Opera orchestration

Author: e | 2025-04-24

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Opera Orchestrations - Reduced Orchestrations of

Persuasive performance in Grange Park Opera’s recent filmed production of Owen Wingrave, Ross Ramgobin was here a personable and confident bird-catcher in ‘Der Vogelfänger bin ich ja’, and he was joined by Sophie Bevan for a delightfully carefree ‘Bei Männern welche Liebe fühlen’; the grace and elegance of Pamina’s soprano line was complemented winningly by Ramgobin’s characterful baritone.Filipe Manu communicated Tamino’s lovestruck wonder in ‘Dies Bildnis ist bezaubernd schön’, which throbbed eloquently with passion and nobility, the phrasing yearning and reaching, the tone light and youthful. Tamino charmed the beasts in ‘Wie stark ist nicht dein Zauberton’, aided by some delicious dainty and deft flute-playing; Papageno and Papagena (Alexandra Lowe) charmed each other with thoughts of married bliss and multiple Papageno/as in ‘Pa… pa… pa…’.And, Mark Wigglesworth and the ROH Orchestra charmed us all.The Royal Opera House Christmas Concert is available on demand at until 17th January 2021.Claire SeymourRossini: La Cenerentola, Overture.Humperdinck: Hansel and Gretel, Act 2 (Reduced orchestration by Derek Clark)Hänsel – Hanna Hipp, Gretel – Sophie Bevan, Sandman – Masabane Cecilia RangwanashaPuccini – La bohème, Act 2 excerpt (Reduced orchestration by Mario Parenti)Mimì – Masabane Cecilia Rangwanasha, Rodolfo – David Butt Philip, Musetta – Alexandra Lowe, Marcello – Germán E. Alcántara, Schaunard – Gyula Nagy, Colline – Blaise Malaba, Alcindoro – Jeremy WhiteVaughan Williams: Fantasia on Christmas Carols (Roderick Williams, baritone)Mozart: The Magic Flute, excerptsTamino – Filipe Manu, Pamina – Sophie Bevan, Papageno – Ross Ramgobin, Papagena Alexandra LoweStaff Director – Dan Dooner, Conductor Mark Wigglesworth, Presenter – Roderick Williams, Set designer – Julia Trevelyan Oman, Lighting designer – Matthew Mulberry, Royal Opera House Orchestra and ChorusRoyal Opera House, Covent Garden London (live stream); Friday 18th December 2020.ABOVE: The Royal Opera House Christmas Concert (c) ROH 2020, photograph by Tristram Kenton

