Beloved opera arias and songs
The stories behind
Saturday, August 2, 2025
Mozart, Le nozze di Figaro, Hai già vinta la causa
Zhihao Enzo Ying, baritone; Hao Wu, piano
In Act III, Count Almaviva has just overheard that Susanna, whom he is trying to seduce, has agreed to marry Figaro. Furious and suspicious, he believes he’s being outwitted by his servants and wife. The aria captures his jealousy, paranoia, and wounded pride, as he vows revenge. It’s a turning point in the opera, revealing the Count’s loss of control and setting the stage for the comedic unraveling of his schemes.
Handel, Acis and Galatea, As when the dove laments her love
Zhangguanglu Wang, soprano; Shuyi Xie, piano
This aria appears in Act I of Handel’s Acis and Galatea, during a peaceful and romantic moment. Galatea is expressing her love and longing for Acis, comparing herself to a dove that mourns when her mate is absent, express her own emotional state — grief in separation, and joy in reunion.
Mozart, Le nozze di Figaro, Non so più cosa son, cosa faccio
Megan Gurer, soprano; Yitong Tao, piano
Cherubino, a teenage page overwhelmed by romantic feelings, confesses his confusion and uncontrollable desire for every woman he sees. Mozart’s music captures Cherubino’s hormonal frenzy and innocence, blending humor with genuine emotion.
Handel, Giulio Cesare, V'adoro pupille
Tianna Vanderhoeven, soprano; Yitong Tao, piano
Cleopatra, disguised as “Lidia,” attempts to enchant Julius Caesar. She sings of her love and admiration, using music and beauty to win his heart. Handel’s composition is lush and sensual, with instrumental accompaniment that enhances Cleopatra’s allure.
Mozart, Don Giovanni, Batti, batti, o bel Masetto
Olivia Siri, soprano; Yitong Tao, piano
Zerlina tries to soothe her jealous fiancé Masetto, who suspects her of flirting with Don Giovanni. She playfully invites him to punish her if it will restore his trust. Mozart’s music blends flirtation and sincerity, revealing Zerlina’s cleverness and emotional depth.
Purcell, Dido and Aeneas, Dido's Lament
Megan Gurer, mezzo-soprano; Yitong Tao, piano
This haunting aria, “When I am laid in earth,” is sung by Queen Dido as she prepares for death after being abandoned by Aeneas. It’s the emotional climax of Purcell’s only opera, expressing profound sorrow and resignation. The descending bass line mirrors Dido’s descent into despair, making it one of the most powerful laments in opera history.
Mozart, Le nozze di Figaro, Deh vieni, non tardar
Zhangguanglu Wang, soprano; Shuyi Xie, piano
Susanna is pretending to be in love with the Count to lure him into a trap, as part of a larger scheme to expose his infidelity. However, as she sings, her true feelings for Figaro (her fiancé) begin to surface, making the aria a mix of playful deception and genuine affection.
Mozart, Vesperae solennes de confessore, Laudate Dominum
Tianna Vanderhoeven, soprano; Tim Bach, piano
Mozart’s composition based on Psalm 117 expresses praise to God for His steadfast love and faithfulness.
Donizetti, L’elisir d’amore, Prendi, per me sei libero
Alexandra Billhartz, soprano; Shuyi Xie, piano
Nemorino, believing Adina doesn’t love him, nobly releases her from their engagement. His quiet heartbreak and selflessness reveal a depth of character that moves Adina to reconsider her feelings. The music is tender and sincere, blending comic opera with genuine emotional weight. Donizetti captures the bittersweet moment when love seems lost but is, in fact, just beginning to bloom.
Mozart, Le Nozze di Figaro, Non più andrai
Wenbo Liu, baritone; Yitong Tao, piano
Figaro gleefully mocks Cherubino’s romantic escapades, warning him that military life will be far less glamorous than chasing women. The aria is full of rhythmic energy and comic bravado, painting a vivid contrast between youthful flirtation and the discipline of army life. Mozart’s wit shines through the music, making it a crowd favorite.
