Monday, December 31, 2007

But Now What?

"Come, children, gather round my knee;
Something is about to be.
Tonight's December Thirty-First,
Something is about to burst.
The clock is crouching, dark and small,
Like a time bomb in the hall.
Hark! It's midnight, children dear.
Duck! Here comes another year."

Ogden Nash, "Good Riddance, but Now What?"

My family's 2008 will be full of transitions, with all of their accompanying angst and excitement. Can't wait.

Here's to a New Year of good health, happiness, and music. Happy 2008!


Friday, December 28, 2007

Life in the Pit

Greetings from Fraser, Colorado, the Icebox of the Nation. Yesterday's high at the top of the mountain was 10 below zero. Cold but breathtakingly beautiful.

I just took a few hours to catch up on blog surfing (something I have a lot of trouble keeping up with under normal circumstances) and found Arts Addict's recent post on the wacky things that go on in orchestra pits. Those of us who have spent time in pits always have stories to tell...

Like the production of Salome that called for full frontal nudity for a split second at the end of the Dance of the Seven Veils. I played the celeste in a downstage corner of the pit near the brass section and was perpetually amazed by the timing and coordination displayed by the musicians as they managed to play the last note and still stand up in time to peer over the pit lip before the blackout.

Like the crazy fog that furled over the edge of the stage and completely enveloped us every night during a run of My One and Only, making it impossible to see the music. They always promised to fix it, but we realized the only way to survive was to memorize the second half of the lamppost scene.

Like the 8 months of Cats I played - not in the pit, but in the 4th floor rehearsal room behind the theatre. See, the Cats scenic design spills out over the pit, and the musicians were relegated to the next block, where we literally phoned it in every night as our sound was piped into the theatre. It was a perk to show up every night in jeans and T-shirt, but it was a spooky feeling never to be in the same room as the rest of the show. (Actually, what was really spooky were the old Prophet V synthesizers. Each keyboard player had one in the room and a spare in the hallway, for they broke down regularly. Part of the job was unplugging the defunct unit, hauling it out of the room without making a sound, and plugging in a new one. No wonder I get hives whenever I hear Memory.)

Then there are those non-performance pit moments...

Like the time I ran out of the pit immediately following a piano dress rehearsal (that's an opera rehearsal onstage without orchestra, with a pianist playing the entire score) to spend the next half hour praying to the porcelain goddess in the ladies room. (I was in my first trimester of pregnancy, with "morning" sickness a 24/7 phenomenon.) By the time I emerged, the pit was locked tight, and my purse with car keys inside was held hostage inside. I finally convinced a security guard to open up the backstage area, but neither one of us could get the lights on. So we stood on the edge of the stage with long spears from the Lucia production, fishing blindly in the pit for my purse.

And finally, the Cosi piano dress that still makes me squirm when I think of it.

The conductor was a brilliant and famous pianist, and he decided at the last minute to include the overture in the rehearsal. (This isn't typical unless the overture is staged and has blocking cues in it. In this case, it was to be played before a closed curtain, so I didn't think I had to get it "in my fingers" to play it. Uh, wrong.) In short, I mangled a Mozart overture in front of a pianist I revered. I had a more difficult time than usual because the grand piano wasn't in the pit and had been replaced by a small upright piano that was far more difficult to play. (We ran out of the necessary crew time to get the grand in the pit.) The pitiful upright was also relegated to the far upstage corner of the pit, distancing me (woefully, but ultimately mercifully) from the conductor.

Some more background: During onstage rehearsals with piano, microphones are usually placed near the strings of the grand piano, piping the sound to backstage monitors so everyone can hear the accompaniment. This "feed" is also send to anyone on headset (stage managers, folks at the tech table, assistant director, etc.) I had forgotten that because I was playing an upright instead of a grand, the microphones were about 16 inches from me, pointed at the piano soundboard near my knees. As I massacred the overture, I began (uncharacteristically, I might point out) to curse under my breath. I knew the Maestro was too far away to hear me. What I didn't realize was that the microphones were not.