Tosca Reduced Orchestration - Opera Orchestrations

Flair to convey the exuberance of the characters. The aria’s spirited tempo and lively orchestration make it one of the most famous and beloved pieces in the opera repertoire.Despite its initial merriment, “Libiamo ne’ lieti calici” also foreshadows the drama and tragedy that will unfold later in the opera. Its infectious melody and celebratory lyrics have ensured its enduring popularity and status as one of the best opera songs for celebrations and parties.13. “Mon cœur s’ouvre à ta voix” from Samson et Dalila – Camille Saint-Saëns“Mon cœur s’ouvre à ta voix” is a seductive aria from Camille Saint-Saëns’ opera “Samson et Dalila.” Sung by the character Dalila, the aria is a passionate declaration of love and desire as she tries to seduce the mighty Samson.Saint-Saëns’ composition is characterized by its sensual melody and lush orchestration, perfectly capturing the allure and magnetism of Dalila’s character. The aria’s title, which translates to “My heart opens to your voice,” reflects Dalila’s emotional vulnerability and her longing for a deeper connection with Samson.“Mon cœur s’ouvre à ta voix” is a showcase for the mezzo-soprano’s vocal and dramatic abilities, requiring both power and subtlety to convey the complexity of Dalila’s emotions. The aria’s sweeping melodies and dramatic phrasing make it one of the most captivating and memorable pieces in the opera repertoire.Despite its beauty, “Mon cœur s’ouvre à ta voix” also reveals the darker aspects of Dalila’s character, as she uses her charm and beauty to manipulate Samson for her own purposes. Its haunting melody and evocative lyrics have ensured its enduring popularity and status as one of the best opera arias for mezzo-sopranos.14. “Casta Diva” from Norma – Vincenzo Bellini“Casta Diva” is a breathtaking aria from Vincenzo Bellini’s opera “Norma.” Sung by the title character, the high priestess Norma, the aria is a prayer to the moon goddess for peace and protection.Bellini’s composition is characterized by its sublime melody and ethereal quality, perfectly capturing the spiritual and otherworldly nature of Norma’s character. The aria’s title, which translates to “Chaste Goddess,” reflects Norma’s role as a revered priestess and her deep connection to the divine.“Casta Diva” is a showcase for the soprano’s vocal and emotional range, requiring both power and delicacy to convey the depth of Norma’s devotion and longing. The aria’s soaring melodies and exquisite phrasing make it one of the most beautiful and iconic pieces in the opera repertoire.Despite its beauty, “Casta Diva” also reveals the inner turmoil of Norma’s character, as she struggles with her feelings for the Roman proconsul Pollione. Its haunting melody and poignant lyrics have ensured its enduring popularity and status as one of the best opera arias for sopranos.15. “Sempre libera” from La traviata – Giuseppe Verdi“Sempre libera” is a dazzling aria from Giuseppe Verdi’s opera “La traviata.” Sung by the character Violetta Valéry, a glamorous and free-spirited courtesan, the aria is a lively declaration of her love for a carefree and unrestrained lifestyle.Verdi’s composition is characterized by its virtuosic vocal lines and lively tempo, reflecting the vivacious

Carmen Reduced Orchestration - Opera Orchestrations

The Phantom of the OperaThe Phantom Phenomenon sweeps the country as Andrew Lloyd Webber's musical mega-hit captures the imagination of Broadway! The dramatic title song expresses the emotional strength of old-fashioned romance and melodrama. Dynamic! Available: SATB, SAB, Instrumental Pak. Performance Time: Approx. 3:45.Arranger: Ed Lojeski | Composer: Andrew Lloyd Webber | Musical: The Phantom of the Opera Ed Lojeski : The Phantom of the Opera (Medley)This medley, from a very unique musical, will especially interest those directors searching for more neo-classical and/or romantic elements in today's show music. Many opportunities for solos and small group sections. Available: SATB, SAB, Instrumental Pak, ShowTrax CD. Performance Time: Approx. 10:45.Arranger: Ed Lojeski | Musical: The Phantom of the Opera Roger Emerson : The Wedding SingerOriginally a 1998 light romantic film comedy set in a world of 1980's nostalgia, now a Broadway musical, it's a salute to retro-pop silliness that proves to be immensely entertaining. This medley includes new songs by Chad Beguelin and Matthew Sklar: If I Told You, It's Your Wedding Day, Pop!, Saturday Night in the City, Someday. Available separately: SATB, SAB, SSA, ShowTrax CD. Combo parts available digitally (tpt 1, tpt 2, tsx, tbn, syn 1, syn 2, gtr 1, gtr 2, b, dm). Duration: ca. 8:40.Arranger: Roger Emerson Mac Huff : Titanic (Broadway Medley)From the Tony Award-winning Broadway production, this powerful and dramatic medley will be thrilling for choirs and audiences alike. Includes: Doing the Latest Rag, Godspeed Titanic (Sail On), How Did They Build Titanic?, In Every Age, Lady's Maid, There She Is. Available: SATB, SAB, 2-Part, Instrumental Pak, ShowTrax CD. Performance Time: Approx. 10:00.Arranger: Mac Huff Mark Brymer : Waitin' for the Light to ShineThe lyrical introduction unfolds into a fast-paced spiritual from Big River. Available: SATB, SAB. Performance Time: Approx. 3:00.Arranger: Mark Brymer | Composer: Roger Miller | Musical: Big River Audrey Snyder : When You BelieveFrom The Prince of Egypt, the majestic and inspirational opening melody gradually builds in intensity, leading to a simple and lyrical Hebrew prayer that unfolds into a great choral outpouring of emotion at the final breathtaking chorus. May be performed with piano alone, with CD accompaniment or with the full instrumental orchestration - a truly unforgettable concert moment! Available: SATB, SAB, 2-Part, ShowTrax CD, Concert Band accompaniment, String Pak. Performance Time: Approx. 4:30.Arranger: Audrey Snyder | Composer: Stephen Schwartz. Choral (reduced orchestration) Choral and song (Sacred) Christmas music; Film music; Light music; Miscellaneous; Opera complete; Opera complete (reduced orchestration) Opera extract; Opera extract (reduced orchestration) Orchestral; Orchestral (reduced orchestration) Score only - for reference; Song with orchestra; Terfel/ Misc; Terfel/ Opera How to pronounce opera in English. The definition of opera is: a drama set to music; consists of singing with orchestral accompaniment and an orchestral