Mozart, Die Zauberflöte, Ach, ich fühls
Xinyi Liu, soprano; Shuyi Xie, piano
Pamina, heartbroken and confused, believes Tamino no longer loves her. Her sorrow unfolds in a slow, aching melody that captures the fragility of love and trust. The aria’s simplicity and emotional clarity make it one of the most poignant moments in the opera, revealing Mozart’s gift for expressing deep feeling through music.
Nicolai, Die Lustige Weiber von Windsor, Nun eilt herbei
Amy Harris, soprano; Shuyi Xie, piano
Die lustigen Weiber von Windsor is a comic opera based on Shakespeare’s The Merry Wives of Windsor. In this scene, Frau Fluth calls upon wit and good humor as she prepares to outsmart the pompous Sir John Falstaff, who has sent identical love letters to both her and Frau Reich (Mrs. Page).
~ Intermission ~
Ravel, L'enfant et les sortilèges, Arriere! Je rechauffe les bons, "Fire aria"
Gabriela Martinez, soprano; Shuyi Xie, piano
The opera follows a mischievous child who, after throwing a tantrum and damaging household objects, finds himself in a magical world where those objects and animals come to life to confront him. The Fire, once a comforting presence in the hearth, is now furious after being mistreated—burned and spilled. It lashes out at the child, warning of its destructive power.
Massenet, Manon, En fermant les yeux
Frank Watnick, tenor; Hao Wu, piano
Des Grieux dreams of a peaceful life with Manon, imagining her as a loving and faithful wife. His vision is tender and idealistic, filled with longing for a happiness that always seems just out of reach. Massenet’s lush orchestration and lyrical lines create a moment of romantic escape before tragedy returns.
Massenet, Werther, Frère voyez...du gai soleil
Alexandra Billhartz, soprano; Shuyi Xie, piano
Sophie, full of youthful optimism, tries to cheer up the melancholic Werther. Her bright, cheerful melody contrasts sharply with the opera’s darker emotional undercurrents. Massenet uses her lightness to offer a brief respite from the surrounding sorrow, highlighting the innocence and hope that still exists in a world of heartbreak.
Puccini, Turandot, Tu che di gel sei cinta
Lintong Tao, soprano; Hao Wu, piano
Liù, a humble servant, chooses death over betraying Calaf’s identity. Her final words are a quiet act of defiance and love, directed at the cold-hearted Princess Turandot. Puccini’s music swells with emotion, honoring Liù’s courage and sacrifice.
Korngold, Die Tote Stadt, Mein Sehnen mein Wähnen
B Schaubhut, baritone; HaoWu, piano
Pierrot reflects on the fleeting nature of dreams and memories, offering a moment of introspection amid the opera’s surreal atmosphere. Korngold’s rich harmonies and lyrical phrasing evoke a sense of nostalgia and longing. The aria serves as a poetic interlude, capturing the opera’s themes of love, loss, and illusion.
Barber, Vanessa, Must the winter come so soon
Annabelle Sweet, mezzo-soprano; Shuyi Xie, piano
Erika laments the emotional coldness that surrounds her, both in the house and in her life. The sparse orchestration and haunting melody mirror her inner desolation. Barber’s music paints a bleak emotional landscape, setting the tone for the opera’s exploration of unspoken desires and generational silence.
Argento, Six Elizabethan Songs, No. 3, Winter
Olivia Siri, soprano; Shuyi Xie, piano
Shakespeare’s biting imagery of winter is brought to life through Argento’s modern yet lyrical setting. The song captures the season’s harshness and emotional chill, using crisp rhythms and stark harmonies. It’s a vivid musical portrait of nature’s cruelty and the loneliness it can evoke, wrapped in elegant poetic language.
Moore, The Ballad of Baby Doe, Warm as the autumn light
Jason Yang, baritone; Hao Wu, piano
Baby Doe reflects on her love for Horace Tabor, recalling the warmth and beauty of their early days together. The aria is filled with nostalgia and quiet strength, as she clings to memories in the face of hardship. Moore’s American lyricism gives the piece a heartfelt, folk-like quality.
