"Quando m'en vo'," also known as Musetta's Waltz, is a captivating aria from Giacomo Puccini's opera La bohème. Sung here by CROpera Board Member and Metropolitan Opera Soprano Abigail Rethwisch, this piece is performed in the second act of the opera. Musetta, a vivacious and flirtatious character, sings "Quando m'en vo'" in a crowded Parisian café to regain the attention of her ex-lover, Marcello. The aria showcases Musetta's confidence and charm as she describes how people admire her beauty as she walks through the streets of Paris. The melody is both enchanting and playful, reflecting Musetta's manipulative yet irresistible personality.

Quando m'en vo

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.

Parmi veder le lagrime

In Antonín Dvořák's opera Rusalka, the aria "Cury mury fuk" is sung by the witch Jezibaba in Act 1. The opera tells the story of Rusalka, a water nymph who longs to become human to win the love of a prince. In this scene, Rusalka approaches Jezibaba for help, asking her to transform her into a human. Jezibaba casts a spell, using the nonsensical phrase "Cury mury fuk" as part of her incantation. The aria conveys Jezibaba's playful yet sinister nature, as she warns Rusalka of the dangers of the transformation and the consequences if the prince betrays her. The moment blends humor, magic, and dark undertones, highlighting Jezibaba's ambiguous role in Rusalka's fate.

Quando m'en vo

CROpera

Related tracks