Aria Off the Beaten Path

Every artist is constantly looking to stand out amongst the thousands of singers who audition every year. We all know arias like “Ah! Mes Amis!” and “Der Hölle Rache,” when well-sung, often make an audition panel sit up and take note. But what if you want to add something new and unusual to your audition package? 

For every type of tenor—the most agile, those with extreme high extensions, and those who have more “ring” than the bell at Notre Dame—there are a wealth of operatic arias ranging from Rossini to Russian to fit any vocal type. Even though baritones are the most common male voice type, the arias often used for auditions seem to always be the same fifteen to twenty. Most American baritones’ aria lists usually consist of a standard Mozart, a bel canto or Verdi, a Bizet or Gounod, either Pierrot’s “Tanzlied” or Wolfram’s “O du mein Holder” and some contemporary English aria which serves the 20th century piece required by many companies for an audition. 

Finding repertoire that fits vocally, dramatically, and visually can often be harder than it seems. especially for Americans because we’re trained to be versatile artists but also tasked with staying in our “fach.” So, what does a baritone, looking to stand out, do? Many are finding arias that show off all the good components of their voice while also carving out a unique space in the audition sphere.

Below is a list of ten off-the-beaten path arias that are beautiful, show a variety of range, character, and style; and are certain to have any audition panel sit up and take notice.

• The Count’s Aria, Vienna Version (Le nozze di Figaro), Mozart

The Count’s Aria with its fiery recitative, elegant lines, emotional substance, and thrilling high F-sharp near the end of the aria make it the choice of baritones the world over. But did you know there’s an alternate version with new thematic material and tons of high Fs, Gs, and optional As that not only show off any baritone’s upper extension, but heightens the dramatic arc of the text? Rumor has it that the Count singing the role wanted higher lying phrases, so Mozart obliged. If you’re a “Largo al factotum” type looking to swap it out but still show off those high notes, this could be an excellent choice. 

https://www.youtube.com/watch?v=xDGOoy1uPAE

• Nur Mutig, mein Herze (Zaide), Mozart

You’re searching for a German aria, you need a Mozart aria, and you’re not really interested in putting Papageno on your list. No worries, try this gem of an aria from the unfinished Zaide. Mozart often gives his sopranos and tenors arias that show off range, coloratura, and line, but most of the baritone arias, beautiful as they are, rarely give a singer a chance to show off a bit. While this opera is rarely performed, the aria is really a chance for a baritone display vocal finesse, Mozart-style, and their German language skills in a charming aria.

https://www.youtube.com/watch?v=QN0fp48JtPg

• Anima Santa della figlia mia (Le Villi), Puccini

With the array of Puccini roles for baritones, there are actually a lot of audition arias. Many use “Questo amor” from Puccini’s Edgar while some may go down the comedy route with Gianni Schicci’s glorious “Ah, Vittoria! Vittoria!” More dramatic voices may decide that Michele’s “Nulla! Silenzio!” is the right vehicle to show power and character. But there is a hidden gem from Puccini’s first opera, the one-act Le Villi. “Anima Santa della figlia mia” has the best of “Questo amor’s” elegant line while also highlighting some thrilling high G’s. It’s a wonderful way to show Puccini line, vocal weight, and character. Because the success of this aria depends greatly on the coordination with the pianist, it’s an excellent idea to only offer this if you’ve had a chance to rehearse in advance.

https://www.youtube.com/watch?v=uKFMYTCGbqQ

• Sois immobile (Guilliame Tell), Rossini

Known for his florid writing, highly demanding patter, and command of  comic verve in Italian opera, Rossini shows up on many a baritone’s list. But his epic, Guillame Tell, an operatic retelling of William Tell, offers some sublime lyrical singing and a chance to show off an artist’s command of French. The aria, “Sois immobile,” is a moving aria sung by Tell to his son Jemmy before Tell is about to shoot an apple balanced atop Jemmy’s head. Rossini manages to create tension and vulnerability in a bel canto melody that calls for vocal beauty and sustained emotional intensity. It’s a wonderful alternate to “Avant de quitter” or “Voilà donc la terrible cite” and, if delivered well, an excellent addition to any medium weight baritone’s aria package. 

