5 ARIAS

For your classical listening

I’ve been thinking a lot about classical music and considered writing about the release of LUX; however, there’s far too much to be said. It’s also excellent and nothing needs to be said. My favorite song from the album is “Mio Cristo Piange Diamanti.” It resembles the style and form of an aria even including a perfect authentic cadence at the end. Five-one is what I typically say when referencing the chords and vocal line of a perfect authentic cadence moving from the fifth, dominant, degree to the first, tonic, degree (also notated as V-I.) I’m not sure how ubiquitous this phrase is, but I love it and use it often. Thus, listening to the song on repeat, I’m inspired to make this post dedicated to arias. Here are five of my favorite arias:

1. “Addio del passato” from La traviata

2. “In diesen heil’gen Hallen” from Die Zauberflöte

3. Letter aria from Werther

4. “Vesti la giubba” from Pagilacci

5. “Tristes apprêts” from Castor et Pollux

Addio del passato:

Violetta laments over a letter from her father noting Alfredo, her lover, is on his way to ask for her pardon. She lays in bed with only hours left of her life and it is too late for their arrival (è TARDI!) Nadine Sierra speaks the line “curatevi” meaning “take care of yourself” with such conviction that I went back to change this video from a Renata Tebaldi recording. Spoiler… Alfredo arrives, and she dies here:

In diesen heil’gen Hallen (piano sans voice):

I think this is one of the most beautiful arias of all time; however, I don’t like it sung and not many can sing it beautifully. The character, Sarastro, preaches about the importance of brotherhood. Hints of freemasonry in the score and the text (not heard here.) Gulda performs the most dynamic version of the aria on piano.

Letter aria:

This opera is based on the novel by Goethe which is attributed to a spike in suicides following the release. Charlotte attends church on Christmas Eve, with her husband, and sees the distraught Werther (who is in love with her.) They speak and Charlotte casts him away. Her husband Albert realizes that Werther is in love with Charlotte. When she arrives home, she reads all the letters that Werther has sent her in the past and she wonders how he is doing. Werther borrows a gun from Albert, explaining that the purpose is for a trip. Charlotte feels uneasy and goes to him but it is too late:

Vesti la giubba:

This opera is succinct and one of my favorites. Canio and his wife, Nedda, are in a performing troupe together. Prior to the show, they get into an argument over infidelity and Canio asks for her lovers name. She refuses. He puts on his clown costume for the show knowing his wife is unfaithful. The music in the “show” portion is a mix of serious and silly. Corelli sings the role unlike anyone else, in my opinion. His golden age voice has steel and warmth. The end of the opera is frenzied as the married couple break character and the audience on stage reacts:

Tristes apprêts:

Castor et Pollux is based on the greek myth of the twin brothers who both love princess Telaire. In this aria, she laments the death of her lover, Castor, who has been slain. The solemn strings create a realm of despair under the sighing Telaire. Pollux later realizes he will never win the princess’s love and endeavors to save Castor from the underworld. Jeanine De Bique sings the aria with a sense of softness in the words that feels less operatic and more humanistic.

I didn’t include any arias that end with the classic five-one superstar high note ending. They exist, but they are not my favorites.

-ar