Macbeth Reduced Orchestration - Opera Orchestrations

Her defiant and independent spirit shines through in every word, making it clear that she will follow her own desires regardless of the consequences.The “Habanera” has become one of the most famous and instantly recognizable arias in the opera repertoire, cherished for its memorable melody, evocative lyrics, and the captivating character of Carmen. Its enduring popularity is a testament to Bizet’s skill as a composer and the timeless appeal of this classic opera.5. “O mio babbino caro” from Gianni Schicchi – Giacomo Puccini“O mio babbino caro” is a heartfelt aria from Giacomo Puccini’s opera “Gianni Schicchi.” Sung by the character Lauretta, the aria is a tender plea to her father, Schicchi, to allow her to marry the man she loves.Puccini’s composition is renowned for its poignant melody and emotional depth, perfectly capturing Lauretta’s desperation and sincerity. The aria’s simple yet beautiful melody has made it one of the most beloved and widely performed pieces in the soprano repertoire.“O mio babbino caro” is a showcase for the soprano’s lyrical abilities, requiring both technical skill and emotional sensitivity to convey the character’s longing and devotion. The aria’s heartfelt plea, “Oh my dear papa, I love him, he is handsome, he is beautiful,” resonates with audiences for its universal theme of love and sacrifice.Despite its short length, “O mio babbino caro” leaves a lasting impression with its beauty and emotional impact. It has been featured in numerous films, TV shows, and commercials, further cementing its status as one of the best opera songs of all time.6. “Largo al factotum” from Il barbiere di Siviglia (The Barber of Seville) – Gioachino Rossini“Largo al factotum” is a lively and humorous aria from Gioachino Rossini’s opera “Il barbiere di Siviglia” (The Barber of Seville). Sung by the character Figaro, the aria is a boastful declaration of his skills and popularity as the barber and factotum of the town of Seville.Rossini’s composition is characterized by its fast-paced tempo, intricate vocal runs, and playful orchestration, reflecting Figaro’s energetic and charismatic personality. The aria’s catchy melody and witty lyrics have made it one of the most famous and recognizable pieces in the baritone repertoire.“Largo al factotum” is a tour de force for the baritone, requiring both vocal agility and comedic timing to convey Figaro’s larger-than-life character. The aria’s humorous lyrics, which highlight Figaro’s skill at everything from shaving beards to arranging marriages, add to its charm and appeal.Despite its light-hearted tone, “Largo al factotum” also showcases Rossini’s mastery of melody and orchestration, making it a favorite among audiences and performers alike. Its enduring popularity and status as one of the best opera songs of all time are a testament to its timeless appeal and Rossini’s genius as a composer.7. “Che gelida manina” from La bohème – Giacomo Puccini“Che gelida manina” is a poignant and romantic aria from Giacomo Puccini’s opera “La bohème.” Sung by the character Rodolfo, a young poet, the aria is a heartfelt declaration of love to Mimi, the seamstress he has just met.Puccini’s composition is characterized

