate human being - even if she was prone to being jealous - definitely not deserving the choice being presented to her. The aria is written in Eb minor, although it is sometimes transposed down to D minor, so that the top not is A5 instead of Bb5.
Favourite version: Romanian soprano Angela Gheorghiu's.

Until next time,
India

Opera Arias #2: La traviata's 'Sempre libera'

The cabaletta - meaning a simple aria with a repetitive rhythm - 'Sempre libera' triumphantly marks the end to the first act of perhaps Verdi's most acclaimed opera, and one of the most famous operas of all time, 'La traviata', which translates to 'The Fallen Woman'. The opera centres around the popular, rich courtesan Violetta Valéry, and how she gives up her lover Alfredo to save his family's honour, as her association with him upsets his sister's marriage plans. Violetta leaves without ever telling Alfredo the truth; some months later, she falls ill to a disease (I believe it is tuberculosis). On her deathbed, Alfredo rushes to her side, and begs for forgiveness, which Violetta grants him. Moments later, she dies.

American/Greek soprano Maria Callas as Violetta, ca. 1958

'Sempre libera' translates to 'Always Free'. It is sung by Violetta in solitude, soon after Alfredo declares that he loves her. Fascinated by this pure expression of love, and the fact that love is against the nature of a courtesan. After singing the slower, more philosophical aria 'Ah, fors'è lui', or 'Ah, Perhaps He is the One', Violetta bursts into 'Sempre libera', the happier, faster cabaletta, detailing how she wishes to - and the constraints of her profession demand her to - live always free, day in day out, and her thoughts 'should always fly'.

Australian soprano Emma Matthews as Violetta, 2012

'Sempre libera' is sung in the key of Ab major; being in a major key already gives the impression of happiness and joy. This is further accentuated by the performance direction 'assai brillante' (very bright) written above the first phrase of the cabaletta. The tempo in the beginning piece is another instrument in detailing the quick, dazzling, delightful nature of the song; the time signature is 6/8, with eighty-four crochet beats per minute. This stays the same until Alfredo's content voice is heard - his voice is almost echoing, haunting Violetta. Here, the time signature changes to 3/8, and the performance direction is simple 'andantino', which means slightly faster than the common performance direction 'andante'; 'andante' simple translates to 'at a walking pace'. This is clever symbolism, as Alfredo himself is walking, and singing at such a pace. This rapidly transitions to common time, or 4/4, as Violetta begins singing once again. Her words "Folly! Folly!" indicate her feelings as to Alfredo's declaration of love. She cannot understand why such a man would feel such things towards a woman who is, essentially, an upper class prostitute. There are many examples of fast coloratura runs, all loud and bright, showing that Violetta is enjoying her life, but things won't stay the same for long, as implied by the minor key diminished chord that she sings at the end of each phrase. Violetta's ringing soprano Cs further emphasise her felicity, but Alfredo's short passages abruptly snap her out of her reverie. Determined to prove to herself that she really is happy, and is in her prime, she begins to sing even higher in the modified repeat of the first verse; here she reaches top D flat, and does many more long runs and trills. There is an optional Eb6 as the penultimate note of the cabaletta - I have head it performed by some opera singers who play Violetta, although some don't, preferring to stick to the way the role is traditionally sung. An example of the Eb6 can be heard here, performed by Australian soprano Emma Matthews - an example of the Eb6 not being present can be heard here, with Romanian soprano Angela Gheorghui singing Violetta. Personally, I prefer when the Eb6 is sung, as I find it the epitome of a successful 'Sempre libera'; it shows the lengths Violetta goes to show that, even though she has just been away from society for a long while as the result of plaguing illness which she eventually succumbs to, she is rich, successful, and beautiful, with or without Alfredo. While Alfredo sings he short verse, Violetta utters the words "Oh! Oh! Love! Madness! Euphoria!" - this betrays 'Sempre libera', which Violetta sings to show she has no strings attached to her, she is truly free and aimless. In those five words, she reveals her true feelings; she is very much intrigued to see Alfredo, even though she knows it is 'madness', as a courtesan shouldn't fall in love with anyone from the upper class.

Romanian soprano Angela Gheorghui as Violetta, ca. 1994

'La traviata' was first performed on 6th March 1853 in Italy, at the La Fenice opera house in Venice. Verdi originally entitled the opera 'Violetta', the first name of the title character, but then changed it to 'La traviata', what Violetta realises herself to be in the first scene of Act II. Verdi himself appreciated his work - he felt technically, his opera 'Rigoletto' was better, but from the eyes of an amateur, 'La traviata' emotionally resonated much more. I find this to be absolutely true - 'La traviata' may be based on one of the clichéd plot lines (two people meet and fall in love, but then one has to sacrifice the other), but Verdi's simple, dramatic, and hypnotic telling of this ensures that 'La traviata' will always have a place among the most powerful and celebrated operas in history.

