The Telephone Aria
How do you sing like a sore throat? And how do you laugh musically? Yael Karet and Tal Ganor demonstrate an operatic phone call to Gian Carlo Manotti’s Telephone aria, including the “Mmmm … bye”.
Iolanta’s Lion
Tchaikovsky, who repressed his sexual tendencies his entire life, knew how to channel his emotions through his music. How is all of this expressed in his final opera, Iolanta?
Belcore’s Aria
Sargent Belcore is a n officer and a gentleman who is ready to fall in love time and again!
Rivka’s Aria
A Moment of Opera with our soloist Daniela Skorka and the opera’s composer and conductor, David Sebba, about the heartbreaking aria in which Rivka tells Esau that she loves him, but less.
Don Basilio’s Aria
How do you make crescendo? Like any good Italian dish, you don’t need many ingredients!
The Duet of Papageno and Papagena
When he loves her, he always says to her, keeps saying to her: Pah-pah-pah! Pah-pah-pah!
Tatiana’s Aria
How much courage it takes to send a love letter – and how many emotional upheavals until the ink dries. David Sebba and soloist Alla Vasilevitsky reveal to us how Tchaikovsky composed every fiber of Tatiana’s soul in the moving aria in which she writes to her lover, Eugene Onegin.
Chips
There are three things we really love – Hanoch Levin, Yoni Rechter and…chips.
Cherubino’s Aria
This week we will tell you about the mischievous Cherubino, a boy full of magic and… in love.
God’s Aria
How do you write a role for God in an opera, and for which voice exactly?
Zerlina’s second Aria
How will Zerlina treat the groom that almost wed her? Well she has her secret elixir of course.
Azucena’s Aria
The gypsy witch character is a common character in Verdi’s operas. So what makes Azucena from the Troubadour so extraordinary?
The farewell trio
When we heard how Mozart composed Waves, it threw us straight into an impressionistic picture – with waves and a harbor and the sun in the sky, and hope that our loved ones would return safely.
Dorbella’s Furious Aria
Dorbella is angry. She’s seething with rage. Her beloved has sailed away from her life and she’s fed up with everything. And when one of Mozart’s characters is angry, you know what that means…
Adele’s Aria
Every composer has his own secrets and we are here to reveal them all. Why does the maid Adele laugh at her master? And why does Strauss likes to giggle?
The quarrel duet
Welcome to the battle of the ladies! On one side, Anat Czerny as Lady Marcellina and on the other, Tal Ganor as the maid Susanna. And what’s all the fuss about?
Butterfly’s Aria
Madame Butterfly is one of the most beautiful operas in the operatic repertoire. It is impossible to argue with that. So why every time we watch t we cringe in our seat?
Marguerite’s Waltz
Diamonds are every woman’s best friend, right? So that’s a no.
The Witch’s Aria
The Witch in Engelbert Humperdinck’s Hansel and Gretel is a fascinating character that male and female singers yearn to play, so much so that they beg for this special role. Let’s take a broomstick and fly with David Sebba and Anthony Webb for an operatic moment in an enchanted candy house deep in the woods:
Tatyana and Olga’s duet
Tchaikovsky’s opera Eugene Onegin opens with a single harmonious duet of two sisters who are complete opposites.
The Queen of the Night’s Second Aria
Every story has its villain. Batman has the Joker, Dynasty has Alexis, and we in the opera world have the one and only supervillain – the Queen of the Night.
Scarpia’s Aria
Here he comes! The greatest villain of them all! And what an entrance. No one can beat Baron Scarpia’s operatic entrance!
The Flower Duet
When Madame Butterfly found out that her beloved was returning to Nagasaki, one thing was clear to her – she was going to talk to him through flowers.
Mimi’s first Aria
Mimi is mostly looked at as a naïve shy person. But can it be that beneath the surface there is a young woman who only pretends to be shy and actually is toying with us all?