"Il est doux, il est bon" is an aria from Jules Massenet's opera Hérodiade, sung by the character Salome. In this aria, Salome expresses her deep admiration and affection for Jean (John the Baptist), describing him as kind and gentle. She is captivated by his spiritual purity and strength, contrasting with the corrupt world around them. The aria reflects Salome’s reverence and emotional longing, set against the dramatic and sensual atmosphere of Massenet's operatic interpretation of the biblical story.

Il est doux, il est bon

In Les Contes d'Hoffmann by Jacques Offenbach, "La Chanson d'Olympia" is an aria sung by the character Olympia, a mechanical doll brought to life by the inventor Spalanzani. The aria occurs in Act 2 of the opera, where Olympia performs for Hoffmann, a poet who is enamored with her. As she sings, the audience quickly realizes that Olympia is not a real woman, but rather an artificial creation. Her aria is bright, playful, and seemingly full of life, reflecting her mechanical nature. It's also a significant moment in the opera, as it reveals the tragic irony of Hoffmann’s infatuation with something that is essentially a lifeless object. The aria is often associated with Olympia's robotic movements and mechanical precision, which contrast starkly with Hoffmann’s romantic illusions.

La Chanson d'Olympia

In the first act of Bellini's La Sonnambula ("The Sleepwalker"), Amina sings this aria during the joyous celebration of her engagement to Elvino. She expresses her pure happiness and gratitude, marveling at how serene and beautiful the day feels as she prepares to marry the man she loves. Her innocent and loving nature shines through in this moment, making the later conflict—when she is mistakenly believed to be unfaithful—especially heartbreaking. The aria showcases Bellini’s signature long, lyrical phrases that highlight Amina’s tenderness and emotional sincerity.

Come per me sereno

In Mark Adamo’s opera Little Women, this aria occurs in Act II when Meg, now married to John Brooke, reflects on how life inevitably changes. She gently urges Jo to accept the passage of time and the evolving nature of their relationships. Meg reassures Jo that although they will always be sisters, they cannot remain children forever. The aria’s warm, lyrical lines express Meg’s love for Jo while underscoring the opera’s central theme: the bittersweet nature of growing up and embracing change.

Things change, Jo

This aria comes from Act 2 of Giuseppe Verdi’s last opera, Falstaff. Ford is convinced that his wife is soon to cuckhold him after he learns that Falstaff has arranged to secretly meet Alice, Ford’s wife.  He sings “Is it a dream or reality? Am I growing two horns on my head?”

È sogno o realtà

The aria "Re dell’abiso, affretati" is sung by the character Ulrica in Un ballo in maschera. Ulrica is a fortune-teller who has been summoned to provide a prophecy for the main character, Riccardo (the king). In this aria, she calls upon spirits from the underworld to hasten the arrival of ominous fate. The lyrics invoke the "King of the Abyss" to bring about the fulfillment of the dark prophecy she has foreseen. This aria reflects Ulrica's eerie and mysterious character, as she confidently predicts doom and misfortune for Riccardo and others involved in the unfolding drama. It is one of the opera's key moments, filled with a sense of foreboding and supernatural power.

Re dell'abiso affrettati

In Carlisle Floyd's opera Susannah, the aria "Ain't it a Pretty Night" is sung by the title character, Susannah, in Act I. Set in rural Tennessee, the opera follows the young and innocent Susannah Polk, who becomes the target of small-town hypocrisy. In this aria, Susannah sits under the stars, reflecting on the beauty of the night and dreaming of a life beyond her small mountain town. The aria captures her youthful innocence, longing, and hope for a better future before the events of the opera take a darker turn. 

Il est doux, il est bon

CROpera

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