The laughter started surreptitiously then got louder. I cursed more strongly, knowing that I was playing badly, but not so badly that my colleagues should be laughing at me. Of course, they were laughing not at my playing but at the venomous language spewing from the keyboard microphones.

Perhaps, in the next post, stories from the life of a backstage conductor. Bribes, threats, sexual harrassment, and improvisation. All in a day's work.

Friday, December 21, 2007

For the Love of It

I'm reaching the point of dimishing return on this, the Friday before Christmas. I had grand plans for this week - lots of loose ends to tie up, and virtual bows to place on projects. Dreams of taking a guilt-free week off, without too many things undone. Optimism dies hard. Naïveté doesn't die at all, it seems.

Several weeks ago I spent a lovely evening with some friends and their extended family. Turns out that music plays an important part in their family life, even though (very possibly because) none of them are serious musicians. Just sing-around-the-piano type stuff. It made me susprisingly nostalgic for a kind of life in which music plays a much different part than it does in mine (and, I'm sure, most of yours).

Gradually, over the first few years that defined the beginning of my life as a professional musician, I came to terms with the developing schism between my personal life and music. It's not as dramatic as all that, I suppose, but there's a much bigger divide than I would've liked. I'm luckier than most, for my husband and kids are all fabulous musicians in their own rights. But sitting down after dinner and singing with aunts, uncles, and cousins for the fun of it? Uh, no.

You'll forgive me the Norman Rockwell tangent, I hope. This sentimental approach isn't usually a big part of my worldview, but I guess at this time of year, some of us can get a bit more slobbery than usual. I rail against the huge chunks of my life during which music only has dollar signs, spreadsheets, and research papers attached to it. At the same time, I'm endlessly thankful that I can make my living around it.

Where is this going? Two places, I suppose.

If you're an amateur musician, just know that on a certain level, those of us who work in the music business are envious of you.

And if your musical life sounds like mine, consider this a challenge to reconnect with the reasons that music sent your life off in this particular direction. There are ways in which it can continue to feed our souls if we let it.

With that, I sign off for a couple of weeks. I'll be back in January, rested, clear-headed and just as naïve as ever.

Friday, December 14, 2007

Competition: The 10-Year View

As requested, an historical overview of young artist applicants* for the Wolf Trap Opera Company:

*(None of these numbers include applicants for the Studio Program.)

The most striking thing is that we've seen a 100% increase in applicants over the last 10 years: from 399 singers vying for the 1999 season to 793 contenders for next summer's roster. Any theories to explain this are pure speculation. It could be that there are twice as many aspiring singers out there, or it could be that more people know about programs like ours. Or who knows what.

A few dramatic spikes in the number of applicants are directly related to specific events:

In 2004 we removed the age limit for our program, and the number of applicants increased by almost 40%. Almost all of those folks were over 30.

In 2007 we rolled out our online application process, making it much easier to apply. And this year, the word that we had an online interface seemed to have spread like wildfire (over 75% of our applications came in online). In addition, we in the young artist community believe that the presence of Yaptracker makes it a lot easier for singers to manage multiple program applications. (We're not the only company seeing an increase this fall.)

On average, we are hearing more and more singers live every year, though. Here's a list of the number of auditions heard over the same period:

Sure, the percentage of applicants heard this year was lower than over the previous nine years, but the sudden increase (22%) caught us off guard. I still have no idea what to do about it. We can't exactly expand our audition tour to accommodate that many more singers.

What They Sang

One more aria list: the opening selections by the singers who received offers from us for 2008.


