I PAGE 14

PROGRAMME Donde Lieta usci ...................................................... Giacomo Puccini

1. Libiamo .................................................................... Guiseppe Verdi From La Boheme,
From La Traviata,
"Donde Lieta Usci" is an aria from the opera "La Bohème," depicting the
2. Recitativo, Cavatina e Cabaletta..................... Gaetano Donizetti story of Mimi and Rodolfo in mid-19th century Paris the Act 1 of "La
From Maria Stuarda,
Bohème" introduces us to a group of bohemian friends living in Paris in
3. Sul fil d’un soffio etesio .......................................... Guiseppe Verdi
From Falstaff,
the 19th century. The central characters are the poet Rodolfo, the painter
Marcello, the musician Schaunard, and the philosopher Colline. They are
4. Semre Libera............................................................ Guiseppe Verdi
From La Traviata, struggling artists, living in a cold and cramped attic. Rodolfo meets and
falls in love with Mimì, a poor seamstress. Their love blossoms quickly,
5. Merce, dilette amiche ............................................ Guiseppe Verdi
From I Vespri Siciliani, but Rodolfo is haunted the fear of Mimì's declining health.

6. Ah! Je vais l’aimer...................................................... Hector Berlioz

From Beatrice et Benedict, In this aria, the lovers decide to part ways as Rodolfo fears his financial
struggles prevent him from properly caring for Mimi's deteriorating
7. Vainement, ma bien-aimée ........................................ Eduard Lalo
From Le Roi d'Ys, health. The scene takes place in Act 3, where Mimi discovers the true
reason behind Rodolfo's recent irritability towards her in his concern for
8. O du, Mein Holder Abendstern .......................... Richard Wagner
From Tannhäuse, her well-being and his own dire financial situation.

9. Kommt ein schlanker Bursch gegangen ........ Carl Maria von Weber's
From Der Freischütz,

10. Jak možna věřit ................................................. Bedřich Smetana

From The Bartered Bride,

11. Kuda-Kuda ........................................................................................

 PAGE 13 II
PROGRAMME
O fior del giorno ............................................................ Giacomo Puccini 12. Se Come voi Piccina ........................................... Giacomo Puccini
From Edgar From Le Villi.,

“O fior del giorno” is an aria from one of Giacomo Puccini’s operas, “Edgar”.
Singing this aria is Fidelia, who is a young village girl in love with a Flemish
knight named Edgar. The scene takes place at the main square of a Flemish
village in April and behind the village is Edgar’s house. Near it is an almond
13. O fior del giorno ................................................. Giacomo Puccini
From Edgar,
14. Donde Lieta usci ................................................. Giacomo Puccini
From La Boheme,