Albanian soprano Ermonela Jaho as Violetta, 2010

My favourite version of 'Sempre libera': Australian soprano Emma Matthews's performance, from 2012. Aside from her hitting a magical, phenomenal high Eb at the end of the piece, she fills it with Violetta's trademark joy and happiness, yet includes an underlying tone of sadness that never mellows. It is linked in her name; a gif from the performance can be found below.

Until next time,
India

Opera Arias #1: Tosca's 'Vissi D'arte'

'Vissi D'arte' is arguably one of the most famous soprano arias ever written. It appears near the end of Act II of Puccini's opera 'Tosca', first performed over one hundred years ago, on 14th January 1900, in Rome, Italy. Tosca, the main character, sings it in total anguish, in the form of a prayer to God, asking 'why he rewards her thus?' Just before the aria is performed (and the reason for its presence) Baron Scarpia, the chief of police, tells Tosca that, in order to save her lover Cavaradossi's life - he is sentenced to death by firing squad - she must sleep with him. 'Vissi D'arte' is essentially Tosca's cry of anguish; she reasons that, although she has never done anything wrong, she is still being faced with an impossible choice: either way, she will have to betray Cavaradossi, in the form of sleeping with another man, or not doing everything she could to save his life.

Czech soprano Emmy Destinn as Tosca, ca. 1914

The the first two lines of the aria, from the opening words 'Vissi d'arte' to the last words in the second line 'ad anima viva' are in the key of Eb minor and have the time signature 2/4. This changes, from the following line, which begins with the word 'Sempre', to the end of the aria - the new key signature is Eb major, and the new time signature is common time, or 4/4. The words, written above the first three bars, 'Lento Appassionato', meaning slow passion in English, are relevant throughout the entire piece, for it is fundamentally Tosca's slow, intense, sorrowful prayer. The part of Tosca is one written for a soprano, therefore the aria is typically sung by one in galas and performances, however mezzo-sopranos such as Russian Elena Obraztsova, have sung it (a link to her performance can be found here. The range of 'Vissi D'arte' spans one and a half octaves, from the Eb after middle C, to the Bb a full tone below high C (or 'soprano C'). The aria is sometimes transposed down a tone, so that the highest note is an A (I believe an example of the aria being transposed down can be found here; it is a version performed by American soprano Leontyne Price. A version performed in the original key can be found here; it is sung by American-Greek soprano Maria Callas). Dynamics in 'Vissi D'arte' starkly contrast - the beginning is performed pianissimo, and gradually increases in volume: the high Bb flat is performed forte. After that, the piece undergoes a sharp decrescendo, once again back to pianissimo, where it remains until the end of the aria.

American/Greek soprano Maria Callas as Tosca, ca 1964

'Vissi D'arte' is arranged in four verses: the first verse speaks of how Tosca 'lived for art' (the direct translation of the aria's title), never harmed anyone, and always tried to correct any and all mistakes she ever made. The next verse talks about how she was always faithful to God, always prayed and laid flowers at the altar. The last two verses are Tosca's screams of why did she deserve this fate, when she had tried to live her life as a compassionate, selfless human being, who cared and respected others. The lyrics are extremely powerful, in my opinion, and make you feel outraged on her behalf - she does not deserve to be put in this awful position.

South African soprano Amanda Echalaz as Tosca, 2013

Interestingly enough, the aria almost never made it to the final version of 'Tosca' - Puccini felt that there was a significant difference between the dynamics and tempo of the aria compared to the rest of Act II, which had been heated exchanged between Baron Scarpia, Cavaradossi, and Tosca herself. The writer Julian Buddem argued that. The Italian critic Luigi Torchi said that 'Vissi D'arte' was 'a curious dramatic improbability of no musical significance', based upon the fact that the aria often feels like a performance itself, a break away from the rest of Act II. I believe the aria's presence is important, as it stuns the audience, and offers a glimpse into Tosca's heart and soul; the audience doesn't receive any other opportunity for this in the opera. Arguing in favour of the aria remaining in the opera, the author Julian Budden said: 'at this supreme crisis it is plausible that the singer's past should unroll before her in an expanded moment: a life devoted to art, love and religious observance'. Maria Callas also said that she felt concerned over the aria, as it had the power to bring 'Tosca' to a halt, losing the tension that Act I and Act II before it had created - she also thought it should be cut. But, thankfully, the audience loved the aria, therefore it stayed in the opera.

American soprano Patricia Racette as Tosca, 2011

'Vissi D'arte' could be called one of the most dramatic and captivating arias of all time, for when it is sung with true physical and emotional capability, creates a plethora of emotions and thoughts. It is a truly beautiful, hypnotic, stunning piece of opera, one that has been loved by viewers and audiences worldwide, for over a hundred years, and all of the years to come.

My favourite version of 'Vissi D'arte': Romanian soprano Angela Gheorghiu's performance, from 2011. I couldn't decide whether I preferred Angela's version, or Maria Callas's version, but Angela's stunning Bb5 is what made me decide to go with her. Rarely is a 'Vissi d'arte' not only sung technically beautifully, but with so much passion and despair. Her 2011 performance is linked in her name; a gif of the same performance can be found below.

Until next time,
India