Arise ye subterranean winds The Tempest, Purcell, Jonathan Story, Basso Profundo

Sì morir ella de! La Gioconda, Ponchielli Sì, morir ella de'! Sul nome mio scritta l'infamia impunemente avrà ? Chi un Badoèr tradì non può sperar pietà !... Se ier non la ghermì nell'isola fatal questa mia man, l'espïazion non fia tremenda meno! Ieri un pugnal le avria squarciato il seno; oggi... un ferro non è, sarà un veleno! Là turbini e farnetichi la gaia baraonda, dell'agonia col gemito la festa si confonda!... Ombre di mia prosà pia, non arrossite ancora! Tutto la morte vendica, anche il tradito onor! Colà farnetichi ecc. Là del patrizio veneto s'adempia al largo invito, quivi il feral marito provveda al proprio onor!

Nabucco, short for Nabucodonosor is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on the biblical books of 2 Kings, Jeremiah, Lamentations and Daniel and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornu. However, Antonio Cortese's ballet adaptation of the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera than was the play itself.[1] Under its original name of Nabucodonosor, the opera was first performed at La Scala in Milan on 9 March 1842. Nabucco is the opera that is considered to have permanently established Verdi's reputation as a composer. He commented that "this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star." The opera follows the plight of the Jews as they are assaulted, conquered and subsequently exiled from their homeland by the Babylonian king Nabucco (Nebuchadnezzar II). The historical events are used as background for a romantic and political plot. The best-known number from the opera is the "Chorus of the Hebrew Slaves", "Va, pensiero, sull'ali dorate" / "Fly, thought, on golden wings", a chorus that is regularly given an encore in many opera houses when performed today. Libretto/Lyrics/Text/Testo: SCENA II
 Zaccaria, Fenena, Anna, e detti ZACCARIA
 tenendo per mano Fenena
 Sperate, o figli! Iddio
del suo poter die' segno 
Ei trasse in poter mio
 un prezioso pegno;
 additando Fenena
 del re nemico prole
 pace apportar ci può. TUTTI
 Di lieto giorno un sole
 forse per noi spuntò! ZACCARIA Freno al timor! v'affidi 
d'Iddio l'eterna aita.
 D'Egitto là sui lidi 
Egli a Mosè die' vita; 
di Gedeone i cento 
invitti Ei rese un dì...
 Chi nell'estremo evento 
fidando in Lui perì? TUTTI
 Di lieto giorno ecc. ZACCARIA
 Freno al timor! ecc.
 Chi nell'estremo ecc. TUTTI 
Oh quai gridi ... SCENE II Zechariah, Fenena, Anna, and sayings Zaccaria holding Fenena by the hand Hope, or children! God of his being able to sign He drew in my power a precious pledge; pointing to Fenena of the enemy king offspring peace can come to us. ALL A sunny day maybe for us it came out! Zaccaria Brake to fear! v'affidi of God the eternal aita. Of Egypt there on the shores He gave Moses life; of Gideon the hundred invites Ei made one day ... Who in the extreme event trusting in Him perished? ALL Happy day etc. Zaccaria Brake to fear! etc. Who in the extreme etc. ALL Oh, cry out

Il lacerato spirito, Simon Boccanegra, Verdi, Jonathan Story. Basso Profundo Role: Jacopo Fiesco, a noble of Genoa and grandfather of Amelia, later goes by the name of Andrea Voice Part: bass Fach: lyric bass Setting: A square, Genoa, mid 14th century Synopsis: Fiesco sings sorrowfully that his daughter Maria has died. He rages against the absent Simon Boccanegra and then accuses the Virgin Mary of not protecting his daughter. After realizing that he has committed blasphemy, he prays to her, hoping that she will forgive him. Il lacerato spirito, Fiesco's aria from Simon Boccanegra A te l'estremo addio, Palagio altero, Freddo sepolcro dell'angiolo mio! Nè a proteggerti valsi! Oh maledetto! Oh vile seduttore! E tu, Vergin, soffristi Rapita a lei la verginal corona? Ah! che dissi? Deliro! Ah, mi perdona! Il lacerato spirito del mesto genitore Era serbato a strazio d'infamia e di dolore. Il serto a lei de'martir pietoso il cielo diè... Resa al fulgor degli angeli, Prega, Maria, per me.

Pyotr Ilyich Tchaikovsky composed a set of six romances for voice and piano, Op. 6, in late 1869; the last of these songs is the melancholy "None but the Lonely Heart" (Russian: Нет, только тот, кто знал, romanized: Net, tol'ko tot, kto znal), a setting of Lev Mei's poem "The Harpist's Song" which in turn was a translation of "Nur wer die Sehnsucht kennt" from Goethe's Wilhelm Meister's Apprenticeship. Tchaikovsky dedicated this piece to Alina Khvostova. The song was premiered by Russian mezzo-soprano Yelizaveta Lavrovskaya in Moscow in 1870, following it with its Saint Petersburg premiere the following year during an all-Tchaikovsky concert hosted by Nikolai Rubinstein;[1] the latter was the first concert devoted entirely to Tchaikovsky's works. ... Net, tol'ko tot, kto znal svidan'ja, zhazhdu, pojmjot, kak ja stradal i kak ja strazhdu. Gljazhu ja vdal'... net sil, tusknejet oko... Akh, kto menja ljubil i znal — daleko! Akh, tol'ko tot, kto znal svidan'ja zhazhdu, pojmjot, kak ja stradal i kak ja strazhdu. Vsja grud' gorit... ... Goethe's original Nur wer die Sehnsucht kennt weiß, was ich leide! Allein und abgetrennt von aller Freude, seh ich ans Firmament nach jener Seite. Ach! der mich liebt und kennt, ist in der Weite. Es schwindelt mir, es brennt mein Eingeweide. Nur wer die Sehnsucht kennt Weiß, was ich leide! ... An English translation None but the lonely heart knows what I suffer! Alone and parted from all joy, I see the firmament in that direction. Alas, who loves and knows me is far away. I'm dizzy, it burns my entrails. None but the lonely heart knows what I suffer.

In diesen heil¹gen Hallen - Sarastro's aria from Die Zauberflöte SARASTRO In diesen heil'gen Hallen, Kennt man die Rache nicht. - Und ist ein Mensch gefallen; Führt Liebe ihn zur Pflicht. Dann wandelt er an Freundeshand, Vergnügt und froh ins bess're Land. In diesen heiligen Mauern Wo Mensch den Menschen liebt, Kann kein Verräther lauern, Weil man dem Feind vergiebt. Wen solche Lehren nicht erfreu'n, Verdienet nicht ein Mensch zu seyn. ... SARASTRO Within these sacred portals revenge is unknown, and if a man has fallen, love guides him to his duty. Then, with a friend's hand, he walks, glad and joyful, into a better land. Within these sacred walls, where man loves fellow man, no traitor can lurk, because enemies are forgiven. He who is not gladdened by such teachings does not deserve to be a man.