"After You Hear Me Out" is an aria from Tom Cipullo's opera Glory Denied, which is based on the true story of Colonel Jim Thompson, the longest-held American prisoner of war in Vietnam. The opera explores the profound personal and emotional consequences of his nine-year captivity and subsequent return home. This particular aria captures a moment of intense vulnerability and emotional conflict. Thompson, upon returning home, finds that everything has changed, including his relationship with his wife, Alyce. In "After You Hear Me Out," Alyce attempts to explain the complex feelings and decisions she made during his absence, seeking understanding and reconciliation. The aria reflects her struggle to convey her experiences and justify her actions, revealing the deep scars left by the war on their marriage and individual identities.

After You Hear Me Out

Ophelia's mad scene aria in Ambroise Thomas's opera Hamlet occurs in Act 4. This is one of the most dramatic and poignant moments of the opera, showcasing Ophelia's descent into madness following the death of her father, Polonius, and Hamlet's rejection. Her mental state deteriorates as she grapples with grief and betrayal, ultimately leading her to lose touch with reality. In this scene, Ophelia sings a series of fragmented and disjointed songs that reflect her inner turmoil and confusion. The music captures her fragile emotional state, combining moments of haunting beauty with expressions of despair, culminating in a tragic and moving portrayal of her breakdown. At the end of the scene, Ophelia drowns herself in the lake.

A vos jeux, mes amis

The aria "But Who May Abide" is part of George Frideric Handel's Messiah, a sacred oratorio composed in 1741. This particular aria appears in the second scene of Part I, which focuses on the prophecy of Christ's coming and the anticipation of His arrival. Sung by a countertenor or bass, the aria draws from Malachi 3:2, posing the question of who can endure the day of the Lord's coming and withstand His purifying presence. The music reflects the awe and fear associated with divine judgment, combining dramatic vocal lines with rich orchestration to convey the intensity and solemnity of the moment.

But who may abide

"Deh, vieni non tardar" is an aria from Act 4 of Mozart's opera Le Nozze di Figaro (The Marriage of Figaro). In this scene, Susanna sings while disguised as the Countess in the garden at night. The aria is part of a plot to trick Count Almaviva, who has been pursuing Susanna despite being married to the Countess. Susanna pretends to sing a love song to her secret lover, but she is actually expressing her affection for her fiancé, Figaro, who is secretly listening. The aria highlights Susanna's wit and the opera's themes of love and deception.

Deh vieni non tardar

In Donizetti's Lucia di Lammermoor, the aria "Fra poco a me ricovero" is sung by the character Edgardo in Act 3. Following the tragic marriage of Lucia to another man, Edgardo, deeply heartbroken and despairing, has retreated to the Wolf’s Crag. In this aria, he expresses his profound grief and prepares himself for death, believing that he will soon find peace in the grave. The aria is a poignant reflection of his sorrow, love, and resignation to his fate, marking one of the opera's most emotionally intense moments.

Fra poco a me ricovero

The Diamond Aria, "Scintille, diamant," is sung by the character Dapertutto in Act II of Jacques Offenbach's opera The Tales of Hoffmann. Dapertutto is one of the opera's villains, representing a sinister and manipulative figure. In this aria, he sings to a diamond, using its brilliance to lure the character Giulietta into betraying Hoffmann by stealing his reflection. The aria is characterized by its dark, seductive qualities, reflecting Dapertutto's malevolent influence over Giulietta.

Diamond Aria

The "Tanzlied des Pierrots" is a captivating aria from Erich Wolfgang Korngold's opera Die tote Stadt (1920). It is sung by the character Fritz, a close friend of the protagonist Paul. In this scene, Fritz adopts the persona of Pierrot, a melancholy clown, and sings a haunting, lyrical serenade during a gathering. The aria reflects themes of loss and longing that resonate with the opera’s exploration of grief and obsession. Musically, it showcases Korngold's lush orchestration and his ability to blend bittersweet melodies with rich harmonic textures.

Tanzlied des Pierrot

"Parmi veder le lagrime" is a tenor aria from Act II of Giuseppe Verdi's opera Rigoletto. Sung by the character the Duke of Mantua, it reflects a moment of rare sincerity. In this aria, the Duke contemplates the sorrow he perceives in Gilda, Rigoletto's daughter, whom he has seduced. The aria reveals a glimpse of remorse or empathy from the otherwise libertine character, as he believes Gilda’s tears are caused by his own actions. The beautiful yet melancholic melody underscores the emotional conflict within the Duke.

After You Hear Me Out

CROpera

Related tracks