Menotti, The Medium, Monica's Waltz
Xiao Liu, soprano; Shuyi Xie, piano
Monica sings to the mute Toby, imagining a romantic dance and a world where they can express their love freely. Her innocence and imagination contrast with the dark, supernatural world around her. Menotti’s music is lyrical and theatrical, capturing both the sweetness of young love and the eerie tension of the opera.
Menotti, The Medium, The Black Swan
Zhangguanglu Wang, soprano; Yitong Tao, piano
Baba is a fraudulent medium who begins to unravel psychologically after experiencing a real supernatural event during one of her staged séances. Monica, a daughter and helper of Baba, sings this eerie lullaby to calm her. The song has a mournful tone and imagery of a black swan, which is often a symbolic of death or transformation.
Heggie, Three Decembers, Charlie’s Aria
B Schaubhut, baritone; Hao Wu, piano
Set in December 1986, Charlie’s aria takes place in his San Francisco apartment as he reads his mother Madeline’s annual Christmas letter. Despite being with his partner Burt for five years, Madeline mistakenly refers to him as “Curt,” a small but deeply painful oversight that reflects her emotional distance and lack of acceptance. Charlie, already grappling with Burt’s declining health due to AIDS, is overwhelmed by grief, frustration, and longing for his mother’s recognition.
Deng Yao, Arirang Suite
Xiao Liu, soprano; Hao Wu, piano
Drawing from the beloved Korean folk song “Arirang,” this suite weaves themes of longing, separation, and resilience. Deng Yao’s arrangement blends traditional melodies with contemporary textures, creating a rich emotional landscape. The music honors cultural heritage while expressing universal feelings of sorrow and hope.
Strauss, Die Fledermaus, Spiel ich die Unschuld vom Lande
Xinyi Liu, soprano; Hao Wu, piano
Adele, masquerading as a glamorous guest at a ball, mocks the idea of playing a naive country girl. Her aria is a brilliant display of vocal agility and comic timing. Strauss uses sparkling melodies and playful rhythms to highlight Adele’s wit and ambition, making her one of the opera’s most charming characters.
The stories behind
Saturday, August 2, 2025
Mozart, Le nozze di Figaro, Hai già vinta la causa
Zhihao Enzo Ying, baritone; Hao Wu, piano
In Act III, Count Almaviva has just overheard that Susanna, whom he is trying to seduce, has agreed to marry Figaro. Furious and suspicious, he believes he’s being outwitted by his servants and wife. The aria captures his jealousy, paranoia, and wounded pride, as he vows revenge. It’s a turning point in the opera, revealing the Count’s loss of control and setting the stage for the comedic unraveling of his schemes.
Handel, Acis and Galatea, As when the dove laments her love
Zhangguanglu Wang, soprano; Shuyi Xie, piano
This aria appears in Act I of Handel’s Acis and Galatea, during a peaceful and romantic moment. Galatea is expressing her love and longing for Acis, comparing herself to a dove that mourns when her mate is absent, express her own emotional state — grief in separation, and joy in reunion.
Mozart, Le nozze di Figaro, Non so più cosa son, cosa faccio
Megan Gurer, soprano; Yitong Tao, piano
Cherubino, a teenage page overwhelmed by romantic feelings, confesses his confusion and uncontrollable desire for every woman he sees. Mozart’s music captures Cherubino’s hormonal frenzy and innocence, blending humor with genuine emotion.
Handel, Giulio Cesare, V'adoro pupille
Tianna Vanderhoeven, soprano; Yitong Tao, piano
Cleopatra, disguised as “Lidia,” attempts to enchant Julius Caesar. She sings of her love and admiration, using music and beauty to win his heart. Handel’s composition is lush and sensual, with instrumental accompaniment that enhances Cleopatra’s allure.
Mozart, Don Giovanni, Batti, batti, o bel Masetto
Olivia Siri, soprano; Yitong Tao, piano
Zerlina tries to soothe her jealous fiancé Masetto, who suspects her of flirting with Don Giovanni. She playfully invites him to punish her if it will restore his trust. Mozart’s music blends flirtation and sincerity, revealing Zerlina’s cleverness and emotional depth.