https://www.youtube.com/watch?v=1veNfYeiohw

• I Now See Myself Before Me (Frankenstein), Gregg Kellor 

Baritones are always looking for English arias that are wonderful to sing, beautiful, and present fascinating characters. While there are quite of a bit of fantastic pieces out there being used in auditions, Gregg Kallor’s “I Now See Myself Before Me,” the Creature’s aria from the opera Frankenstein is a devastatingly lovely piece which provides a gorgeous vocal line combined with a volatile creature who, like all of humanity, simply wants to be loved. It requires a somewhat restrained emotional and vocal arc but also offers exciting vocal and emotional outbursts. The opera, premiered in 2023, garnered positive reviews for, as one critic wrote, “the contrast between the stubborn unresolve of the music and the sheer anthemic catchiness of the vocal melodies.”

https://www.greggkallor.com/frankenstein

• Vien, Leonora/Léonore, Viens (La Favorita/La Favorite), Donizetti

Bel canto composers often wrote their operas in the language of the location their opera was set to premiere. La Favorite, more often given in Italian and called La Favorita, have well-known showpiece arias for both mezzo and tenor. However, Donizetti wrote a spectacular scena (recitative, cavatina, and cabaletta) for the baritone role of Alphonse XI, King of Castile. Baritones looking to display a stunning legato, command of language and style, and who can communicate the King’s regality, torment, and fire will find this a great audition piece. What’s even more interesting are the slight vocal line variations when sung in Italian or French. Baritones who love to sing “Cruda, funesta,” but want something with a bit more contrast, may find this a thrilling swap out piece. 

Italian: https://www.youtube.com/watch?v=4HskFbXefaI

French: https://www.youtube.com/watch?v=Iec3n9oP0Fc

• Wir Overall (Der Kaiser von Atlantis), Ullmann

Short, powerful, and dramatic, this aria shows quite a bit in an exceedingly small amount of time allowing the singer to display high notes, lines, and drama as well as a command of German diction. With its intense musical structure and fierce declamation, it’s a particularly effective piece if an artist is looking to complement longer, more sustained pieces. It can be a wonderful substitute for baritone wanting to show some dramatic fire that’s not leaning toward dramatic repertoire. 

https://www.youtube.com/watch?v=IEapgzDdr0s 

(This video is a full production, and the aria begins at 46:58)

• Ibn Hakia’s Aria (Iolanta), Tchaikovsky

Not quite sure if Onegin or Yeletsky are for you but still want to sing in Russian? Then consider the 2:00 minute showpiece, “Dva mira plotskij I duhovnyj,” great for a lyric to full lyric voice. It has a mesmerizing accompaniment and speaks of the connection between the physical spiritual worlds. Ibn Hakia is described as a “Moor” thus allowing him to be cast in a diverse manner and may be a wonderful entrée into Russian opera for artists who may not have found a way in.

https://www.youtube.com/watch?v=Y8w4mz9wIE4

• Amazonas de este río (Florencia en el Amazonas), Catán

Vibrant, powerful, magical, these words have been used often to describe Danile Catán’s vocal writing and the aria, sung by Riolobo, offers full-throated vocalism and dramatic declamation but also the opportunity for some warm lyric singing. The role is listed as a baritone but has been taken by full-lyrics as well as bass-baritones. It requires vocal weight, lyricism, and clear, expressive Spanish diction. It’s an excellent addition to an aria package and an excellent choice for singers of Latin heritage wanting to underscore skills that translate to Italianate operas as well.

https://www.youtube.com/watch?v=WUKV6YSPCGA

• Neříkal jsem to? (The Cunning Little Vixen), Janáček

From Act III of the opera and sung by the Forester, this beautiful aria shows Janáček’s talent for composing for the baritone voice. With its lovingly sculpted phrases, the aria allows for bloom in the voice as well as dynamic and dramatic variation. It feels operatic yet direct and spoken. A baritone looking to highlight their ease with Czech will find this delightful piece a wonderful addition to their aria package, especially if they have mostly traditional repertoire. 

https://www.youtube.com/watch?v=tRyywWZez4s

A final note on offering off-the-beaten path repertoire, consider the opera house and/or program. Is it a place where more obscure repertoire is presented? Will they have a person on staff who can play your unusual pieces, or should you bring your own accompanist? And does your off-the-beaten path aria fit into your package or stick out like a dramatic soprano trying to blend in with a chamber choir? 

Knowing what arias fit your voice, temperament, and personality will lead to a far more successful audition season. And if you can share your artistry with those listening by performing something daring and new-to-their-ears you’re sure to make a strong impression as well as stand out in a sea of artists all offering similar rep.

Happy Auditioning!