tree in bloom, a church, and an inn. The dawn brightens the beautiful
setting while Edgar is asleep in front of the inn. Fidelia walks through the
square of the village looking upon the flowers on the tree and she finds that
their perfume brings her hope.
 PAGE 1
Libiamo ................................................................... Guiseppe Verdi
From La Traviata,
The aria "Libiamo" is a lively and celebratory drinking song performed
in the first act of "La Traviata." Sung the characters Violetta and
Alfredo, it marks the opening of a party scene. The word "Libiamo"
translates to "Let's drink" in English, and the song encourages the
characters and the audience to raise their glasses in a toast to the
pleasures of life, love, and friendship.
"La Traviata," it is a tragic opera that revolves around the courtesan
Violetta Valéry and her ill-fated love affair with Alfredo Germont. The
opera explores themes of love, sacrifice, societal expectations, and
the consequences of choices made under societal pressure. "Libiamo"
is a brief moment of joy and festivity in the opera before the story
takes a more somber turn.
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Se Come voi Piccina ...................................................... Giacomo Puccini
From Le Villi.,
The aria’s scene plays out in the bloom of springtime season where family
and friends gather in celebration of Anna and Roberto’s engagement.
Roberto is leaving before the ceremony to claim an inheritance but assures
Anna that everything will be fine: they will get married on his from Mainz.
With fleeting innocence, she puts little flowers in his suitcase as she sings
her heart out to herself – wishing that he never forgets about her. Anna
eagerly anticipated for Roberto’s return. But just as the seasons passed like
clockwork, so did she when the bitter cold of winter crept in.
 PAGE 11 PAGE 2
Kuda-Kuda Recitative, Cavatina and Cabaletta .............................. Guiseppe Verdi
From Maria Staurda,
Recitative
Act I of Maria Stuarda features a pivotal Recitativo that spotlights Queen Elizabeth
I. Recitative, a form of sung dialogue, serves as a narrative device in opera,
allowing characters to communicate essential information and express immediate
emotions in a conversational style. In this recitative, Queen Elizabeth I, engages in
a dramatic exchange of words, revealing her thoughts, intentions, and the
complexities of her relationship with Mary. The Recitativo in Act I unfolds against
the backdrop of the historical conflict between the two queens. The scene may be
set in the royal court, where political intrigue and personal vendettas intertwine.
Queen Elizabeth I, through the recitative, reveals her suspicions, fears, and perhaps
a deep-seated rivalry with Mary. The music in this section provides a dynamic and
expressive foundation for the unfolding dialogue, emphasizing the urgency and
emotional intensity of the moment.
Cavatina
The Cavatina in Act I serves as a lyrical centerpiece, allowing Queen Elizabeth I to
step into the spotlight and share her personal reflections with the audience.
Cavatinas are solo arias that often highlight a character's emotional depth and
vulnerability. In this section, the music and lyrics combine to convey the
complexities of Queen Elizabeth I's feelings, providing a window into her soul. Set
against the backdrop of the Tudor court, the Cavatina reveals Queen Elizabeth I in a
more intimate light. Freed from the constraints of political posturing, the character
opens up to the audience, unveiling a range of emotions—from regal authority to
inner turmoil. This aria typically follows a recitative and precedes a cabaletta,
creating a dynamic structure that builds tension and anticipation.
Cabaletta
The Cabaletta in Act I is a dynamic and virtuosic aria that follows the Cavatina.
Often characterized a faster tempo and heightened dramatic intensity, the
cabaletta provides Queen Elizabeth I with an opportunity to assert her power and
determination. This section of the opera is a showcase of vocal prowess,
expressing the character's resolve and the consequences that may follow. Taking
place within the royal court, the Cabaletta sees Queen Elizabeth I responding to
the emotional revelations of the Cavatina. This aria is a dramatic turning point,
where the character transforms vulnerability into strength. The music and lyrics
combine to convey the urgency and decisiveness of Queen Elizabeth I's actions,
setting the stage for the unfolding conflicts and power struggles.
 PAGE 3
Sul fil d’un soffio etesio ................................................. Guiseppe Verdi
From Falstaff,
“Sul fil d'un soffio etesio'' which translates to “On the breath of an etesian
breeze” is a beautiful aria from the opera, Falstaff, composed Giuseppe
Verdi, an Italian composer of operas during the 19th century and is
considered one of the greatest composers in the history of opera. This aria
is performed in Act III, Scene 1 of the opera and sung the character,
Nanetta, who is in love with Fenton. In this aria, Nanetta expresses her
yearning for her lover and the joy she feels in their love. The aria starts with
a delicate orchestral introduction that sets a dreamy and ethereal mood as
Nanetta sings about the power of love. She compares love to a gentle
breeze that brings joy and happiness to one's life. The music is filled with
lyrical phrases and soaring melodies, which reflects Nanetta’s feelings, her
hopeful and youthful innocence, and romantic outlook on life.
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Jak možna věřit ....................................................... Bedřich Smetana
From The Bartered Bride,
The aria "Jak možna věřit" from Bedřich Smetana's opera "The Bartered
Bride" expresses a sense of skepticism and distrust. It is sung the
character Mařenka. Here's the approximate meaning of the aria:
In this aria, Mařenka is expressing doubt and a lack of trust in people.
She questions how it is possible to trust others, suggesting that people,
especially foolish ones, always find a way to deceive or disappoint.
Mařenka is frustrated and wary of the situation she finds herself in, as
the opera's plot revolves around her being promised in marriage to a
man she does not love.
The aria reflects her emotional turmoil and her struggle to come to
terms with her predicament. Mařenka's character is known for her
strong-willed and independent nature, and in this aria, she expresses
her inner conflict and skepticism about the intentions of those around
her.
 PAGE 9 PAGE 4
Kommt ein schlanker Bursch gegangen .... Carl Maria von Weber's Semre Libera..................................................................... Guiseppe Verdi
From Der Freischütz, From La Traviata,