Purcell, Dido and Aeneas, Dido's Lament
Megan Gurer, mezzo-soprano; Yitong Tao, piano
This haunting aria, “When I am laid in earth,” is sung by Queen Dido as she prepares for death after being abandoned by Aeneas. It’s the emotional climax of Purcell’s only opera, expressing profound sorrow and resignation. The descending bass line mirrors Dido’s descent into despair, making it one of the most powerful laments in opera history.
Mozart, Le nozze di Figaro, Deh vieni, non tardar
Zhangguanglu Wang, soprano; Shuyi Xie, piano
Susanna is pretending to be in love with the Count to lure him into a trap, as part of a larger scheme to expose his infidelity. However, as she sings, her true feelings for Figaro (her fiancé) begin to surface, making the aria a mix of playful deception and genuine affection.
Mozart, Vesperae solennes de confessore, Laudate Dominum
Tianna Vanderhoeven, soprano; Tim Bach, piano
Mozart’s composition based on Psalm 117 expresses praise to God for His steadfast love and faithfulness.
Donizetti, L’elisir d’amore, Prendi, per me sei libero
Alexandra Billhartz, soprano; Shuyi Xie, piano
Nemorino, believing Adina doesn’t love him, nobly releases her from their engagement. His quiet heartbreak and selflessness reveal a depth of character that moves Adina to reconsider her feelings. The music is tender and sincere, blending comic opera with genuine emotional weight. Donizetti captures the bittersweet moment when love seems lost but is, in fact, just beginning to bloom.
Mozart, Le Nozze di Figaro, Non più andrai
Wenbo Liu, baritone; Yitong Tao, piano
Figaro gleefully mocks Cherubino’s romantic escapades, warning him that military life will be far less glamorous than chasing women. The aria is full of rhythmic energy and comic bravado, painting a vivid contrast between youthful flirtation and the discipline of army life. Mozart’s wit shines through the music, making it a crowd favorite.
Mozart, Die Zauberflöte, Ach, ich fühls
Xinyi Liu, soprano; Shuyi Xie, piano
Pamina, heartbroken and confused, believes Tamino no longer loves her. Her sorrow unfolds in a slow, aching melody that captures the fragility of love and trust. The aria’s simplicity and emotional clarity make it one of the most poignant moments in the opera, revealing Mozart’s gift for expressing deep feeling through music.
Nicolai, Die Lustige Weiber von Windsor, Nun eilt herbei
Amy Harris, soprano; Shuyi Xie, piano
Die lustigen Weiber von Windsor is a comic opera based on Shakespeare’s The Merry Wives of Windsor. In this scene, Frau Fluth calls upon wit and good humor as she prepares to outsmart the pompous Sir John Falstaff, who has sent identical love letters to both her and Frau Reich (Mrs. Page).
~ Intermission ~
Ravel, L'enfant et les sortilèges, Arriere! Je rechauffe les bons, "Fire aria"
Gabriela Martinez, soprano; Shuyi Xie, piano
The opera follows a mischievous child who, after throwing a tantrum and damaging household objects, finds himself in a magical world where those objects and animals come to life to confront him. The Fire, once a comforting presence in the hearth, is now furious after being mistreated—burned and spilled. It lashes out at the child, warning of its destructive power.
Massenet, Manon, En fermant les yeux
Frank Watnick, tenor; Hao Wu, piano
Des Grieux dreams of a peaceful life with Manon, imagining her as a loving and faithful wife. His vision is tender and idealistic, filled with longing for a happiness that always seems just out of reach. Massenet’s lush orchestration and lyrical lines create a moment of romantic escape before tragedy returns.
Massenet, Werther, Frère voyez...du gai soleil
Alexandra Billhartz, soprano; Shuyi Xie, piano
Sophie, full of youthful optimism, tries to cheer up the melancholic Werther. Her bright, cheerful melody contrasts sharply with the opera’s darker emotional undercurrents. Massenet uses her lightness to offer a brief respite from the surrounding sorrow, highlighting the innocence and hope that still exists in a world of heartbreak.