Romeo and Juliet Reduced Orchestration - Opera Orchestrations

Voice to lure a naïve soldier from his post and his girlfriend. The fiery protagonist and namesake of the opera, Carmen’s motif is the last of three themes heard in Bizet’s overture. The first is an almost circus-like march that announces the entry of the bullfighters to the arena, followed by the main refrain from the ‘Toreador Song’ which is one of the two most popular and easily recognisable themes from the opera, alongside the ‘Habañera’. The overture ends with the Carmen motif, a sultry cello melody over tremolo strings that perfectly encapsulate her electrifying and unnerving presence.Read more: Ukulele player mixes Carmen melody with Phantom of the Opera in virtuosic mash-upBizet : Ouverture de "Carmen" sous la direction de Myung-Whun Chung (bis)Mozart – Don GiovanniLegend has it, Mozart left it right down to the wire to compose the overture to his opera Don Giovanni. On the eve of the premiere, Wolfgang returned to his room after drinking with friends and got straight to work, slaving over his manuscript until the early hours. Thankfully for us, and for Mozart too, the piece that emerged from his alcohol-imbued pen nib that evening is nothing short of a masterpiece, the perfect fit for an opera that includes love, heartbreak, comic relief, a statue that comes to life, and a damnation to hell.The overture is the perfect set-up to the ensuing drama, full of sinister strings, tolling timpani beats, and unnervingly rapid changes in dynamic, before a typically triumphant Mozartian fanfare.Don Giovanni - Overture (Orchestra of The Royal Opera House; Mozart)Wagner – TannhäuserA tale of lust, love and loss, Wagner’s Tannhäuser is a mighty work, chock-full of lush Romantic harmonies, ingenious orchestration, and leitmotifs galore. Not that you’d expect any less from the composer who gave us the Ring cycle.The overture opens with the ‘Pilgrim’s Chorus’, a slow and repentant theme played by wind and brass before being picked up by the strings, too. The strings take up a lilting countermelody to the trombones’ fanfare, lapsing into a yearning melody that represents the goddess Venus and her mystical domain.Wagner: Tannhäuser – Ouvertüre ∙ hr-Sinfonieorchester ∙ Andrés Orozco-EstradaRossini – The Barber of SevilleGioachino Rossini was known for his nifty nib, and managed to write all the music to the entire opera The Barber of Seville in just three weeks. Well, almost. Having left the overture to the last minute, Rossini decided instead to recycle

Hansel and Gretel Reduced Orchestration - Opera Orchestrations

Sarah Brightman’s A Starlight Symphony tour (2022). In 2021 his song “Together” was performed by over 7,000 children in schools across Wiltshire. Nikki Davison and Joe Davison for Auburn Jam Additional Orchestrations & Music Production Nikki Davison and Joe Davison for Auburn Jam Additional Orchestrations & Music Production Nikki & Joe have helped develop musicals from workshops through concept albums and onto stage, with their arrangements, orchestration, music production and supervision. Credits include Rumi (London Coliseum, Doha Oxygen Park), Public Domain (Vaudeville Theatre), Broken Wings (Theatre Royal Haymarket, Beiteddine Lebanon, Qatar Opera House, Dubai Opera House), Millennials (The Other Palace), Footballers’ Wives (Concept Album).They have produced & arranged albums for West End stars including Kerry Ellis, Janie Dee and Alice Fearn, and artists such as Rebecca Levy, Felix Hagan & The Family and Caroline Kay. They have toured and recorded with the likes of Bear’s Den, Frank Turner and Arkells and have performed, arranged and conducted at world-famous venues from The Royal Albert Hall and The O2 Arena to Elbphilharmonie and Al Wasl Dome Dubai. Cast recordings they have produced include: Rags OLC (Stephen Schwartz & Charles Miller) Queen Of The Mist (Michael John LaChiusa), The Clockmaker’s Daughter (Webborn & Finn).Composition for TV & Film includes: Paw Patrol (Nickelodeon), I’m Open To That (Samsung), Brighter Days (Belvita, written for Denise Van Outen), Hey You What If (CBBC), Delete Delete Delete (BBC Ireland), The Girl Who Built A Rocket (WaterAid), Sweet Chariot (BMW/England Rugby), and assisting Nick Lloyd Webber on Love,