"Kommt ein schlanker Bursch gegangen" is an aria from Carl Maria von “Sempre Libera” is an aria from the opera “La Traviata” Giuseppe Verdi.
Weber's opera "Der Freischütz." The opera, composed in 1821, is a Sempre Libera means “Always free”. This aria is sung the protagonist,
cornerstone of German Romantic opera and is known for its evocative Violetta Valéry, it encapsulates the essence of her character and serves as a
and atmospheric score. The aria occurs in Act II, and it is sung the powerful expression of her inner turmoil and desire for freedom. Violetta
character Ännchen. The title can be translated to "A slim boys come longs for a life unrestrained societal expectations and conventions.
along," and the aria is a charming, folk-like song that serves to lighten the Throughout the opera, she is torn between her love for Alfredo Germont
mood of the opera. Ännchen, the lively and flirtatious cousin of the and demands of her social status. In this aria, she declares that she will
female protagonist, Agathe, sings this aria as she teases and pokes fun at always be free to follow her own desires and passions.
the male characters in the opera. The aria reflects Ännchen's playful and
mischievous personality and provides a moment of humor in the midst
of the opera's darker themes.
In the context of the opera, the plot revolves around a young marksman
named Max, who makes a pact with the devil to ensure success in a
shooting competition. However, the devil's influence leads to unintended
consequences, and Max faces moral dilemmas and challenges. While the
aria "Kommt ein schlanker Bursch gegangen" doesn't directly contribute
to the main plot, it adds character depth and showcases Weber's ability
to infuse his opera with both dramatic and lighthearted moments. The
aria allows for a brief respite from the opera's tension and serves as a
delightful musical interlude within the larger narrative.
 PAGE 5
Merce, dilette amiche ...................................................... Guiseppe Verdi
From I Vespri Siciliani,
"Merce, dilette amiche" is an aria from the opera I Vespri Siciliani Giuseppe
Verdi that translates to "Thank you, beloved friends." In this aria, the
character Elena expresses her conflicted emotions as she prepares for
marriage. The music is characterized its lyrical and expressive qualities,
showcasing Verdi's mastery in conveying the emotional depth of the
character. The aria features a beautiful melodic line and provides a moment
of introspection within the larger context of the opera's dramatic narrative.
Verdi's use of orchestration and vocal writing contributes to the overall
emotional impact of "Merce, dilette amiche" within the operatic setting.
PAGE 8
“O du, Mein Holder Abendstern ................................... Richard Wagner
From Tannhäuse,
“Tannhäuser” or its full title “Tannhäuser und der Sängerkrieg auf Wartburg”
(Tannhäuser and the Minnesängers contest in Wartburg) is an opera in
three acts, composed Richard Wagner in 1845. Its libretto is based on two
German legends: the story of Tannhäuser and the tale of the Wartburg Song
contest. It combines the mythological elements found in German Romantic
Opera and the medieval setting found in French Grand Opera. The story
revolves around Tannhäuser’s struggle between pure and lustful love. It
starts with Tannhäuser being exposed to profane love, and from there, he
journeys on to seek and be redeemed pure and sacred love.
“O du, Mein Holder Abendstern'' (Song to the Evening Star) is a baritone aria
from the Third act of Richard Wagner’s opera, Tannhäuser. In this aria,
Wolfram, a minnesinger, had just witnessed his beloved, Elisabeth, pray to
the heavens to take her life in exchange for the pardoning of the sins of her
loved one, Tannhauser. Wolfram had always admired Elisabeth from afar
but insisted on having a platonic relationship with her even if Elisabeth is in
love with an undeserving man. Being a chivalrous man, he did not stop
Elisabeth from having her prayer come true, instead, he prays to the stars to
guide her journey to heaven.
 PAGE 7
Vainement, ma bien-aimée ............................................ Eduard Lalo
From Le Roi d'Ys,
Eduard Lalo, a 19th-century French composer, is celebrated for his
opera "Le Roi d'Ys," a work that showcases his mastery of lyrical
expression and orchestral color. Premiered in 1888, "Le Roi d'Ys" is
renowned for its rich and evocative score, blending Romantic
sensibilities with French operatic tradition. Lalo's opera delves into
themes of love, sacrifice, and betrayal set against the legendary Breton
tale of a submerged city. Through sumptuous orchestration and
captivating melodies, Lalo brings to life a story filled with passion,
tragedy, and the complexities of human emotions, solidifying his place
as a notable composer within the operatic realm of the late 19th century.
The aria "Vainement, ma bien-aimée" takes on added poignancy as it's
sung Mylio on the dawn of his wedding day to Rozenn. This moment
intensifies the emotional weight of the aria, as Mylio, despite the
impending ceremony, expresses the heartbreaking realization that his
love for Rozenn will remain unreciprocated. The contrast between the
joyous occasion of the wedding and Mylio's inner turmoil creates a
poignant and emotionally charged atmosphere, adding depth to the
aria's themes of unrequited love and despair.
PAGE 6
Ah! Je vais l’aimer................................................................ Hector Berlioz
From Beatrice et Benedict,
"Beatrice et Benedict" is an opera comique written Hector Berlioz, inspired
William Shakespeare's play "Much Ado About Nothing." Set in the Sicilian
town of Messina, the opera revolves around the verbal sparring and
eventual love between the witty and independent Beatrice and the equally
sharp-tongued but confirmed bachelor, Benedict. Despite their initial
reluctance to admit their feelings, their friends conspire to bring them
together, leading to a comedic and heartwarming exploration of love,
misunderstandings, and the folly of denying true emotions.
Context about the Aria "Ah! Je vais l'aimer" (sung Benedict):
"Ah! Je vais l'aimer" is an aria sung Benedict in Act II of "Beatrice et
Benedict." In this aria, Benedict expresses his surprise and realization that he
is falling in love with Beatrice, despite his earlier assertions against
marriage. The aria reflects Benedict's internal conflict as he grapples with
the unexpected stirrings of love within him. The aria is a pivotal moment in
the opera, marking the shift in Benedict's perspective on love and
foreshadowing the resolution of the romantic plot.