Es gibt ein Reich
I Want Magic
Quando m’en vo
Sul fil d’un soffio etesio
Tower Aria
Zerbinetta (2)

Composer’s Aria
Parto, parto
Que fais-tu


Grimes’ Soliloquoy
I must with speed amuse her
Recondita armonia
Tarquinius’ Ride

Count’s Aria
Pierrots Tanzlied

Vi ravviso

Talk To Me

Don't forget the 30-second survey. Here. Tell me what to post about.
I've heard from about 200 readers so far, and the results are all over the map, so I'm not sure if it's going to help me narrow my focus. But perhaps that's the point


A Shout-Out to Bob Fincheimer: Tech is gonna be lucky to have you. You rock. We're so proud :)

Sunday, December 09, 2007

The Talk and the Titles

In case you've missed this, take a few minutes to read Holly Mulcahy's article in the The Partial Observer: It's Time for The Talk. "My teacher's talk to me was an attempt to bring reality into my life without crushing my dreams..."

Adaptistration called it to our attention, and Butts in the Seats goes further with the theme in this post that includes some sobering statistics.

Every aspiring performing artist should spend at least a few minutes considering these realities. As the original article states, it's not our desire to crush your dreams. But we in the opera business do a spookily good job of cheering people onward while failing to mention that there may be a serious disconnect between the journey and the goal. At best, we do it in the name of love for the art form, genuine respect and affection for the aspiring singers we know. At worst, we (administrators, teachers, mentors) do it to keep our organizations afloat and our mortgages paid.

Later the Same Evening

While on the road this fall, I missed the original series of the Maryland Opera Studio's performances of the latest Musto/Campbell collaboration: Later the Same Evening. Last Sunday I dashed out of the Wolf Trap sing-along (missing my favorite part, the candle-lit 'Silent' Night') to get to LTSE's final performance at the National Gallery of Art.

I'm prejudiced just a tiny bit toward John & Mark's work, so I had high expectations. The brilliant thing is that they were exceeded. John had sent me a working version of the score a few months back, and I had no time to spend with it during this hectic autumn. So I arrived at the opera like everyone else, with no knowledge of what I was about to hear.

Blogs being a written medium, there's little I can do here to convey the wit and beauty of John's score. I'm always discouraged with my attempts to translate music into words. I can, though, quote briefly from Mark's libretto - one of my favorite moments of the evening as young Jimmy O'Keefe describes his first evening at the theatre in the big city:

"It's just as I imagined,
Just as I imagined.
Stragglers rush in.
Programs are put away.
Purses snapped shut.
Talk ends mid-sentence.
The world stops.
And this roomful of strangers,
This roomful of strangers,
Is ready to laugh together,
And weep together,
Get bored together,
And sigh together..."

The National Gallery performance had no supertitles, and I didn't miss them for a single moment. Don't get me wrong - I am a fan of titles. I've run them, written them, and chanted their praises for over 20 years now. But the way that an opera in English in a small venue allows you to connect with the characters in real time without having to read... well, it's simply superior to the alternative. Are there ensemble moments during which you don't catch all of the text? Of course. Should you trust the composer, librettist, and performers to allow the audience to be guided toward which words should prevail at various moments? I believe so. And I know that you don't all agree with me. But living and breathing with these characters, and allowing them complete control over the timing of their communication with us meant that we (and Jimmy O'Keefe) got a change to laugh together and sigh together.

Pre-Holiday Blog Plans

Check back later this week for the final round of post-audition tour statistics. I'm putting together some historical stats that might show some trends in the number and type of singer applicants that we've received over the last 10-15 years. And in response to Chris Foley's cross-postings, I'll list the audition arias sung by the singers to whom we've extended offers for next summer.

The blog will then be on vacation for 2 weeks, returning the first week of January.

A reminder about audition notifications: If you were a Filene Young Artist finalist (if you received a callback audition this year), you should hear from us by the end of this week if I haven't been in touch with you already. If you were a Studio Artist finalist, you should hear from us by January 5. As always, if you have any doubt about your status, write to us at

Know Your Audience

There's a 30-second survey link at the top of the right column - I'm trying to gather some basic data about the demographics of my readers and what types of posts interest them. Simple, quick, anonymous.

That Time of Year

And I'm off to play another Messiah sing-along. I do love you George Frideric, but I could use just a little more variety...

