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Aria for soprano and orchestra: Metastasio, Artaserse I,2: 1770 119: 382h "Der Liebe himmlisches Gefühl" (Score/Crit. report) Aria for soprano and orchestra (piano reduction) This is possibly (Kunze) the aria for Gretl Marchand from K. deest: unknown: 1782 146: 317b "Kommet her, ihr frechen Sünder" Aria for soprano and strings: unknown ...
Sacred Arias (Italian: Arie Sacre), is the sixth studio album by Italian tenor Andrea Bocelli.. Released in 1999, the album, featuring music composed in traditional Christian styles, is not only Bocelli's most commercially successful classical album to date with over 5 million copies sold, [1] but also the biggest selling classical album by any solo artist in history.
Sissel's musical style runs the gamut from pop recordings and traditional folk songs, to classical vocals and operatic arias. She possesses a "crystalline" voice [2] and wide vocal range, sweeping down from mezzo-soprano notes, in arias such as Mon cœur s'ouvre à ta voix from Saint-Saëns's opera Samson et Dalila, to the F natural above ...
" Un bel dì, vedremo" (Italian pronunciation: [um bɛl di veˈdreːmo]; "One fine day we'll see") is a soprano aria from the opera Madama Butterfly (1904) by Giacomo Puccini, set to a libretto by Luigi Illica and Giuseppe Giacosa. It is sung by Cio-Cio San (Butterfly) on stage with Suzuki, as she imagines the return of her absent love, Pinkerton.
The work was first performed on 21 November 1796 in the theatre at the Ranstädter Tor in Leipzig, [5] [6] with soprano Josepha Duschek as the soloist. [7] The singer, a friend of Mozart in Prague, advertised it as "an Italian scena written by Beethoven for Mad. Duschek", possibly to raise interest rather than a statement about a dedication.
Vetro recalled the moment he heard Jolie sing "O mio babbino caro," a soprano aria from the 1918 opera Gianni Schicchi, calling it the "most thrilling day" of their time together. "I was like ...
Dove sono" (Where are [those happy moments]) [1] is an aria in Italian for lyric soprano from the third act of Mozart's 1786 opera Le nozze di Figaro (The Marriage of Figaro). Countess Almaviva laments , in an initial recitative, that her husband has become a philanderer, and that she must rely on assistance from her maid to manipulate him.
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