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
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