The Magic Flute Reduced Orchestration - Opera Orchestrations

Up for an opera full of evil sorcerers, sprightly bird catchers, and enchanted instruments.Mozart: The Magic Flute - Overture (Benjamin Zander - Boston Philharmonic Orchestra)Rossini – William TellThe overture that broke the mould, Rossini’s William Tell Overture escaped the clutches of the classical world and flew into the mainstream. It appeared as the theme tune for The Lone Ranger and in the soundtracks for A Clockwork Orange and The Princess Diaries, as well as influencing Rossini’s fellow classical composers, Strauss I and Shostakovich.Comprising four parts, the flurrying finale is the section that is best known today, often used to depict galloping horses (despite the fact that not a single horse is featured in the opera itself).Read more: ‘William Tell’ played by a train set and bottles is a magnificent percussion achievementGustavo Dudamel,Berliner Philharmoniker – Rossini: Guillaume Tell Overture, Allegro vivace (excerpt)Dame Ethel Smyth – The WreckersAfter five years touring Europe trying to persuade theatre impresarios to stage it, Smyth’s best-known opera The Wreckers finally received its premiere in Leipzig in 1906. Despite all her efforts, it wasn’t until the 21st century that The Wreckers was recognised for its brilliance and began to be performed more often, even taking the prime spot as the opening night for Glyndebourne in 2022, the UK’s oldest annual opera festival. Set in a Cornish fishing village, the overture does exactly what the libretto says on the tin. Smyth’s masterful orchestration makes full use of all the sounds of the orchestra (complete with organ!) to take the audience on a cliffside walk along the Cornish coast, breathing in the fresh sea air and gazing at the picturesque greenery before an undercurrent drags you under into a tempestuous swirl of notes and stormy timbres.Read more: Meet Ethel Smyth, the 20th-century composer who was also a suffragette and political activistThe Wreckers: OvertureBeethoven – FidelioLike so much Beethoven, the overture to his only opera didn’t have a straightforward compositional process. Beethoven agonised over the overture to it, composing three versions (titled Leonore Overtures, after the opera’s heroine). Then, with a name change, the breakthrough happened and we got the ‘Fidelio’ Overture. Beethoven’s opera is a story of righteousness, pain, imprisonment and redemption. The overture, in full Beethoven drama, gives us the darkness and light that runs throughout the opera.Stage@Seven: Beethoven: Fidelio (Ouverture) – Andrés Orozco-EstradaBizet – CarmenUnder the scorching Spanish sun, a charming seductress uses her beguiling looks and. Choral (reduced orchestration) Choral and song (Sacred) Christmas music; Film music; Light music; Miscellaneous; Opera complete; Opera complete (reduced orchestration) Opera extract; Opera extract (reduced orchestration) Orchestral; Orchestral (reduced orchestration) Score only - for reference; Song with orchestra; Terfel/ Misc; Terfel/ Opera