Puccini, Turandot, Tu che di gel sei cinta
Lintong Tao, soprano; Hao Wu, piano
Liù, a humble servant, chooses death over betraying Calaf’s identity. Her final words are a quiet act of defiance and love, directed at the cold-hearted Princess Turandot. Puccini’s music swells with emotion, honoring Liù’s courage and sacrifice.
Korngold, Die Tote Stadt, Mein Sehnen mein Wähnen
B Schaubhut, baritone; HaoWu, piano
Pierrot reflects on the fleeting nature of dreams and memories, offering a moment of introspection amid the opera’s surreal atmosphere. Korngold’s rich harmonies and lyrical phrasing evoke a sense of nostalgia and longing. The aria serves as a poetic interlude, capturing the opera’s themes of love, loss, and illusion.
Barber, Vanessa, Must the winter come so soon
Annabelle Sweet, mezzo-soprano; Shuyi Xie, piano
Erika laments the emotional coldness that surrounds her, both in the house and in her life. The sparse orchestration and haunting melody mirror her inner desolation. Barber’s music paints a bleak emotional landscape, setting the tone for the opera’s exploration of unspoken desires and generational silence.
Argento, Six Elizabethan Songs, No. 3, Winter
Olivia Siri, soprano; Shuyi Xie, piano
Shakespeare’s biting imagery of winter is brought to life through Argento’s modern yet lyrical setting. The song captures the season’s harshness and emotional chill, using crisp rhythms and stark harmonies. It’s a vivid musical portrait of nature’s cruelty and the loneliness it can evoke, wrapped in elegant poetic language.
Moore, The Ballad of Baby Doe, Warm as the autumn light
Jason Yang, baritone; Hao Wu, piano
Baby Doe reflects on her love for Horace Tabor, recalling the warmth and beauty of their early days together. The aria is filled with nostalgia and quiet strength, as she clings to memories in the face of hardship. Moore’s American lyricism gives the piece a heartfelt, folk-like quality.
Menotti, The Medium, Monica's Waltz
Xiao Liu, soprano; Shuyi Xie, piano
Monica sings to the mute Toby, imagining a romantic dance and a world where they can express their love freely. Her innocence and imagination contrast with the dark, supernatural world around her. Menotti’s music is lyrical and theatrical, capturing both the sweetness of young love and the eerie tension of the opera.
Menotti, The Medium, The Black Swan
Zhangguanglu Wang, soprano; Yitong Tao, piano
Baba is a fraudulent medium who begins to unravel psychologically after experiencing a real supernatural event during one of her staged séances. Monica, a daughter and helper of Baba, sings this eerie lullaby to calm her. The song has a mournful tone and imagery of a black swan, which is often a symbolic of death or transformation.
Heggie, Three Decembers, Charlie’s Aria
B Schaubhut, baritone; Hao Wu, piano
Set in December 1986, Charlie’s aria takes place in his San Francisco apartment as he reads his mother Madeline’s annual Christmas letter. Despite being with his partner Burt for five years, Madeline mistakenly refers to him as “Curt,” a small but deeply painful oversight that reflects her emotional distance and lack of acceptance. Charlie, already grappling with Burt’s declining health due to AIDS, is overwhelmed by grief, frustration, and longing for his mother’s recognition.
Deng Yao, Arirang Suite
Xiao Liu, soprano; Hao Wu, piano
Drawing from the beloved Korean folk song “Arirang,” this suite weaves themes of longing, separation, and resilience. Deng Yao’s arrangement blends traditional melodies with contemporary textures, creating a rich emotional landscape. The music honors cultural heritage while expressing universal feelings of sorrow and hope.
Strauss, Die Fledermaus, Spiel ich die Unschuld vom Lande
Xinyi Liu, soprano; Hao Wu, piano
Adele, masquerading as a glamorous guest at a ball, mocks the idea of playing a naive country girl. Her aria is a brilliant display of vocal agility and comic timing. Strauss uses sparkling melodies and playful rhythms to highlight Adele’s wit and ambition, making her one of the opera’s most charming characters.