Monday, December 03, 2007

More Aria Data

For the newly posted comprehensive list of arias heard during the 2008 tour, go to

The comprehensive list also gives you the panel's choices for second arias. I hesitated to do this, not wanting to feed into the wasted effort that singers tend to expend on worrying about and projecting what the panel will ask for. I decided to go for it, though, for the biggest thing that the data demonstrates is that it's silly to try to guess. When you churn it all out, it looks rather random. Not that there isn't logic - there's surprising agreement about second choices across many of the panels I've sat on. It's just that the choice is very specific to each individual singer in a particular situation. There are no magic equations. And that's a good thing.

This is a geeky singer entry, so if you're in search of a chatty post, you might want to check back later:)


The most-favored soprano aria was Norina's "Quel guardo / So anch’io" (5X), edging out the dozen or so arias that were listed more frequently on singers' 4-aria packages. "Deh vieni" was predictably popular (offered 4 times), and Manon's two scenes ("Je suis encore" and the Gavotte) were also right at the top.

The biggest surprise? Pamina's aria was on the lists of 30 sopranos. How many times was it offered? Once. (Note: this is a good thing. It takes a really precocious and persuasive artist to escape with her life in this aria.)

Other items of note: Emily's Aria from Our Town was popular, no doubt owing to recent conservatory productions of that Rorem opera. A few other popular items from the Aria Frequency list didn't make it into the audition room very often; "Caro nome" (thank heaven), "Come scoglio", "Ain't it a Pretty Night" and Micaela's aria.


Tied for first place as openers were the Composer's Aria, "Parto parto" and "Smanie implacabili." Close behind were "Que fais-tu" and "Svegliatevi" (the latter climbing way up the ladder compared to its presence on only 5 complete lists.)

"Va, laisse couler mes larmes" was listed frequently in aria packages (14 times) but was only used as an opener twice. Some of the popular arias from the comprehensive lists weren't heard at all this year (including "Wie du warst").


The big winner from the Aria Frequency list - Tamino's "Dies Bildnis" at 16 times - was only offered once. Hmmm... kind of like Pamina was with the sopranos...

The top choices that tenors made for openers were "Che gelida manina" and "Un’aura amorosa." Pretty crazy, huh?

"Una furtiva lagrima" retained its popularity from the list to the audition room, but the other runners-up - "O wie ängstlich" and "Il mio tesoro" fell quite a bit.


You can always count on baritones for consistency. Salt of the earth, those guys are.

The Count's Aria topped the lists of 29 baritones, and it also ended up at the top of the heap as an opening aria. It was joined in popularity during the tour by Harlekin's Aria (a popular choice for those singers who want to ease into the audition and guarantee a meaty second aria choice).

With the exception of Pierrot's Tanzlied, the runners-up on the aria package lists were poorly represented, though. We didn't hear a single Billy Budd scene (this saddens me for purely selfish reasons), Papageno's suicide scene was only offered twice, and Silvio only started off once.


A wild and wonderful amount of variety in this Fach. The original aria lists were weighted heavily toward "Se vuol ballare," both of Blitch's scenes, "Madamina" and "Vecchia zimarra." But the actual openers were all over the map, with only Madamina retaining an edge (3 times). Blitch's "Hear Me" did make it into the room, but "I'm a Lonely Man" wasn't heard at all.

What Does It Mean?

In general, a refreshing degree of variety this year. I received a recent email inquiry regarding the timeless question of standard rep vs. innovative arias. I often advocate for mixing up the contents of the aria package, for various reasons. Selfishly, of course, I like to hear new music. But I also like the presence of perhaps just one aria that shows artistic curiosity and a sense that the singer in question has a good enough feel for his particular strengths to make a strong unique choice.

That said, the standard rep is essential. Just like those compulsories in gymnastics. It enables the panel to take stock of what you have in your technical and musical toolkit. And we're so accustomed to using this standard repertoire to make inferences about how a singer might attack other works in those same idioms that the warhorse arias are a prism through which much else is refracted.