Madama Butterfly Reduced Orchestration - Opera Orchestrations

Opera has long been celebrated as a grandiose art form that marries powerful vocals with dramatic storytelling and exquisite music. Its rich history is filled with iconic performances and timeless compositions that have captivated audiences for centuries. In this article, we will explore the top 15 most popular and enduring opera songs of all time. From the soaring arias of Puccini to the majestic compositions of Verdi, these selections represent the pinnacle of operatic achievement. Each song is a masterpiece in its own right, showcasing the incredible range and emotional depth of opera as an art form. Whether you’re a seasoned opera aficionado or a newcomer eager to discover the beauty of this genre, this list is sure to inspire and enchant. Join us on a journey through the world of opera as we celebrate the music that has stood the test of time and continues to resonate with audiences around the globe.1. “Nessun Dorma” from Turandot – Giacomo Puccini2. “Der Hölle Rache” from Die Zauberflöte (The Magic Flute) – Wolfgang Amadeus Mozart3. “La donna è mobile” from Rigoletto – Giuseppe Verdi4. “Habanera” from Carmen – Georges Bizet5. “O mio babbino caro” from Gianni Schicchi – Giacomo Puccini6. “Largo al factotum” from Il barbiere di Siviglia (The Barber of Seville) – Gioachino Rossini7. “Che gelida manina” from La bohème – Giacomo Puccini8. “Vissi d’arte” from Tosca – Giacomo Puccini9. “Vesti la giubba” from Pagliacci – Ruggero Leoncavallo10. “Un bel dì vedremo” from Madama Butterfly – Giacomo Puccini11. “O soave fanciulla” from La bohème – Giacomo Puccini12. “Libiamo ne’ lieti calici” from La traviata – Giuseppe Verdi13. “Mon cœur s’ouvre à ta voix” from Samson et Dalila – Camille Saint-Saëns14. “Casta Diva” from Norma – Vincenzo Bellini15. “Sempre libera” from La traviata – Giuseppe Verdi1. “Nessun Dorma” from Turandot – Giacomo Puccini“Nessun Dorma” from Giacomo Puccini’s opera “Turandot” is an iconic aria that has transcended the opera world to become a global anthem of hope and determination. This aria, sung by the character Calaf, is a powerful declaration of love and bravery as he vows to win the heart of Princess Turandot, despite the deadly consequences. The aria’s most famous line, “Vincerò! Vincerò!” (“I will win! I will win!”), captures the essence of Calaf’s unwavering resolve.Puccini’s masterful composition combines soaring melodies with dramatic orchestration, creating a musical experience that is both emotionally stirring and technically demanding. The aria’s climactic high note, often referred to as the “Vittoria!” note, is a moment of pure vocal triumph that never fails to captivate audiences.“Nessun Dorma” has been performed by countless opera singers and has become a staple of classical crossover repertoire. Its timeless appeal lies in its ability to evoke a wide range of emotions, from the thrill of victory to the agony of unrequited love, making it one of the most beloved and enduring opera songs of all time.2. “Der Hölle Rache” from Die Zauberflöte (The Magic Flute) – Wolfgang Amadeus Mozart“Der Hölle Rache,” also known as the “Queen of the Night Aria,”

