Aria Off the Beaten Path: Mezzo Edition
Every good mezzo has probably sung Mozart’s “Smanie implacabilli” or “Voi che sapete” to work on legato and style or to satisfy that Mozart aria requirement for an audition. Many of those same mezzos, if their voice sits higher and has some agility, will venture into the lands of Rosina or Cenerentola and, on occasion, the Composer. For the fuller voiced mezzo, the Habañera is most likely a staple, and if she has extraordinary breath control, Dalila’s “Mon cœur s’ouvre à ta voix,” is surely on the list.
Other mezzo chestnuts like “Must the Winter Come So Soon” and “Va! laisse couler mes larmes” have straddled the line of popularity and obscurity for decades and currently seem to be less performed. But with audition season upon us what new and exciting repertoire can those who are destined to play witches, Carmens, and boys sing for an often “I’ve heard that piece so much” type of panel? Below are eight arias that are sure to liven up any mezzos’ audition package.
Sharon’s Entrance Aria, Elmer Gantry by Robert Aldridge
Haunting, seductive, and spiritual are rarely words that one uses to describe an aria, but that is exactly what is so in renowned spiritual leader Sharon Falconer’s opening aria. It requires the ability to sound folk-like, coupled with extreme control to ensure that the voice remains even in all of its range. It’s best suited to an artist capable of physical stillness. However, when well sung, it has the power to entrance, much the way the character does in her entrance into the opera.
https://www.youtube.com/watch?v=xxsF9Z5pHtY
O, mon Fernand, La Favorite by Donizetti
Donizetti’s La Favorite, in its original French has experienced a bit of a revival with recent productions in Houston, Bilbao, and in Bergamo at the Donizetti Opera Festival. Léonor’s aria better known by its Italian name “O, mio Fernando,” with its elegant A section and rousing, dramatic B section is always a showstopper. A mezzo looking to show command of vocal line, dramatic prowess, and a panache for the French language should add this to the list. A word of caution, it will probably serve one best if singing in a major competition or auditioning for a larger opera house, especially if bel-canto is part of their regular offering.
https://youtu.be/Jc6NqDwkjq8?si=a1O79P3cjSTnoCVg
Amour viens rendre à mon âme, Orphée et Eurydice by Glück
Mezzos looking to perhaps find a substitute for Stéphano’s “Que fais tu, blanche tourterelle,” might fall in love with act one, scene four’s bravura aria where Orpheus asks love to return to his soul. As part of the expanded Paris libretto, the aria exists in French, but not in the more oft-performed Italian version of the opera. But it does offer a mezzo who possesses evenness throughout all of her registers, healthy fioratura, and strong dramatic intent a show-stopping audition piece.
https://www.youtube.com/watch?v=KjejHALHnOE
L’alma mia fra le tempeste, Agrippina by Händel
Every florid mezzo who wants to dip their toes into the world of Handel will find this challenging, yet charming aria one that keeps the fioratura flowing. Clocking in at around two minutes and thirty-five seconds, depending on added flourishes, its sure to keep the audition panel’s attention while showing off range, expression, style, and breath control. It can also serve as a message of strength for any aspiring singer as the aria translates “even amidst storms, my soul finds its port of safety.”
https://www.youtube.com/watch?v=UR0CsHCvUWk
Beppe’s Aria, L’amico Fritz by Mascagni
Mascagni is best-known for Cavalleria Rusticana and Santuzza’s searing “Voi lo sapete” often sung by dramatic mezzos. But his opera, L’amico Fritz, while not so big on drama, is filled with lush, simply gorgeous music. Every character gets to shine including the pants role of Beppe, friend to the title character, who is given a superb aria. In his “O pallida, che un Giorno mi guardasti” Beppe recounts his own dealing with love and how it still haunts him. This gem of an aria is short, offers an opportunity to show of an exquisite legato, and suits a rich, lyric mezzos voice quite well.
https://www.youtube.com/watch?v=EUJiqO6gvrY
Se tu sapessi, Il Tabarro by Puccini
I am of the opinion that Il Tabarro is a perfect opera. It’s atmospheric, has stunning music, and at under an hour, packs an intense emotional wallop in a short amount of time. It also creates vivid portraits of its supporting characters. The mezzo role, Frugola, literally translated as “rummager” has a funny, thrilling aria where she gets to share her day’s findings. Looking to show off personality, plush singing, facility with Italian, and a searing high A? Then add this sparkling gem to your offerings.
https://www.youtube.com/watch?v=lFOPmKc0wGE
Ah! quel giorno ognor rammento, Semiramide by Rossini
While bel canto may not be at the forefront of operatic productions in the US, Rossini is still often performed, and if you’re a mezzo/contralto looking for an aria that is resplendent with grand vocal lines, agility, and exciting flights into the top and dips into the bottom of the voice, this aria might serve as excellent replacement for Cenerentola or Barbiere, especially if those sit a bit too high. In Arsace’s striking Act I scena, he returns to Babylon at the request of Semiramide and states that he will not support Assur in his quest for the throne.
https://www.youtube.com/watch?v=ftnD2Qe_xrk
Scrolling Back, Looking at You by Kamala Sankaram
One of the most exciting composers working today is Kamala Sankaram. A singer, researcher, composer, and front lady of the band, Bombay Rickey, her compositional style is often dictated by the text she is setting more so than a prescribed aesthetic. Each of works for voice sound distinct, current, and specific. One of her most fascinating works is Looking at You. Billed as an immersive techo-noir opera, it fuses EDM, opera, and crime jazz into a dizzying, visceral show best viewed live. Even with all of the technical elements required, there are still wonderful extractable pieces including lead character Dorothy’s haunting aria, “Scrolling Back” where she revisits past texts between her and her boss/lover Ethan. Sankaram beautifully sets each set of texts in different ranges specifying who is speaking.
https://vimeo.com/814294814?share=copy
Finding an off-the-beaten path gem of an aria can not only brighten an existing aria package, but the skills learned from bringing in a new piece often translates into how an artist interprets their other arias. Keeping audition repertoire fresh, interesting, and dynamic allows the artist to continue to refine their craft while also diving deeper into the wealth of operatic offerings available.