I have my challenges with them, though. The number of student-level Count's Arias and Smanie implacabili that I've heard over the years has begun to completely obscure my enjoyment of those scenes and any clarity I may have had about what it takes to sing them at the highest professional level.

So go ahead and fine something that will pique our curiosity. But be careful that it's not too difficult for a pianist to sightread. And realize that if you offer it in a situation where a second aria isn't guaranteed, you might (wrongly) be written off as someone who's trying to avoid those good old-fashioned challenges in the warhorses. Treat those new works like fine piquant spices, while retaining the integrity of those beautiful and powerful standard arias. Make those "compulsories" also sound as if they're new, fresh, exciting, and written just for you. Then you're really on your way.

2008 Audition Tour: List of Arias Heard

The previously posted Aria Frequency List comprises all of the arias listed by singers heard this year.

The list below represents the opening arias (always singer's choice) and the follow-up arias requested by the panel. The opening aria is listed first, with the various second choices in the [brackets].

This list is raw data. If you're looking for any intepretation and/or comparison, go here.

This is a tremendous amount of information that I've crunched in a brief time. Please forgive any typos that resulted.



Quel guardo / So anch’io [Ach ich fühl’s, Come now a roundel, Deh vieni (twice), Willow]

Deh vieni non tardar [O luce di quest’anima, What Good Would the Moon Be, Volta la terrea]
Je suis encore tout etourdie [Ach ich fühl’s, Ach ich liebte, I go to Him, Saper vorreste]
Manon’s Gavotte [Ach ich fühl’s, Just Jeanette’s Aria, Ruhe sanft, Willow]

Anne Trulove’s Scene [Doretta, O mio babbino caro, Ach ich fühl’s]
Donde lieta [Ain’t It a Pretty Night, Father I Beg You, Mi tradi]
Emily’s Aria from Our Town [Ah non credea, Norina, Una donna a quidici anni]
Fire Aria [Der Holle Rache, Durch Zärtlichkeit, Tornami]
Juliette’s Waltz [Dearest Mama, Norina, Tornami]
Mi chiamano Mimi [Come scoglio, O sleep, Steal Me]
O wär ich schon [Adieu, But You Do Not Know This Man, S’altro che lagrime]
Quando m’en vo’ [Batti batti, I Go to Him, Silver]
Sempre libera [I Go to Him, Quando rapita in estasi, Silver]
Song to the Moon [Come scoglio, I Want Magic, Porgi amor]
Sul fil d’un soffio etesio [Juliette’s Waltz, Les oiseaux, Scoglio d’immota fronte]

Ach ich liebte [Gothic Cathedral, Son vergin vezzosa]
Ah chi mi dice mai [Marietta, Un ob die Wolke]
Ah fuggi il traditor [Pamina, V’adoro pupille]
Ain’t it a Pretty Night [D’Oreste, Piangeró]
Come in quest’ora bruna [Come scoglio, I’m full of happiness]
Du gai soleil [Deh vieni, Tornami]
Durch Zärtlichkeit [Juliette’s Waltz, Volta la terrea]
Elle a fui [Ach ich fühl’s, Porgi amor]
I Want Magic [Come scoglio, Endless Pleasure]
Il est doux [Come scoglio, Friszka from Csardas]
Je dis [Ach ich fühl’s (twice)]
Jewel Song [Embroidery Aria, Love Me Big]
Lied der Lulu (yes, twice) [Credete al mio dolore, Durch Zärtlichkeit]
O luce di quest’anima [Be Kind and Courteous, Durch Zärtlichkeit]
O quante volte [Du gai soleil, Piangeró]
O zittre nicht [Joy Beyond Measure, Juliette’s Waltz]
Regnava [Je suis encore]
Steal Me [Non disperar, Sempre libera]
Zerbinetta (once complete, once partial) [A vos jeux]