L’heure espagnole Reduced Orchestration - Opera Orchestrations

Is a dazzling showcase of vocal virtuosity and dramatic intensity from Wolfgang Amadeus Mozart’s opera “Die Zauberflöte” (The Magic Flute). This aria is sung by the character Queen of the Night, who urges her daughter Pamina to commit murder in the name of vengeance.Mozart’s composition is known for its breathtaking coloratura passages, requiring the soprano to navigate through a series of rapid and intricate vocal runs with precision and agility. The aria’s high notes, particularly the F6 (in some versions G6) above high C, are among the highest in the soprano repertoire, adding to its reputation as a formidable vocal challenge.“Der Hölle Rache” is not only a technical showcase but also a masterful display of emotional depth and dramatic storytelling. The Queen of the Night’s fury and desperation are palpable in every note, making this aria a thrilling and unforgettable moment in opera.This aria has become one of Mozart’s most famous compositions and is a staple of the coloratura soprano repertoire. Its combination of vocal pyrotechnics and dramatic flair has ensured its enduring popularity and status as one of the best opera songs of all time.3. “La donna è mobile” from Rigoletto – Giuseppe Verdi“La donna è mobile” is one of the most recognizable and enduring arias from Giuseppe Verdi’s opera “Rigoletto.” Sung by the Duke of Mantua, the aria is a lively and playful ode to the fickle nature of women, expressing the Duke’s cynical view of love and relationships.Verdi’s composition is characterized by its jaunty melody and catchy rhythm, making it an instantly memorable and enjoyable piece. The aria’s lively tempo and spirited orchestration reflect the Duke’s carefree and flirtatious personality, adding to its charm and appeal.Despite its seemingly light-hearted nature, “La donna è mobile” also carries a deeper thematic significance within the context of the opera. It foreshadows the tragic events that unfold later in the story, highlighting the Duke’s callous disregard for the feelings of others and setting the stage for the opera’s dramatic climax.“La donna è mobile” has become one of the most famous and beloved arias in the operatic repertoire, appreciated for its melodic beauty, lyrical wit, and dramatic irony. Its enduring popularity is a testament to Verdi’s skill as a composer and his ability to create music that resonates with audiences across generations.s4. “Habanera” from Carmen – Georges BizetThe “Habanera” from Georges Bizet’s opera “Carmen” is a seductive and iconic aria that captures the essence of the title character’s fiery and free-spirited nature. Sung by Carmen, a beautiful and enigmatic gypsy, the aria is a declaration of her belief in the untameable nature of love.Bizet’s composition is infused with the rhythms and melodies of the habanera, a Cuban dance form, giving the aria a sultry and exotic flair. The aria’s languid tempo and hypnotic melody create a sense of allure and intrigue, drawing listeners into Carmen’s world of passion and danger.The lyrics of the “Habanera” are equally captivating, as Carmen sings of love as a wild bird that cannot be captured or controlled.. Choral (reduced orchestration) Choral and song (Sacred) Christmas music; Film music; Light music; Miscellaneous; Opera complete; Opera complete (reduced orchestration) Opera extract; Opera extract (reduced orchestration) Orchestral; Orchestral (reduced orchestration) Score only - for reference; Song with orchestra; Terfel/ Misc; Terfel/ Opera

Il tabarro Reduced Orchestration - Opera Orchestrations

Isolation, Mariette and the rest of the motley company from the villa come back into view, staring into historical oblivion. Ingeniously, the staging gestures toward scenic grandeur without actually needing elaborate sets.A committed cast of singers adroitly negotiated this tricky layering of identities. The Russian soprano Olga Shurshina, as Aida, showed a big, opulent voice, typically Slavic in its quick vibrato and chesty timbre. Aided by deep breath support, she spun out generous legato phrases and structured her major arias confidently. Hector Sandoval, as Radamès, lacked ringing tone but created a rapt, affecting aura in his “Celeste Aida.” Most crucial to the evening’s success was Diego Martin-Etxebarria, Chemnitz’s principal resident conductor, who expertly marshalled Verdi’s marches and choruses while highlighting subtleties of orchestration in between. The Met’s monumental, literal-minded “Aida” has accustomed me not to think too much about Verdi’s final grand opera; the team in Chemnitz goes considerably deeper.Erfurt’s operatic topography is, in a way, the reverse of Chemnitz’s. Where the Chemnitz theatre is a relic of a largely destroyed prewar cityscape, Theater Erfurt resides in a sleek modern structure surrounded by an unusually well-preserved medieval city. From the upper lobby, you can see the spires of Erfurt’s immense Gothic cathedral, glowing at sunset. In this case, newer is better. The theatre, designed by Jörg Friedrich and opened in 2003, is not just a chic place to spend an evening but a thoroughly satisfying venue in which to hear opera. The acoustics are warm and bright; voices project without effort; sight lines throughout the eight-hundred-seat auditorium are good. (In the wake of Germany’s Omicron wave, attendance lagged, and I was able to move around at will.)The “Figaro” staging, a collaboration between the director Martina Veh and the set designer Momme Hinrichs, recalls one of those saucy TV shows, like “Bridgerton” and “The Great,” which mash together period settings and modern manners. Rococo costumes are done up in garish colors; courtly gestures go hand in hand with libertinage. Everyone is sleeping with everyone else; at one point, Susanna and the Countess paw at Cherubino’s crotch. The promiscuity had the unfortunate