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Ariana Iniguez, soprano: Carceleras, from Las hijas del Zebedeo, by Ruperto Chapí (1851–1909).
This lyric love song (romanza) has been a favorite of sopranos and mezzos, both Spanish and foreign.
Samantha Hornback, soprano : O luce di quest’anima, from Linda di Chamounix, by Gaetano Donizetti (1797–1848).
Linda sings of her love for Carlo, the “light of her soul.”
Piper Pack-Smith, mezzo-soprano : Re dell’abisso, affrettati, from Un ballo in maschera, by Giuseppi Verdi (1813–1901).
The fortune-teller Ulrica calls upon the King of the Abyss to give her the power to see the future.
Note: Video and audio recordings of this aria have been removed at the singer’s request.
Michelle Perrier, soprano: Guilleaume Walzer, from Zehn Mädchen und kein Mann, by Franz von Suppé (1819–1895).
Jamey Wright, soprano : Ach, ich fühl’s, from Die Zauberflöte, by W. A. Mozart (1756–1791).
Pamina fears that the absent Tamino does not love her.
(tie) Mark Hockenberry, baritone: Votre toast, je peux vous le rendre, from Carmen, by Georges Bizet (1838–1875).
In the famous Toreador Song, Escamillo conveys the excitement of the bull ring and the reward—love!
(tie) Kristen Lucas, soprano: Glitter and Be Gay, from Candide, by Leonard Bernstein (1918-1990).
Cunegonde is surviving as a courtesan. She assuages her guilt and shame by reveling in her luxurious lifestyle.
Abigail Hart, soprano : Ah! Je veux vivre, from Roméo et Juliette, by Charles Gounod (1818–1893).
When others speak of marriage, Juliet sings that she prefers to live inside her dream, in eternal spring.
Soleil Oliva, soprano: Klänge der Heimat, from Die Fledermaus, by Johann Strauss II (1825–1899).
Rosalinda, disguised as a Hungarian countess, sings a rousing csárdás to prove her nationality.