Ach ich fühl’s [Tower Aria]
Bell Song [Prendi]
But You Do Not Know This Man [Quando m’en vo’]
Caro nome [Willow]
Depuis le Jour [Doretta]
Glitter and Be Gay [Fire]
Dearest Mama [Je suis Titani]
Deh per questo istante [Aria from Flight]
Dich theure Halla [Porgi amor]
Doretta [Da tempeste]
Dove sono [I Go to Him]
Es gibt ein Reich [Come scoglio]
Fee Aria from Cendrillon [Comme autrefois]
In uomini [I Go to Him]
Les ouiseaux dans la charmille [Be Kind and Courteous]
Mamelles de Tiresias [Sul fil]
Marie’s Lullaby from Wozzeck [Come scoglio]
Mariettas Lied [Ain’t It a Pretty Night]
Mein Herr Marquis [Quando m’en vo’]
Non mi dir [Csardas]
Nun eilt herbei [I Go to Him]
O quante volte [Ach ich liebte]
Pace pace [Or sai]
Piangeró [Je suis encore]
Pleurez mes yeux [Ernani involami]
Presentation of the Rose [Prendi]
Quando m’en vo’ [O wär ich schon]
Qui la voce [Les oiseaux]
Rita’s Aria from A Wedding [Caro nome]
Silver [Chacun le sait]
Tacea la notte [Porgi amor]
Tower Aria [Non disperar]
Una voce poco fa [Dearest Mama]
Volta la terrea [Torami]
Wo bin ich [Deh vieni]
Zdenka’s Aria [Prendi]


Venti, turbine [Cara sposa, Oberon]

Dove sei [Al lampo dell’armi]
Oberon [Va l’error mio palesa]
Volo pronto [Non so piu]


Composer [Non piu mesta, Non so piu, Per quell’Adon, Voi che sapete]
Parto Parto [Non piu mesta, Things Change Jo, Una voce, Must the Winter]
Smanie implacabili [Nobles seigneurs, Svegliatevi, Winter]

Que fais tu [Non so piu, Smanie, Winter]
Svegliatevi [Nobles seigneurs, Non so piu, Winter]

Must the Winter Come So Soon [Svegliatevi]
Non piu mesta [In uomini, Va]
Seguedilla [Lucretia, Margaret Garner Aria]
Stride la vampa [Dido’s Lament, Habanera]
Va, laisse couler mes larmes [In uomini, Iris Hence Away]

Baba the Turk [Ah mon fils]
Charlotte’s Letter Aria [La tremenda ultrice spada]
Cruda sorte [Voi che sapete]
Deh proteggimi [Dido’s Lament]
Estella’s Aria [Smanie]
Faites-lui mes aveux [Winter]
J’ai perdu mon Eurydice [Svegliatevi]
Lucretia’s Flower Aria [Smanie]
Madame de la Haltiere’s Scene [Va]
Nicklausse’s Violin Aria [Smanie]
Non so piu [Una voce poco fa]
Olga’s Aria [Smanie]
Pauline’s Aria [Spero per voi]
Presti omai [Cruda sorte]
Se Romeo [Iris Hence Away]
There is a Garden [Se Romeo]
Things Change Jo [Voi che sapete]
This Journey [Composer]
Voi che sapete [Composer]
Wie du warst [Voi che sapete]


Che gelida manina [Dies Bildness (twice), I Must With Speed Amuse Her]
Un’aura amorosa [Ecco ridente, Frederick’s Aria from Pirates, Guardian Angel]

Here I Stand [Un’aura, Dies Bildnis]
Lenski’s Aria [Wenn der Freude Tränen fliessen, Salut]
O wie ängstlich [Ah mes amis (twice)]
Si ritrovarla [Au mont Ida, Il mio tesoro]

