I love Carmen and I will not deny it in the slightest. Let’s face it, if I were a curvaceous woman and a mezzo-soprano, I would sing her to my heart’s content, especially where the final lines of her third act card aria En Vain Pour Eviter is concerned. I hope you enjoy my rendition of this.
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At this rate, this video should be retitled “I wish were a woman and singing dramatic mezzo-soprano and contralto roles” because they always get the best roles in opera. I thought it would be great if I also did this for fun. I hope you enjoy my rendition of Azucena’s closing lines from her second aria in Act 2 “Condotta ell’era in ceppi” from Verdi’s Il Trovatore.
Lord Arturo Bucklaw from Donizetti’s Lucia di Lammermoor. His role in this opera may be thankless, especially for a lyric tenor, but his little solo during Lucia’s wedding is absolutely fun to do. Perhaps, it would have been more fun with the chorus. Enjoy listening to my rendition of Arturo’s little number as much as I enjoyed singing it.
Ah, Belmonte from Mozart’s Die Entführung aus dem Serail or The Abduction of the Seraglio. As a lyric tenor, I can decree that he is one of my most favorite Mozart characters for the tenor voice, and here I am singing his entrance aria. It was also a really challenging aria to get through, but I definitely enjoyed the ride. So, I hope you all enjoy my rendition.
I take on the challenge of singing Bois-Rosé’s little yet under-appreciated aria from the third act of Giacomo Meyerbeer’s Les Huguenots, which definitely needs a whole lot more love. Trust me when I say that singing this was akin to climbing Mount Everest, given that I have been doing and redoing this for about ten takes until I got to the one which I thought was all right. One should not be fooled by the size of Bois-Rosé’s role, as his Rataplan is extremely demanding, especially with the backing of the chorus. And yes, I sang this solo, which proved to be even tougher. I hope you enjoyed my rendition of this short tenor aria, as flawed as it is.