A te o cara [I’m Like a Bird]
Albert the Good [Si ritrovarla]
Aria from Dona Francisquita [Una furtiva lagrima]
De miei bollenti spiriti [Dies Bildnis]
Pinkerton excerpts [Recondita armonia]
Dentro il mio petto [Jour et nuit]
Dies Bildnis (Una furtiva lagrima]
Durch die Wälder [Fuor del mar]
En fermant les yeux (Dies Bildnis]
Flamand’s Sonnet [Love Sounds th’Alarm]
Grimes’ Soliloquoy [Fuor del mar]
I Must With Speed Amuse Her [Salut]
Il mio tesoro [En fermant les yeux]
It’s About the Way People is Made [Italian Singer]
Je crois entendre [Lonely Town]
L’angue offeso [Vainement]
La paterna mano [Lonely House}
Lamento di Federico [No puede ser]
Lonely House [Una furtiva lagrima]
Una furtiva lagrima [Dies Bildnis]
O amore [A te o cara]
Parmi veder les lagrime [Horch die Lerche]
Quanto è bella (Il mio tesoro]
Questa o quella [Here I Stand]
Recondita armonia [Il mio tesoro]
Salut demeure chaste et pure [De miei bollenti spiriti]
Tarquinius’ Ride [Durch die Wälder]


Count’s aria [Avant de quitter, O du mein holder Abendstern, O Nadir, Onegin’s aria, Pierrot’s Tanzlied (twice)]

Harlekin [Yeletsky]

Pierrot’s Tanzlied [Ah per sempre, Largo, Rivolgete, Schaunard]

Ah, per sempre [Count’s aria (twice), Come Paride vezzoso]
Bella siccome un angelo (Count’s aria, Papageno Suicide (twice)]
Rivolgete [I’ll Be There (Grapes of Wrath), See the Raging Flames, Silvio)

Avant de quitter ces lieux [Count’s aria, Der Vogelfänger bin ich]
Donne mie [Ah per sempre, Maxim’s]
Carlo, ascolta / Io morró [Count’s aria, Rivolgete]
Largo [Deh vieni alla finestra, There Was a Knight]
Onegin’s aria [Count’s aria, Mab]
Papageno’s suicide scene [Bella siccome un angelo, Tickling a Trout]
Per me giunto [Tarquinius]
Vision fugitive [Se vuol ballare, Hal’s Memory (Plump Jack)]
Yeletsky’s aria [Leonor viens, Papageno’s Suicide]

Comme une pale fleur [Masetto]
Cortigianni [Pierrot’s Tanzlied]
Credo [Count]
Der Vogelfänger bin ich [Abendstern]
Mab [Pierrot’s Tanzlied]
Oh, Nadir [Count]
Questo amor [Donne mie]
Ragged Man’s aria (Grapes of Wrath) [Mab]
Schaunard’s scene [Papageno’s Suicide]
Se vuol ballare [Tarquinius]
Sibillar [Silvio]
So Dies My Paris Dream (The Tsar Has His Photograph Taken) [Silvio]
Tarquinius’ aria [Deh vieni alla finestra]
Toreador [Mein Vater (Amfortas)]


Madamina [Abendstern, Leave Me Loathsome Light, See the Raging Flames]

Il lacerato spirito [Vecchia zimarra]
In diesen heligen Hallen [I’m a Lonely Man, Vecchia zimarra]
O Isis und Osiris [Non piu andrai, Sorge infausta]
Se vuol ballare [King Rene’s Prayer, Papageno Suicide]
Vi ravviso [See the Raging Flames, Sorge infausta]

Abendlich strahlt [Epouse quelque brave fille]
Aprite un po’ [Abendstern]
Come dal ciel [Mefistophele Serenade]
Gremin’s Aria [Se vuol ballare]
Hear Me O Lord [Donne mie]
La calunnia [Il lacerato spirito]
La vendetta [In diesen heiligen Hallen]
Mephistofele Serenade [Sorge infausta]
More Sweet is That Name [I miei rampolli femminini]
O Beauty [Gremin]
O du mein holder Abendstern [Sorge infausta]
O wie will ich triumphieren [Piff Paff]
See the Raging Flames Arive [Masetto]
Sibillar gli angui d 'Aletto [Quand la flame]
Water Gnome Aria [Mephistofele Serenade]
Wie schön is doch die Musik [Sorge infausta]